“The Flaming Fire” begins completely in the traditions of German Expressionism: a series of indistinct and poorly related figurative scenes with vivid images, such as autodafe, symbolic rich people and prostitutes, open doors, sprinkled with close-ups of super-expressive eyes – in general, almost “Lot in Sodom”. But when the viewer finally loses hope to understand these symbols, the style of the film radically changes. Everything preceding turns out to be the dream of the main character, and in the future the narrative develops much clearer and easier. The heroine is the wife of an elderly mustachioed rich man who met her by chance and brought her out of poverty; now she lives in his mansion in a fully automated chamber where food, flowers and puppies are delivered at the push of a button, and spends time reading books about Detective Zed, which caused such bizarre dreams. The only contradiction between the couple concerns the departure from Paris - the girl does not want to leave this city, while the mustachioed husband does not like Paris, not least because in his jealous imagination the city is full of married suitors. During one of the attacks of jealousy, while pursuing his wife, he stumbles upon a gate just as in that dream, and immediately realizes that this is the secret headquarters of the very secret organization he has heard so much about (sic!). The organization offers him services to return the love of his wife and eliminate her hypothetical lover, and the case is taken... the same detective Zed!
“The fire is burning” – a parody not as obvious as, for example, “Seven steps to Satan”, since the humor here is primarily used not so eccentric (although there are scenes with funny falls, there is a psychedelic performance quite in the spirit of “Seven steps ...”), more subtle. By the way, in my opinion, the atmosphere of future recognizably French comedies, touching and ridiculous films with de Funes and Richard is clearly felt here. If this film – made by a Russian! – really influenced the further development of French cinema to some extent, then it is quite funny.
Mozjukhin is not only (I can’t help but note!) an amazing handsome man, but also a great actor with a very rich range, and found a way to show this here, going beyond the funny, but not too deep role of the fatal, but patronized by the grandmother of the detective. In the visions of the main character (which later find correspondence in the course of the plot), he appears in half a dozen roles, almost completely unrecognizable. But it is impossible not to mention the game of Natalia Lisenko, perfectly played the role of a vulgar and simple girl, however, quite corresponding to the image of the femme fatale of that time. Good and comedic good-natured fool-husband performed by Nicholas Colin.
The plot, in fact, corresponds to all the canons, and scenes like dancing in the cafe “Montmartre” can be quite represented in some serious film about sinister detectives, another adaptation of books about Arsene Lupin and Fantomas. But a certain hard-to-detect unseriousness is palpable in this scene, something in too dramatic gestures, too textured Parisian renegades ... Of course, in scenes with a bulldog wrapped in bandages, or great detectives making faces, parody is more obvious. But it is worth noting at the same time that almost non-parody is ensured by the quality and talent of the film. “The Flaming Fire” is a beautiful movie with a beautifully constructed frame and thoughtful editing.
In general, the picture is bright, light, funny and, believe me, absolutely not retro. I highly recommend it.