Blood of the Beasts

"Blood of the Beasts" by Georges Franju is among the most horrifying documentaries I have ever seen.Its unflinching depiction of animal butchery will certainly upset many potential viewers.The film is set in a Parisian slaughterhouse.We see various butchers slaughtering horses,cows,calves and sheep.This film is very graphic without being exploitative,though-Franju simply documents the activities in a slaughterhouse circa 1949.It's very well done-the images are strong,often disturbing-and the camera acts almost as a neutral observer,seeing all.This is a good film,but I only recommend it with a strong warning about its content.So if you are squeamish don't watch this short.8 out of 10.

Luis Buñuel was Georges Franju's favorite filmmaker. Now imagine the shocking eyeball- slicing scene of "Le Chien Andalou" (which, as you may well know, was a dead sheep's eyeball) taken to the goriest consequences: Franju takes his camera to a slaughterhouse in the outskirts of post-war Paris, and the appalling scene from Buñuel & Dali's classic feels like child's game compared to what is shown in this short documentary.

Here, we see -- in all horrifying details, truth and gore -- horses, cows, calves and sheep being matter-of-factly, bureaucratically slaughtered by dexterous butchers with axes, knives, hammers, and they don't even stop their smoking or casual whistling while doing their jobs. Among these indelible, nauseating scenes, we see an employee "caressing" a horse's head seconds before fatally puncturing its skull; the Berkeleyish "chorus line ballet" of decapitated sheep's paws; the still convulsive trunk of one decapitated, blood-drained, paw-less calf; and the gallons of steaming blood serving as an "illustration" of Charles Trenet's famous song "La Mer" ("The Sea"), heartily sung by one of the workers. In "Le Sang des Bêtes" you will see probably the most horrifyingly graphic scenes EVER filmed.

This film brings uncomfortable thoughts: on the one hand, how most of us -- consumers -- implicitly condone with this methodical, "impersonal" slaughtering of domestic, harmless creatures as long as we don't think very much about how meat, leather, soaps, etc "magically" appear at the supermarket or in a store. On the other hand, we wonder how butchers and other slaughterhouse workers manage to sublimate guilt, compassion and repulsion in a totally matter-of-fact, professional manner (they have to earn a living), proving how human beings can adapt to almost ANY circumstance (surely then-recent WW2 Nazi horror in concentration camps is very clear reference in "Le Sang...:").

"Le Sang..." features as an extra on the DVD that brings Franju's horror masterpiece "Les Yeux Sans Visage" (1959) and it's totally apropos: it's a perfectly macabre pas-de- deux. Impossible not to link the cold-hearted slaughter and skinning of the animals in "Le Sang..." with high-brow-gone-berserk surgeon Pierre Brasseur face-skinning his helpless victims with flawless craftsmanship in "Les Yeux". (Once again, the Nazi concentration camp "scientific" experiments are paralleled).

This is compulsory viewing for animal-rights activists and environmentalists. Don't even think of watching "Le Sang des Bêtes" if you're faint-hearted or after a meal; and beware you meat-eaters, this one may turn you in a vegetarian or at least make your next hamburger taste REALLY bad.

In a suburban outskirt of post-WW2 Paris, we are enamoured by the beauty of one of France's pearls. It's an ordinary day where time seamlessly and relaxingly passes by. We wonder, "what's going on?"

It's only when you search inside the buildings one actually realizes the life (or lack thereof) in the city. Paris, a destination spot for romantics and travellers abroad, has its meat industry displayed--not their biggest attraction. It's not a heinous crime nor an "extreme" act. Yet it's only when peering behind the guarding walls we see the treachery the human race is capable of. Choosing to disregard mass murder is one thing, but the blood on our hands, innocence stolen and suffering caused is something we will take to the grave.

The complete sense of normality is the most sinister aspect of this short film. Rarely do people actively consider what they are consuming. We observe how very regular the acts of slaughter are depicted and it appears to be an outrageous crime. But it's not. It happens in our very own backyard and in the most elegant of places.

A film of great and terrible beauty.

This short 1949 film by Georges Franju - about 20 minutes or so in length is narrated by Georges Hubert and Nicole Ladmiral and was the winner of the 1950 Grand Prix International du Court Sujet.

Filmed in black and white - I doubt it could be watched by many in colour - this film weaves an effective documentary of Paris's various abattoirs out of startling yet non-contrived surrealist images. The scenes of death are presented coldly, without sentimentality but also, in my view, without lessening the suffering of the animals - an indeed the men.

"Le Sang des Bêtes" is a splendid documentary about the life and work of many workers, living just outside the Paris walls after WWII. From the vast and deserted areas that seemed to completely surround the city and its few 'modern' outskirt-constructions, Franju suddenly leads us nearer to the heart of the capital. Where the industrial compounds rise. where, at the fringe of urban and rural worlds, the cattle is being slaughtered. From the horses slaughterhouses of the Porte de Vanves to the huge Halles de la Vilette, where cows, calves and sheep are being prepared to be eaten, this short film is by no means a claim for vegetarianism. Some scenes are certainly hard to watch, but the accurate eye of the director, his tenderness towards the men (and women) doing this very hard work, is the real point here. After all, we've seen animals die before (actually after, from 'Le Cochon' of Jean Eustache and Barbet Schroeder's New Guinea documentaries, to "Benny's Video" and the morbid attraction of Benny towards the film of the cow's death. So let not your prejudices take the better, and let the film deliver its message : that he is the witness of a world not that old, and already so odd to us.