The first two films are better than their reputations suggest; they just can't compete with Fellini's frenzied phantasmagorical Toby Dammit. An absolute tour de force of technical filmmaking anchored by a performance from Stamp that seems straight out of the silent cinema. Decadence, both thematic & stylistic, assault the senses as the character's burnt-out fatalism collides with a vision of supernatural retribution.
visto due anni fa, e a distanza di due anni, ricordo perfettamente i feels dati da federico fellini nel terzo capitolo di spirits of the dead. B.B con Delon una dea. Il primo di Vadim è quello che mi ha colpito meno come storia, ma visivamente quel gotico alla francese ci sta tutto.
2-3. Since so much has already been said about Toby Dammit, I'll instead say that, at least on paper, I think the Vadim short had more intrigue than William Wilson. As far as being visually scary, I don't think the Vadim or Malle shorts work as well as Toby Dammit, but the Vadim short is a much better demonstration of Poe's command over metaphor, while Wilson inverts the evil doppelganger idea and little else.
Fellini's segment is such a visual feast, that the other two suffer from just being included in the same company. Seriously, it's the most colorful, atmospheric and powerful short films I've ever seen, and Stamp is perfectly creepy and sad in the title role. Malle's segment benefits from Delon's performance, and the story is quite good as well. Sadly, Vadim's is a throwaway. Tries to be decadent, but ends up dull.