Archive for the FILM Category

Harris Extensions

Posted in FILM with tags , , , , , on July 29, 2014 by dcairns

lester harris from David Cairns on Vimeo.

Another story from Richard Lester. This one is not just about hair and drunken actors, as might seem to be the case on the surface — it’s about Lester’s manic need to be always progressing through the day’s shot list, rather than wasting time and money waiting for things to happen. So whatever the circumstances, find a way to shoot something and a way to use what you shoot, because if film isn’t going through the camera, time is literally a-wasting!

The movie is JUGGERNAUT and the sole reason for giving this anecdote a video treatment is it’s kind of nice to see the story he’s telling illustrated with the actual bit, so we know he’s not making it up.

The longer piece from which this scene was deleted is here.

My piece for Criterion on A HARD DAY’S NIGHT also appears on the UK disc from Second Sight –

A Hard Day’s Night: 50th Anniversary Restoration [Blu-ray]

Our next deleted scene will look at THE RITZ.

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Sudden Chimp Act

Posted in FILM, Science with tags , , , , , , on July 28, 2014 by dcairns

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Fiona is to blame for dragging me to see DAWN OF THE PLANET OF THE APES but to be fair I did enjoy the previous film in the series. It’s a thoughtful study of revolution (evolution being too slow for Hollywood), showing the painful necessity to throw off one’s oppressors and the violence that results. The climactic battle is both terrible and exhilarating.

Unfortunately, DOTPOTA is not as thoughtful as ROTPOTA, though it would like to be. The screenwriters of the first film pretty much set up this sequel in the first film — what else could it be about but a battle between more or less evenly matched human and ape forces — this makes it both closer to the J. Lee Thompson BATTLE FOR THE PLANET OF THE APES than ROTPOTA was to any of the previous ape films, and means the moviemakers have a challenge to stave off predictability. Unfortunately, the original writers have been rewritten on this one, and the resulting scenario plays out as something much mucked-about-with. Major characters (the woman, the kid) have incomplete, trailing character arcs — they disappear from the action when no longer needed. There are lots of scenes with no dramatic content at all, which are supposed to be character-building but just consist of sedentary figures exchanging backstories. And in terms of body count, there are no casualities that mean anything, no losses that the audience can truly regret. This weakens the anti-war message — though not as badly as the ending, where the quest for a bad-ass one-liner for Caesar results in him making the kind of statement one associates with Nazism, denying that his enemy is a member of his species.

As in Tim Burton’s happy idiot version, the bad ape is the whole show: Toby Kebbell is far more ape-like “as” Koba than the anthropomorphized chimp-lite “played” by Andy Serkis. This is also somewhat problematic, since we have a film that wants to preach tolerance but the bad guy is convincingly “other” and the good guy is made to be more like us. It’s like making a civil rights drama with Michael Jackson as hero and, I dunno, Bill Duke as villain.

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Visually, the film does have pleasures — the animated apes look generally photographically real most of the time, a major advance on the previous movie (and they get more screen time and there are more of them) and director Matt Reeves pulls a couple of neat tricks — a long-take hand-held hide-and-seek in City Hall (though it’s not as impressive as a similar extended shot in True Detective) and a 360 from a rotating tank turret that almost made me wish I’d shelled out for 3D. But it’s actually a surprise when these tour-de-force moments appear late in the day, since the coverage has been rather conventional until these points.

Since the sequel to the prequel/reboot is more of an action movie, it helps that it has a more effective human lead than James Franco, whose character had to pretty much fail at everything he attempted, and couldn’t even fail valiantly. Here, Jason Clarke gets to put his life on the line for the sake of peace, early on: a striking, genuinely heroic and noble act which buys him quite a lot of credit in my book. Unfortunately, he doesn’t get a single memorable line or unusual, human reaction to the crazy situations he finds himself in, and his backstory is vague and uninvolving: bereaved, like all the humans, but not of anyone we can picture or care about. This wooliness about all the emotional ties that are supposed to matter to the characters stacks the shooty-gun side of the film way higher than the touchy-feely side. I didn’t feel ANYTHING, and actually the previous movie is very emotional — almost unbearable at times.

Here are Fiona’s thoughts, via her own word-writings –

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THE SCIENCE BIT!

Those were David’s word-writings, transposed from his very own brain, now here’s my chimpcentric (They take up most of the screen time. Sorry gorillas and orangs) opinion as the Shadowplayhouse’s resident armchair primatologist. And that may be the reason why my response to the film was not quite as ecstatic as I’d hoped. The writers have cherry-picked the facts they wanted and disregarded everything else. I don’t really blame the film-makers for this. In order to be scientifically accurate  the film would have to be an 18 and not a piece of science fiction. It’s already a pretty intense 12A, but some of the stuff they’ve omitted has nothing to do with the certification.

Let’s start with the almost complete absence of female characters. With the exceptions of the character I like to call ‘Mrs Caesar’ and Keri Russell’s ‘Ellie’, who makes up the numbers of the  thoroughly  anaemic human population of this film. ‘Mrs Caesar’ actually has a name, Cornelia, but we never hear it, nor does she communicate verbally, and I think I know the reason why she literally has no voice. Female chimps’ vocalisations are pretty much the same as male chimps’ vocalisations: Low and guttural. In the 1950’s an experiment was done to try to teach a very young female chimp, Viki, to speak a few simple words of English. This is what she sounded like.

I believe the film-makers were afraid this would provoke laughter so they decided to avoid it completely. There’s some evidence that Cornelia originally had a larger role in the film. A publicity still of her wearing a bizarre, twigs and berries headpiece (Actually, it’s not so bizarre. Just before the films release a story broke about a group of chimpanzees who’d started wearing twigs as ornamentation, just for ornamentation’s sake!) was circulating on the web and the fact they cast a well know voice actor in the part. I’m convinced there were many more scenes involving her that were cut to make room for more action. The females we are aware of are a group tending to Cornelia during her illness. We know they’re female because their vocalisations are higher pitched, like Monty Python’s Pepperpot Women.  This doesn’t bode well for the sequel. Are all the female characters to be denied a voice?

In the film itself they’re certainly denied a voice about what’s going on in their group. While female chimps do tend to be dominated by males, they are not completely powerless. In fact they have a hierarchy of their own and can influence who the Alpha Male is by siding with one particular male over another. Koba is patently an absolutely terrible leader and some females may have wanted to stay loyal to Caesar, or indeed, a completely different chimp. It’s all very convenient to send them off to the forests with the kids when the going gets tough and the tough get going.

Females  are actually a very important part of the group dynamic. Males are very attached to their mothers and even in adulthood will go back to her for comfort (sound familiar?) when distressed. In reality, Blue Eyes, Caesar’s son, would be more likely to be hanging around the sickbed, fretting about his old mum, rather than out and about being taught how to hunt deer. Although to give the film its due, chimpanzees in the wild do collectively hunt monkeys and even use sticks as spear-like implements. Another thing it gets right, is the inter-generational acquisition of sign language. Amazingly, this has already happened. Washoe, one of the first signing chimps, taught her adopted son, with no human assistance.

I think it’s shameful that we have to hark back to the 60’s original for a strong female character. Zira absolutely rocked: intelligent, feisty and funny, she was a major character in the ensemble. And speaking of ‘funny’. At no point do we see any of the apes having much fun before the combat starts. No playing, no chasing, no tickling ,no hugging, no grooming, no kissing, and most egregiously, no laughing (Koba does some mock laughing in order to deceive humans, but that doesn’t count). Yes, apes laugh, they have a sense of humour and love being playful. They also lie, so Koba’s statement that human’s “lie”, indicating an understanding of the concept, is entirely believable, as proved in the infamous sign language experiments started in the 60s. The film itself is strangely devoid of moments of humor that would really help lift it. Although I loved Keri Russell’s, “Try not to speak,” to the injured Caesar. A wonderfully self knowing bit of dialogue that NO-ONE in the cinema laughed at.

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To balance things out again, there’s a great moment where Jason Clarke (Malcolm) is forced onto his knees by the other apes, while in the presence of Caesar. This is textbook subordinate behaviour to a superior. But Malcolm keeps on getting up again! Foolish human. But they don’t cry. Oh, chimps have tear ducts to lubricate the eye but they are incapable of crying ‘emotional’ tears. That does not mean they do not feel sadness. “Human lies!” again. In fact we may be the only species on earth to weep in response to emotion. There’s anecdotal evidence that elephants cry for the same reasons we do but it hasn’t been properly established.

What has been established is that bonobos are not violent war-mongers. Luckily, at no point in the film, do we learn that Koba, the stand-out character who rides off with the film, on horseback with guns blazing, is meant to be one. He doesn’t look like one and he doesn’t behave like one. Bonobos are extremely rare and have NEVER been used in medical experimentation, thus making a nonsense of his primary motivation, hatred for all humans due to their mistreatment of him in the labs. In reality bonobos have a matriarchal society where conflict is resolved via sex.  Bonobos are too busy making love to make war. They do have a darker side, and aggressive skirmishes can break out, but not to the extent of chimpanzees and humans, who organize armies and are murderously territorial. And yet, I got a massive vicarious thrill from watching Koba seethe, scream and generally create chaos; firing two automatic weapons at the same time, ‘manning’ a tank machine gun turret and baring his huge, intimidating fangs at anyone and everything. Was he unleashing my inner ape? Or does it suggest that I have some all too human issues? Only my subconscious and possibly David hold the key to those questions.

Something else I observed was that the meaning of the palm-stroking gesture, asking for permission in the first film, has been amended to one of appeasement or acceptance. So someone out there was listening to what the experts had to say. But not enough in my opinion! To conclude, DAWN OF THE PLANET OF THE APES is a brave, but not entirely successful attempt to inject some intelligence into the summer blockbuster. It’s dark, emotional and tries to be about something important. The Apes series has always been about holding up a mirror to OUR society. Look at what’s happening in Gaza.  And hopefully, thanks to its quite astonishing melding of animation and performance, never again will we see them being used on film for the purpose of entertaining humans. If it helps achieve that, then it will have done much to alleviate the suffering of our closest genetic neighbours on this planet.  Because we are primates too.

The Sunday Intertitle: Sunday in the Park with Doug

Posted in FILM with tags , , , on July 27, 2014 by dcairns

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That black rectangle to the right of frame is an intertitle! At Kelvingrove Bandstand, Glasgow, I was viewing THE BLACK PIRATE — on a small screen in distracting daylihgt with low resolution and in the wrong ratio — but to compensate we had brilliant live music by the Jane Gardner trio. THE BLACK PIRATE never gets dull for a second, but you did have added visual interest, because during the exciting bits you could watch drummer Hazel Morrison pounding her pagan skins in best BEN HUR slave galley fashion.

Another source of intertitles — too bad I can’t copy and paste them here — is the Library of Congress’s Flickr page for unidentified movies. Head over and see if you can supply helpful info about the dates, titles, or cast of any of the films sampled. The images are often surreal, beautiful or just puzzling, and the intertitles are poetic in the extreme ~

“EZRA FETLOCK ~ INVENTOR OF SKID CHAINS AND BLOW-OUT PATCHES FOR BALOON TROUSERS.”

“Brutal Bill ~ He would kill a man for a dime and give nine cents change. GLEN CAVENDAR.”

“We’ll make fake bears of Pete and Jake with our bearskin rugs.”

“LOOK, Father! See the pretty wood nymphs dancing in the snow.”

“Mrs Smith — a horsewoman by profession but a blonde by choice.”

“One quart later. (An Aladdin Comedy)”

“THE WITCH HAS HER VICTIM”

“The stenog’s regular meal ticket was on hand.”

It’s not impossible that you could be of help here — I myself identified Warner Oland in one frame, although admittedly two other people had already done so.

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