A ’70s Brian De Palma thriller may have inspired one of the best anime villains of all time

Brian De Palma is best known for his Hitchcockian erotic thrillers, but he’s not a one-trick filmmaker. In his long career dating back to the New Hollywood era, De Palma has directed horror films (“Carrie”), crowd-pleasing action films (“The Untouchables” and “Mission: Impossible”), and a film that almost defies categorization: 1974’s “The Ghost of Paradise.”

It’s a riff on “Phantom of the Opera,” right down to the title, as well as a horror film, a dark comedy, a music industry satire and a rock opera. In “Phantom,” songwriter Winslow Leach (William Finley) gets screwed by sinister music producer Swan (Paul Williams, who talked about “Phantom” with /Film here). After a series of tragedies leaves Winslow destitute and disfigured, he adopts the new persona of the Ghost, wearing a black cape and cloak with a silver bird helmet. Winslow, initially wanting revenge on Swan, falls in love with the young singer Phoenix (Jessica Harper) and rescues her from Swan’s claws.

Although it was not a hit at the time, “Phantom of the Paradise” became a cult classic with loyal fans (including BJ Colangelo of /Film). His legacy lives on notably in the dark fantasy manga/anime “Berserk”. Guts, the Black Swordsman, is a revenge-seeking warrior who fights and kills the demonic apostles, servants of the Divine Hand. One of God Hand’s fingers is Femto, the demonic character of Guts’ former friend Griffith. Griffith leads mercenaries called the Band of the Falcon and called himself the White Falcon. The avian theme continues after his corruption, as his rebirth as Femto resembles the hatching of an egg:

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As Femto, Griffith is clad in black armor with a wing-shaped cape and a helmet resembling a bird’s beak – as is Winslow as the Phantom of Paradise.

The late Kentaro Miura, author of “Berserk,” was inspired by American films in his art. Miura was a “Star Wars” fan and Griffith’s corruption into Femto is akin to the tragedy of Darth Vader. (Miura, however, maintained that Guts’ resemblance to Ash Williams in “Evil Dead” was a coincidence.) Although Miura, to my knowledge, has not directly named “Phantom” as an influence, he was asked about the film influencing his work during an interview with French publisher Glénat, and he did not deny it.

Just look at Winslow and Femto and the resemblance is undeniable. The texture and sheen of Femto’s armor resembles the black leather of the Phantom’s costume, their capes drape the same way, and their helmets have the same pointed nose-beak. Femto’s design is certainly more inhumane; his muscles are visible on his armor, suggesting that it is not armor but flesh. Its limbs have a skeletal texture, with its feet particularly resembling those of a bird of prey. His cape is not a simple coat either, but real wings capable of taking flight. God Hand’s creations are often compared to Clive Barker’s “Hellraiser” – as Femto, Griffith has the Phantom of Paradise, half Cenobite.

Nor are designs the only similarity between Winslow and Griffith. Both men were dreamers; Winslow wanted to be a successful musician, Griffith wanted to be a king. Pursuing these dreams destroyed both men, leading them to transform into another self. Griffith’s complexity as a character is remarkable, but as Femto he’s all bad.

In “The Phantom of the Paradise”, Swan sends Winslow to prison, triggering his physical misfortune, as if his teeth were replaced with metal teeth. He adopts the Phantom persona to hide burn scars he received from a record press. In “Berserk”, Griffith – in a moment of weakness after Guts leaves the Hawks behind – sleeps with Princess Charlotte of the Midland nation. For this “defilement”, he is locked in a dungeon and tortured for a year; When the Hawks release Griffith, he is an emancipated shell with a severed tongue and tendons. This weakness leaves Griffith in the right position for God Hand manipulation.

After “The Phantom of the Opera”, the other main source of inspiration for “The Phantom of the Paradise” is the legend of Faust, the classic story of “man sells his soul to the Devil”. The song that Winslow writes and Swan steals is called “Faust”. A poster for “Phantom” sports the slogan “He sold his soul for rock ‘n’ roll.” Griffith’s transformation into Femto is another Faustian affair, but he doesn’t pay the price. Griffith does not have to sacrifice his own soul, but that of those close to him: the Hawks. Deciding that his dreams of glory must be realized, he agrees to the deal, leaving the Hawks to be devoured by the Apostles as the carnage fuels his rebirth into Femto.

The Phantom is a tragic character, but he remains sympathetic until the end and ultimately dies to save Phoenix from Swan. Griffith’s sacrifice and ascension to Femto was, however, an act of great selfishness. If there is a difference in their designs, note that Winslow’s helmet has large, round eyes, evoking pity and suggesting innocence. Femto’s helmet has eyes as sharp and predatory as those of a hawk.