Archive for Dr Jekyll and Mr Hyde

Happy Birthday Dear Jesus

Posted in FILM, Mythology with tags , , , , on December 22, 2013 by dcairns

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It’s the footprints in the snow that make this one “special.”

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I sent this to a couple of friends and one of them didn’t notice anything odd about it.

card2Once again, we have Shadowplay Christmas Cards for you to cut out and keep. Be careful to use sharp scissors, and when inserting the points into your screen, don’t scroll up or down or you’ll lose your place. The advantage of cards cut from your screen is that you can click to enlarge. Save on postage!

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The Oblong Box Set

Posted in FILM, literature, MUSIC, Mythology with tags , , , , , , , , , , , , , , , , , , , , , , , , , , on January 9, 2013 by dcairns

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Delving into my Universal Monsters The Essential Collection Blu-rays Christmas pressie — I was drawn to some of the lesser titles, partly so they wouldn’t get neglected, partly so I could save some good ones for last. (All images here are from the lowly DVDs.)

First I ran THE WOLFMAN, which is not a very good film, alas. After THE OLD DARK HOUSE it’s nice to have another Welsh-set Universal horror — a pity they couldn’t have arranged for Melvyn Douglas to drop in as Penderell, or something. They manage to waste Warren William and miscast Ralph Bellamy, who doesn’t get to exploit his uncanny ability to remind one of that fellow in the movies, what’s his name? Ralph Bellamy, that’s it.

Screenwriter Curt Siodmak, idiot brother of the great Robert, knew that Lon Chaney Jnr was ridiculous casting as a nobleman, but doesn’t seem to have reflected too much on the implications of his story, which has a Gypsy tribe importing a contagion into peaceful Anglo-Saxon terrain. It’s a distasteful narrative for a German-Jewish refugee to serve up to American audiences during wartime, the more I consider it.

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As a kid, I was disappointed by the slow pace and lack of screen time awarded to Jack Pierce’s make-up, which I dug. But I was fascinated by Maria Ouspenskaya, who seemed genuinely uncanny.

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THE PHANTOM OF THE OPERA seems to have always been a tricky property — it has seminal scenes, the unmasking and the chandelier drop and the general mood of skulking about in shadows in a cape, but nobody seems able to settle on what order they should come in or who the characters ought to be. I think perhaps a failure to realize that Christine is the main point-of-view character lies at the heart of many of the problems — this may be the big thing Andrew Lloyd-Webber got right. But Chaney was the only one to get a good makeup, and played the character without any cast backstory, as a mystery.

The forties Technicolor version that’s in the box set concentrates on singing and romance and comedy as much as melodrama, and top-loads the story with an origin for the Phantom that’s sympathetic but deprives him of mystique — it also leaves no time for his Svengali act, surely the heart of the story. Claude Rains is in good form, though his coaching scenes as a disembodied voice are underexploited — this should have been the perfect companion piece to THE INVISIBLE MAN.

Screenwriter Samuel Hoffenstein is more important here than second-string director Arthur Lubin: he did a great job on Mamoulian’s DR JEKYLL AND MR HYDE, so I don’t know why this is so muted — partly the Production Code, I suppose. His other finest credits are THE WIZARD OF OZ, LAURA and CLUNY BROWN,  and his gift for light comedy is more evident here than his knack for dramatic construction. The rather stunning ending, in which Jeanette MacDonald Susanna Foster chooses her career and her two beaux, Nelson Eddy and Edgar Barrier, go off together arm in arm to dinner, makes the thing worthwhile — they fade to black very fast at that point.

Oh, and the three-strip Technicolor is bee-you-tiful.

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(Screenwriter and memoirist Lenore Coffee quotes a couple nice lines by Hoffenstein, not from his scripts but from his conversation. In response to the Variety headline BABY LEROY’S CONTRACT UP FOR RENEWAL, the Hoff remarked “If they don’t meet his terms he’ll go straight back to the womb… a swell place to negotiate from!” And when the legal department asked for a progress report on his latest script, a slightly tipsy S.H. bellowed “How any department as sterile as a legal department could have the impertinence to inquire into the progress of any writer, however poor… What do you think I do? Drink ink and pee scripts?”)

I believe the scene where Claude Rains strangles Miles Mander had to be taken several times because Mander’s head kept detaching when shaken.

Hume Cronyn has a tiny part and it’s great fun watching him steal his scenes.

Backstory is a problem. I quite enjoyed the intro to Dario Argento’s PHANTOM OF THE OPERA, in which the baby Phantom, cast adrift in the sewers in his cot, is rescued by rats, who presumably raise him as one of their own, like a rodent Tarzan. Tarzan had a fine operatic yodel, of course. But Argento’s Phantom isn’t deformed, he’s Julian Sands, which leaves him no motivation to be masked or live underground or do any of the things the plot requires.

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The Hammer PHANTOM, which I recently watched too, borrows heavily from the 1941 version — impoverished composer, acid scarring, etc. Apparently Cary Grant had expressed an interest in playing the Phantom, but his agent nixed it. I kind of wonder if that’s why the meaningless hunchback character was added, in order to give all the murderous stuff to someone else. It’s completely nonsensical and wrecks the film, which Terence Fisher handles rather nicely. Michael Gough’s slimy Lord Ambrose is a one-note baddie, and Gough hammers that note with relentless enthusiasm. Herbert Lom gets almost nothing to do.

That one was cackhandedly written by Anthony Hinds, a Hammer producer. There are undoubtedly some great producers-turned-writers — Joseph Mankiewicz springs to mind. The trouble in general is that producers can give themselves the job of writing without having any ability at it, as I found when I worked for Tern Television. Both Anthony Carreras and Anthony Hinds at Hammer got a number of writing gigs, without having the slightest sense of story structure, or even apparent awareness of what a story IS.

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Also watched DRACULA PRINCE OF DARKNESS since Fiona’s brother was visiting, which Hinds authored — but his ramshackle narrative was fleshed out by the competent Jimmy Sangster, and then the very droll Francis Matthews acted in it, with delivery that’s as close to Cary Grant as Hammer ever got. A line like “Well I’m sure it would be educational if we knew what was going on,” isn’t necessarily witty in itself, but he gets a laugh with it. And I have to take my hat off to Sangster for the line he awards Dracula’s sepulchral manservant, Klove: “My master died without issue, sir… in the accepted sense of the term.”

The UK release is cheaper than the American, though admittedly it doesn’t come in its own coffin ~

Universal Classic Monsters: The Essential Collection [Blu-ray] [1931][Region Free]

The Wizard of Osric

Posted in FILM with tags , , , , , , , , on November 30, 2012 by dcairns

A lovely Dublin bookshop had a large collection of second-hand film books, all dealing with British or Hollywood topics — I got The Westmores of Hollywood (from which much classic movie lore and gossip derives), The Celluloid Mistress or The Custard Pie of Dr Caligari, which I don’t yet know how to describe, and The Film HAMLET, which deals with Olivier’s movie in a pretty in-depth way for 1948, and for such a slender volume.

I was taken with the stuff pertaining to Peter Cushing’s Osric (the film features both Cushing and Christopher Lee, though Lee’s role is minute and they never meet onscreen) ~

“Osric, that sinister Beau Brummell of the Danish Court, fell pat into place. Casting our stage production of ‘Born Yesterday,’ in the autumn of 1946, Laurence and I had seen a clutch of young actors for the juvenile lead, among them a striking looking character, Peter Cushing, who stuck in our minds by a frank refusal even to attempt an American accent. Weeks later, watching another actor at the Q Theatre, I was struck by a performance of the Frenchman in ‘Where the Sun Shines,’ so true in style and accent that I looked for a French name on the programme. It was Mr. Cushing, and he speaks no French. Here evidently was an actor, and his test for Osric disposed of the last of our problems on the male side.”

Casting director Anthony Bushell there.

Cushing must have been thrilled, being a great Olivier fan — he admired Larry’s athletic approach, and you can see his emulation of it in the vigorous climaxes of CURSE OF FRANKENSTEIN and DRACULA, and the swashbuckling approach he takes to playing Sherlock Holmes in HOUND OF THE BASKERVILLES. Holmes is constantly exulted by his own intelligence, so that he spends the film on an adrenalin high.

Here’s costume and production designer Roger Furse’s sketch of Osric ~

My late friend Lawrie was an assistant on HAMLET, and described the ghost’s appearance in the opening scene — Olivier had wanted a pounding heart on the soundtrack, like Rouben Mamoulian’s in DR JEKYLL AND MR HYDE (the director recorded his own elevated heartbeat after charging up and down a flight of stairs), so a junior employee was sent racing around the sound stage to get his pulse pounding. A microphone was pressed to his abdomen — “Nothing but indigestion,” reported Lawrie. When you see the film, the role of the heartbeat is played by a big bass drum.

But the cool thing is the way they’ve used an optical printer to make the shot throb in and out of focus each time the infernal heart beats…

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