Archive for Bryan Forbes

The Sunday Intertitle: Bokononism and the phallic power of Paul Henreid

Posted in FILM, literature, Theatre with tags , , , , , , , , , , , , , , , , , , on July 21, 2013 by dcairns


A lovely thought from the start of RED GARTERS, begun by Mitchell Leisen, who was fired and replaced by George Marshall, who brings a heaviness to the proceedings that’s quite counter-productive. Stylised sets require the right blend of stylisation and reality from the performances, and as striking as the film looks, it doesn’t quite get there.

But I was reminded of it when we watched THE MADWOMAN OF CHAILLOT, prepared by John Huston but executed by Bryan Forbes. Ironically, a few years later Forbes in turn would be removed from the ocean-bound suspense drama JUGGERNAUT and replaced by Richard Lester, who made a wee classic of it. CHAILLOT begins with a title echoing RED GARTERS’ invocation of the Bokononist comforting lie ~


MADWOMAN stars Katherine Hepburn who doesn’t seem mad at all — she lacks the air of vulnerability to embody the script’s sentimental idea of a “holy innocent” type of insanity. And the film’s politics is slightly sappy and hippyish too. Huston claimed he quite because producer Ely Landau wanted the film to say the “the young people are going to hell” whereas Jean Giraudoux’s source play was an attack on the faceless moneymen who rule the world. Huston, as so often is the case, was clearly lying his ass off, because after his departure Landau produced a film about the evil moneymen — directed by Forbes who was, I believe, a fairly conservative sort of chap.

But what a cast — if Hepburn is a bit miscast, Danny Kaye is terrific (straight acting stops him being cutesy) and the bad guys, embodied by Yul Brynner (never better; relishing the chance to play a really extreme character), Charles Boyer, Paul Henried, and even John Gavin, are hugely entertaining. Add in Sybill Thorndyke, Giullietta Masina and Margaret Leighton, plus Donald Pleasence, and you have a guarantee of at least some kind of interest, even if the filmmaking never quite arrives at the kind of consistency Forbes was capable of (Why two cinematographers?). I didn’t see this as the disaster some have called it, just as an intriguing oddity.


Good bit with Henried as the  military-industrial complex, displaying his many erect missiles.

And then I saw SIREN OF BAGDAD, a truly appalling Sam Katzman Arabian Nights travesty directed by a young and desperate Richard Quine, and once again Henried’s virility is the source of humour ~


Inadequate dirk? Try a little magic, and ~



Contrasted with Hans Conried’s lack of rigidity in the shaft ~


It’s all downhill from here, apart from some odd comedy when Conried is transformed into a glamorous blonde (uncredited, but I think it’s Vivian Mason) who is hilarious even without Conried’s goofy lilt dubbed on. The titular Siren is Patricia Medina, whom we like, but it’d take a greater magician than either Henried or Quine to save this mess.

RIP Bryan Forbes

Posted in FILM with tags , , , on May 8, 2013 by dcairns


Forbes endeared himself to me by being the only filmmaker in the last-but-one Sight & Sound poll to choose one of his own movies, WHISTLE DOWN THE WIND, as one of his top ten. It would have been nice if the film had appeared on anybody else’s list — a kind of validation. But it IS a really lovely film, one of several of his movies worthy of consideration as classics — along with THE WHISPERERS, KING RAT and SEANCE ON A WET AFTERNOON, subject of the second ever Shadowplay article.

Listing slightly

Posted in FILM with tags , , , , , , , , , , , , , , , , , , on August 27, 2012 by dcairns

“Oh no… can you imagine how sarcastic that coroner’s going to be THIS time?”

I try to avoid writing lists, mainly. I used to make to-do lists, but it seemed to be a way of putting off doing things. And I used to make lists of favourite films, which is perhaps an OK way to start thinking about films, but runs out of value pretty quickly.

But for some reason I bought Sight & Sound specially for the Critics’ and directors’ poll this month. Actually, more the directors’. A good list there works as a sort of map of the filmmakers’ head. Just agreeing or disagreeing with the choices isn’t enough, I want to learn something about the person. That’s why my favourite last time was Bryan Forbes, because he included his own movie, WHISTLE DOWN THE WIND. Tells you a lot about him.

Forbes wasn’t asked back, but my favourite lists were those Guillermo Del Toro (FRANKENSTEIN, FREAKS, LA BELLE ET LA BETE), Mike Hodges (all thrillers, all on the verge of noir but not quite typical), Richard Lester (visual comedies and period movies), Edgar Wright (from DUCK SOUP to THE WILD BUNCH) and especially Terence Davies (lots of cineastes listed SINGIN’ IN THE RAIN and THE MAGNIFICENT AMBERSONS, and one doesn’t doubt their sincerity, but with him it really means something). Also Bong Joon-Ho (CURE and TOUCH OF EVIL and ZODIAC) and Abel Ferrara (A WOMAN UNDER THE INFLUENCE, THE DEVILS).

I also like the mysteries: Charles Burnett is the only filmmaker to list Henrik Galeen’s THE STUDENT OF PRAGUE and doesn’t amplify; does Rolf de Heer really like FEARLESS that much or did he feel the need to list a film from an Australian (the film is good, but is it that good?); Andrew Dominik’s list is all-English language and all post-1950 — his choices are all great, but doesn’t he feel any embarrassment?

Atom Egoyan claims to have listed ten films that have had “the most dramatic impact on the artform,” as if his personal feelings didn’t come into it.

I find myself in favour of goofy lists. I don’t want the overall top ten to change that much, but it gets boring to see the same names again and again. In the critics’ poll, Ian Christie lists RW Paul’s THE “?” MOTORIST, Geoff Dyer has WHERE EAGLES DARE, and they’re obviously quite sincere, and the Ferroni Brigade has PLAGUE OF THE ZOMBIES (“We don’t believe these are the ten best films of all time, but we are convinced it would be better if they were,” begging the question, WHAT would be better?). One of Alexander Horvath’s choices, NOISES (anon, 1929) cannot be located using Google or the IMDb (“While it should be pretty obvious that these are the ten greatest films of all time, I still wonder if anyone will agree”). On the other hand, Slavoj Zizek, as always, tries a bit too hard to be interesting.

Creating an alternate list to the top ten ought to be fairly easy — just sub in an alternative choice from the same director or era or country or movement or genre. But in fact, the list is pleasingly stuffed with sui generis oddities — no other Dreyer film really compares to JOAN OF ARC (some may be better, but none are like it), CITIZEN KANE stands unique in Welles’ oeuvre even if one prefers CHIMES AT MIDNIGHT, VERTIGO is a uniquely strange Hitchcock, LA REGLE DU JEU a uniquely strange Renoir, and Vertov offers only one obvious candidate. Ozu, Ford and Fellini made enough masterpieces for credible substitutions, though 8 1/2 still seems summative.

I know my favourite film: HE WHO GETS SLAPPED (ten years ago, Mark Cousins listed this: now, I don’t think anyone has). And then PLAYTIME and 2001 are the most amazing films I know. Beyond that, I’d surely have to have Powell, Welles, Sturges, Kurosawa, Keaton, Hitchcock, Russell, Lang, Fellini… oops, that’s eleven already. This is a silly game, I’m not playing.


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