Archive for Buddy Hackett

Anomalous

Posted in FILM, Politics, Theatre with tags , , , , , , , , , , , , , on January 27, 2012 by dcairns

I was quite glad when ANONYMOUS got an Oscar nomination for Best Costumes — I saw it with my costume designer friend, whose expert eye gave it the once over and declared that it was maybe the best Elizabethan stuff she’d ever seen. And designer Lisy Christl had never done such a big film before (though her matching tennis duds and white gloves for the killers in FUNNY GAMES are one memorable contribution to cinematic dress — I hate the film, but it’s an arresting look).

Though I didn’t like the film quite as much as my expert friend did, I was pretty astonished that such a handsome, unusual, well-structured and basically non-sucky movie could come from Roland Emmerich, the mind behind INDEPENDENCE DAY (credit where it’s due: that movie did cause me to go see a lot fewer blockbusters in the following years). While it’s true that every good point of the movie has some accompanying bad points, the overall experience does NOT leave you feeling ripped off and insulted, which is maybe a first for the director.

The look: apart from the beautiful costumes, which are simultaneously original and convincing, the movie benefits from good mucky sets, planks strewn through muddy streets, and impressive CGI overviews — the next step on from Olivier’s vast model shot of Shakespeare’s London which opens his HENRY V, and a lot more handsome and convincing than the comparable stuff in the ELIZABETH duology. This is a big film, but not a HUGE film, so it’s an impressive achievement.

On the minus side, Anna Foerster’s cinematography (or the digital grading thereof) is in thrall to the current fad for orange and teal colour schemes. There are a few welcome bits that depart from this, but generally in favour of monochromatic effects, so the spectrum isn’t exactly original. BUT on the other hand, it all looks genuinely pretty, and candlelight and firelight do at least provide motivation for the warm flesh tones. I think the fact that this look is currently over-used is the only objection — at least here it’s used well.

Performances: we get a new side to Rhys Ifans in this, where he has to emerge as something approximating a leading man. We also get some fresh faces in meaty roles, which is unusual and refreshing — it can be assumed that Edward Hogg in particular, whose cold villainy enlivens many a scene, is going to be very big. And Rafe Spall gets his best role yet as Shakespeare — you know, the guy who didn’t write Shakespeare.

The only down side to this is the potential for confusion in the  large cast, some of whom inhabit more than one time frame, and some of whom are consequently played by more than one actor. But when was the last time you felt you had to work to keep up with an Emmerich movie?

The story: the notion of the Earl of Oxford being the author of Shakespeare’s plays and sonnets may or may not be nonsense (but I highly recommend John Michell’s fascinating Who Wrote Shakespeare? for a broadminded summation of the various theories), and the political subtexts attributed to the plays in John Orloff’s ambitious script ARE complete fantasy, but the story moves, intrigues, surprises and ultimately delivers.

Dialogue: only Rafe Spall really sounds like a person, but the others, working in a more stylised mode, get away with the formal speech, and somehow the obvious question — Why does everybody speak in such an antiquated way in the plays, while never using a single obsolete expression in their offstage speech — never really jumps out at you.

Shakespeare may not have written any plays, but he totally invented the stage-dive.

Art/life: the movie’s take on the purpose of Shakespeare’s plays — political propaganda to influence the mob — is kind of dumb, and does the work a disservice. But the evocation of HENRY V’s debut is striking and exciting. Elsewhere, there are gigantic, and quite deliberate, factual errors (like the Globe burning down ten years early), which is all acceptable for dramatic purposes. But the final device, whereby Oxford, the true author, tries to mobilize public opinion against hunchbacked politico Robert Cecil, by staging Richard III. Leaving aside the fact that the play staged at this historical moment was actually Richard II, this makes about as much sense as the computer virus that takes down the aliens in ID4. The Globe-mob become immediately enraged at the sight of the Cecil-lookalike, before he’s even gotten as far as “…determined to prove a villain.” I wanted to actually hear the following dialogue:

“Hey, he looks like that other guy!”

“The play’s right! He IS a hunchback!”

“Yeah, I hate him!”

“Let’s riot!”

Had the movie been a little less impatient, it could certainly have made this scene play a bit more convincingly, and since it cues the film’s climax (an attempted coup: basically VALKYRIE with ruffs), it’s important to try and get it right. But it doesn’t wreck things altogether.

It’s a bitter irony that Emmerich’s first non-travesty has underperformed compared to the ghastly trash he’s pumped onto our screens in the past. I can’t feel altogether sorry for him, since really the director of GODZILLA deserves some grief. But it’s a shame for everyone who suffered through the big lizard but missed out on the court intrigue.

I wrote two lines of a limerick about this, so inspired was I by the bard’s poetic vision. Then I couldn’t think of an ending, so Hilary Barta of Limerwrecks stepped in –

CREDIT WHERE CREDIT IS DUBIOUS

Is Shakespeare a bard or a boor?
It appears that it’s hard to make sure!
Was it really an earl
What coined ev’ry pearl?
Is it all a canard of manure?

Buy John Michell’s terrific book: Who Wrote Shakespeare?

My favourite Shakespearian authorship theories –

The great Ken Campbell came up with the audacious, balls-out insane notion that the plays were “improvised by the actors.” To prove it was possible to improvise in iambic pentameter, he organized marathon improv sessions for actors, demonstrating that “the iambs only kick in after the twelfth hour.” But after twelve hours of it, you may find it easier to continue than to stop.

And in Bob Burden’s comic, The Flaming Carrot, our hero “the world’s strangest man” travels back in time to meet the swan of Avon, only to discover a drooling bumpkin. The true author, a shadowy caped figure, is eventually tracked down, and in a surprise revelation, proves to be Buddy Hackett.

The Round-Up

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 15, 2010 by dcairns

PAIN

James Stewart in THE MAN FROM LARAMIE.

James Mason in THE FALL OF THE ROMAN EMPIRE.

One could of course go on… Stewart suffers considerably in Mann’s westerns, being shot through the hand in both LARAMIE and THE FAR COUNTRY (like Robert Ryan in MEN IN WAR), while Mason’s hand-burning ordeal in TFOTRE seems like a direct reprise of LARAMIE. Both are co-written by Philip Yordan, and in fact both feature a recognisable trio of characters — an ailing patriarch (Donald Crisp in LARAMIE, Alec Guinness in TFOTRE), his stupid and vicious son (Alex Nicol and Christopher Plummer) and the devoted friend and almost-adopted son who should inherit by right of being the competent one (Arthur Kennedy and Stephen Boyd). See also Yordan’s MEN IN WAR script for another ailing surrogate father.

Mann’s films pair up in interesting ways, often via casting — he was fond of reusing actors he liked, often in wildly contrasting roles: there’s very little of the stability one finds in Hawks or Ford’s use of their stock company. Of course, Jimmy Stewart is always the leading man when he’s around, but his roles vary considerably in amicability — as has often been noted, Mann’s pushing of the Stewart persona into neurotic and obsessive territory prefigures and prepares for Hitchcock’s use of the star in VERTIGO.

THE FAR COUNTRY and BEND OF THE RIVER, which I watched back-to-back, very nearly blur together due to the similar gold rush background and the repeat casting of and Harry Morgan and Royal Dano and Jay C Flippen (Manny Farber is amusingly horrified by this guy: “Probably the worst actor that ever moved into a movie.” My friend Comrade K semi-concurs: “He has a face like a tick”).

STENTORIA

“Only a trained investigator would have attached any significance to those two words: steam baths.”

After making twelve movies, including DESPERATE and RAILROADED which feel pretty mature and Mann-like — Mann entered the realms of the strident voice-over: known as STENTORIA.

In Stentoria, all the stories are factual, and only the names have been changed, to protect the innocent. Stentoria encompasses T-MEN (above and below images) and HE WALKED BY NIGHT and SIDE STREET and BORDER INCIDENT, but the voice-over diminishes in prominence and increases in subtlety as Mann develops. The VO guy in T-MEN sounds like he has a bad cold (as does Robert “terror of Salzburg”  Cummings in REIGN OF TERROR), and he talks for HALF THE FILM. I protested against this, until my friend Comrade K pointed out how scary the film gets when the VO suddenly and unaccountably GOES AWAY (“From here on you’re on your own!”) and leaves us in the meaty hands of Charles McGraw. By the time Knox Manning opens and closes BORDER INCIDENT with a few reassuring words, we have a guy who seems to be impersonating Mark Hellinger’s famous VO in THE NAKED CITY: much more laid-back and mellifluous. And as previously noted, VO guy Robert Rietty in FALL OF THE ROMAN EMPIRE sounds like Mann himself.

T-MEN: John Alton, photographer:

A DANDY IN ASPIC, photographed by Christopher Challis.

Thinking about Charles McGraw — as I do — I realize that not only must Mann be responsible for McGraw being in SPARTACUS, but that the Mann scenes in that movie are not only the best scenes, but also the most Kubrickian! All the gladiator training stuff which so neatly prefigures FULL METAL JACKET… and MEN IN WAR is clearly the movie that Kubrick’s tyro effort FEAR AND DESIRE wants to be…

“Freedom isn’t a thing you should be able to give me, Miss Ginny. Freedom is something I should’ve been born with.” An impressive line delivered by Ruby Dee in the equally impressive THE TALL TARGET.

DELICIOUS HOT

A fellow film blogger in New York admitted to limited experience of Mann and wondered if he wasn’t perhaps a cold filmmaker — I wouldn’t agree, although in their different ways T-MEN, TFOTRE and A DANDY IN ASPIC either avoid or miss the warmer emotions. Certainly the gentler passions are less likely to figure prominently in Mann’s work, but nobody can make cold movies with Jimmy Stewart. I’d point to Aline McMahon’s abiding love for Donald Crisp in LARAMIE as a good example of the powerful feeling Mann can evoke without seeming to try too hard, and the affection of Stewart for Walter Brennan in THE FAR COUNTRY is a similar example.

Here’s my shortlist of Mann favourites, all of which have tender moments as well as angry ones –

RAW DEAL — a great “women’s noir” with a groovy theremin theme. I like Marsha Hunt a lot, but Claire Trevor steals the show.

WINCHESTER ’73 — just about my fave of the Stewart westerns. Borden Chase (I heard he took his name from Lizzie Borden and Chase Manhattan Bank, figuring the combo would be memorable) had a real flair for rambling structures which somehow achieve a feeling of tightness — maybe just because they’re so action-packed, maybe also because they’re tied to strong characterisations for Stewart each time.

THE TALL TARGET — beautiful train thriller to compare with Fleischer’s THE NARROW MARGIN, and it uses its little scrap of history (heavily embroidered, no doubt) to tackle some actual politics.

THE NAKED SPUR — Stewart’s most driven performance for Mann, with fine support from Ryan and Meeker.

THE LAST FRONTIER — well, *I* like it anyway. Apart from the tacked-on ending, this is another study in the exercise of power by the inadequate (a big Mann theme — well, he did work under the studio system!) and the taking of power by the better suited.

MEN IN WAR — maybe the best Korean War movie? Hearing Robert Ryan deny the existence of the USA carries a blasphemous thrill.

MAN OF THE WEST — the best, because the darkest, of all Mann’s westerns. The abuse of Julie London’s sympathetic Billie borders on the gloating, and the fact that her character is virtually abandoned at the “happy ending”, while disturbing, is what makes this so powerful. For once, too much has happened for a Hollywood ending to mean what it should.

The only “cold” film on the list of real greats might be REIGN OF TERROR, but I’m not sure “cold” really applies to such a blazing, apocalyptic yarn.

NOIR AWAY SO CLOSE

I’ve been alert, hopefully, to the transition of Mann’s noir sensibility to westerns and epics, and find it really invigorates some traditional-looking oaters: THE MAN FROM LARAMIE is a proper detective story, with Stewart being constantly warned to stay off the case, being framed for murder, etc. (It also has a weird, mythic/biblical side, with prophetic dreams that influence a major character’s actions.) The romantic triangle of RAW DEAL is reconfigured in later epics like TFOTRE and, I seem to recall, maybe EL CID too. Certainly HEROES OF TELEMARK has it, and Mann says in the DVD extra interview that this was part of what attracted him.

Think of it: Mann made noirs in the ’40s, westerns in the ’50s and epics in the ’60s. At the end, he made an espionage movie, and that might well have been the next phase of his career had he lived longer (REIGN OF TERROR is basically a Hitchcockoan spy thriller set in the past). Mann was Mr. Fashionable.

T-MEN and A DANDY IN ASPIC.

COUNTRY LIFE

“Help me, Ty Ty!”

“Where are you, Pluto?”

“Ah fell in a hole!”

“Well, which hole you in?”

“This very, very deep one!”

The “comedy” of GOD’S LITTLE ACRE is only occasionally funny, despite the presence of Buddy Hackett, whose face is funny even in repose (and it’s never really in repose). Buddy Hackett is known in the UK as “that fat guy in the back of Herbie.” All in all, the movie is like the unsuccessful comedy cousin of THE FURIES, and while Robert Ryan might have been able to play Huston’s role, he’s not ideally suited to his own — much as I love him, he doesn’t have funny bones.

THE FURIES is striking for many reasons, one being the flaunting of the Production Code — apart from the scissors flung in Judith Anderson’s face, there’s the fact that morality has little to do with which characters are sympathetic in this movie, and it fails to determine which are alive at the end.

YOU NEED HANDS

In the edition of the BBC’s The Movies featured as an extra on Criterion’s lovely disc of THE FURIES, Mann cites Murnau as an influence (he seems about to name a couple more directors, but the piece seems to have been edited to exclude them — Welles would seem like a plausible name to drop though, wouldn’t he? Incidentally, the BBC seems to have hung onto outtakes from several Movies interviews, so it’s not impossible a diligent researcher might find what else Mann said…). He talks with enthusiasm about the way figures grow from small and distant to large and close in Murnau, and the dramatic force this imparts, and reminisces about the climax of TABU –

Mann certainly shows skill in his use of size… the way his compositions bristle with repressed, barely contained energy, and the way each edit snaps the tension into a new configuration is one of his key qualities. This single shot from REIGN OF TERROR maybe shows the influence of Murnau –

The Terror of Strasburg checks his teeth in the mirror –

Then adjusts his wig, at which point Robert Cummings POUNCES LIKE A TIGER –

In the struggle, the mirror is tilted downwards so it now reflects the T of S’s hand as it clutches the dresser, and then Cummings comes in with a dagger — Cummings is apparently NUDE, it seems — all ready to steal the T of S’s clothing and identity.

The clutching hand spasms and falls from view after the dagger descends.

In a purely whimsical touch (grim whimsy), the naked hand reaches up and post-coitally snuffs the T of S’s candle.

BEHIND THE DOOR

Just watched THE DEVIL’S DOORWAY. Robert Taylor as an Indian is one of the silliest bits of casting I can imagine, and he always bored me as a star, but if you can get past the shoe polish he actually gives a good perf. The pro-Indian stance is commendable, and John Alton’s inky photography, Mann’s dynamism, and Guy Trosper’s script, which gives all the poetic lines to repellant-yet-suave villain Louis “Ambassador Trentino” Calhern, stop it being anything like a PC snooze.

Mann’s westerns nearly always centre around a powerful injustice — count the minutes until Jimmy Stewart gets robbed in each one — and DEVIL’S D politicizes this. It’s an incredibly strong hook, the theme of injustice, which communicates to everybody: “When a child says, ‘It’s not fair!’ the child can be believed,” says Tom Stoppard’s script for SQUARING THE CIRCLE. Even those who are regularly unjust themselves usually got that way because they suffered injustice and decided life wasn’t fair. Yet this universally powerful theme is largely avoided in modern movies — I have a theory audience testing may be reponsible — when they ask the mob, “What was your least favourite scene?” the mob are going to say, “I didn’t like it when they burned Jimmy Stewart’s wagons / shot him in the hand.” Of course, you’re not meant to like them! So those scenes don’t get made nowadays, and the films stop being about anything. The heroes in modern action movies seem to spend the whole films WINNING.

THE DEVIL’S DOORWAY has the bleakest ending of any Mann, I think. He was apparently very pleased with it.

FINAL FRONTIER

In THE LAST FRONTIER, Victor Mature plays Cooper, a scout who laughs at danger! Ah-ha-ha-ha! Despite using rather urban types in its cast — Anne Bancroft and Stuart Whitman offer strong support — the movie still evokes a convincing atmosphere of Civil War era Indian fighting, perhaps because it avoids cliched behaviour so thoroughly. In scene 1, Big Victor and his trapper pals are surrounded by hostile Indians. They sit down and eat lunch. You don’t see that every day.

If filmmakers avoid cliche (big if) and if they believe in the anti-cliched behaviour they present (as someone like Hawks clearly did), it seems they have a good chance at presenting interesting situations.

For all that it presents maybe the first thoroughly bad cavalry officers in western movie history (a very good Robert Preston, snagging moments of sympathy when the script exposes his underlying insecurity), the heart of the film is primitive Victor’s relationship with Bancroft, the officer’s wife, which is painfully convincing. The adulterous triangle leads us into strong noir territory, as do the covert liaisons in EL CID and ROMAN EMPIRE, which were also co-scripted by Philip Yordan, whose keen interest in military life is also displayed in a Mann masterpiece, MEN IN WAR.

And with its widescreen photography, the movie is perhaps Mann’s most handsome colour western.

FILMS I HAVEN’T WATCHED

Couldn’t get EL CID or DOCTOR BROADWAY in time, but hope to see them soon.

Wasn’t sure if THE BAMBOO BLONDE was worth it.

Didn’t bother with THE GLENN MILLER STORY yet, despite Fiona’s vivid memory of being frightened by the iron lung.

THUNDER BAY was in a sense topical, with it’s oil men versus fishermen plot, but the solution, suggesting that the oil biz would be good for fishing, sounded like it might come off as embarrassingly dated. Still, I bet the movie’s at least interesting.

The former Anthony Bundsmann is a somewhat mysterious figure, little being known about his past. I’m frustrated by not knowing any films he wanted to make but was unable to — these unmade films are often most revealing. I’ll offer one up — with his obsession with determined men whose refusal to compromise has fatal consequences, he’d have been the perfect man to film Von Kleist’s Michael Kohlhaas. Instead, Milos Forman made it as part of RAGTIME and John Badham made it as THE JACK BULL.

The End… almost.

Buy: Man of the West

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