Archive for Hammer

My Theory #2: Kubrick = Hammer

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , on September 25, 2013 by dcairns

vlcsnap-2013-09-24-15h53m56s119

Part Two of my Big Theory. Part One concerns the influence of Universal horror movies on Orson Welles. Part Two is the influence of Hammer Horror on Stanley Kubrick.

(Welles and Kubrick, two fans of the wide-angle lens, belong together because of Welles’ description of the young SK as “a giant” — later, Welles seems to fall silent on the subject of the Bronx genius, and as an arch-humanist it seems possible he went off Kubes’ work sometime after LOLITA…)

I’m not sure how this will hold up, but let’s assess the evidence. Firstly, casting –

vlcsnap-2013-09-24-15h38m28s28

Kubrick’s first British-shot picture, LOLITA, features only one major player with Hammer associations, Marianne Stone (above), reaching a career high with her interpretation of Vivian Darkbloom (anagram of Vladimir Nabokov). Her involvement with Hammer films was off-and-on, and she also played in many British horror movies from other studios.

Hammer films before LOLITA: SPACEWAYS, THE QUATERMASS EXPERIMENT, QUATERMASS II,

Non-genre Hammer films before LOLITA: HELL IS A CITY

Non-Hammer horror films: CORRIDORS OF BLOOD, HORRORS OF THE BLACK MUSEUM, JACK THE RIPPER, THE DAY THE EARTH CAUGHT FIRE.

Hammer films after LOLITA: PARANOIAC, THE CURSE OF THE MUMMY’S TOMB, HYSTERIA, COUNTESS DRACULA, Hammer House of Mystery and Suspense. Non-Hammer horrors: WITCHCRAFT, DEVILS OF DARKNESS, THE NIGHT CALLER, CARRY ON SCREAMING, BERSERK, TWISTED NERVE, INCENSE FOR THE DAMNED, WHOEVER SLEW AUNTIE ROO?, TOWER OF EVIL, THE CREEPING FLESH, VAULT OF HORROR, CRAZE (one of many contenders for Freddie Francis’s worst film).

That’s not going to convince anybody that Stone’s Hammer work or horror movies was what brought her to Kubrick’s attention.

vlcsnap-2013-09-24-15h41m25s31

But the scene where Humbert Humbert takes his wife and step-daughter to the drive-in to see CURSE OF FRANKENSTEIN might make an impression on doubters. This is the only Kubrick film to feature Christopher Lee and Peter Cushing.

But DR STRANGELOVE doesn’t feature anybody with major Hammer credentials, except Shane Rimmer, whose Hammer work, major though it was, was all in the future. In 2001, we have William Sylvester, who had been in GORGO, DEVIL DOLL and DEVILS OF DARKNESS, but he’s plainly been cast because he’s an American in England. But Leonard Rossiter was in THE WITCHES.

vlcsnap-2013-09-24-15h54m16s68

It’s with CLOCKWORK ORANGE that Kubrick embraces the trashier side of British culture. Most significantly, we see Alex (Malcolm McDowell) fantasizing about being Count Dracula, with long plastic fangs and red red kroovy dripping from his lips. This second overt Hammer reference clinches the Kubrick fascination for the Studio That Dripped Blood, and check the cast list –

I contend that Patrick Magee wasn’t cast for his Beckett experience, but for DEMENTIA 13, MASQUE OF THE RED DEATH, THE SKULL and DIE, MONSTER, DIE! admittedly not Hammer productions but generically bang-on. Also for his unparalleled ability to form himself into  a series of living Messerschmidt Heads, TALES FROM THE CRYPT, THE FIEND, ASYLUM, DEMONS OF THE MIND and — AND NOW THE SCREAMING STARTS were still to come — followed by BARRY LYNDON.

vlcsnap-2013-09-24-16h08m00s122

Scottish actress Adrienne Corri had a long genre back catalogue, and her future would feature even more entries. To begin with we have DEVIL GIRL FROM MARS, CORRIDORS OF BLOOD (again), THE HELLFIRE CLUB, THE VIKING QUEEN and MOON ZERO TWO (both Hammer). Right after working for Kubrick, she made VAMPIRE CIRCUS, and later MADHOUSE. Despite Renoir’s THE RIVER, horror movies will probably always be what she’s known for (along with being stripped to her socks for Kubrick’s dubious delectation).

Aubrey “PR Deltoid” Morris made BLOOD FROM THE MUMMY’S TOMB the same year as CLOCKWORK ORANGE so we probably can’t count that. Dave Prowse had already done HORROR OF FRANKENSTEIN and would soon shoot VAMPIRE CIRCUS and FRANKENSTEIN AND THE MONSTER FROM HELL. And some space thing. Steven Berkoff had done THE FLESH AND THE FIENDS, KONGA and SLAVE GIRLS, and would return in BARRY LYNDON.

The girls: Katya Wyeth, from the film’s final shot, came fresh from TWINS OF EVIL and HANDS OF THE RIPPER (in the important role of 1st Pub Whore). Virginia Wetherell had done CURSE OF THE CRIMSON ALTAR and DR JEKYLL AND SISTER HYDE. Shirley Jaffe was fresh from TASTE THE BLOOD OF DRACULA. Vivienne Maya chalked up LUST FOR A VAMPIRE and TWINS OF EVIL — her best role is as the flashback girlfriend in A FISTFUL OF DYNAMITE.

Of course, I admit the difficulty of casting a dolly-bird in 1971 who had NOT been in a Hammer horror or two. But now we come to BARRY LYNDON.

vlcsnap-2013-09-24-15h34m21s137

The casting of Andre Morell strikes me as highly significant — Morell isn’t as tightly bound to Hammer in the public consciousness as Cushing and Lee, or Michael Ripper, but he should be. He was Quatermass on TV (an indirect link) and Watson to Cushing’s Holmes; THE SHADOW OF THE CAT, SHE, PLAGUE OF THE ZOMBIES, THE MUMMY’S SHROUD, VENGEANCE OF SHE, and a number on non-horror Hammers including the terrific CASH ON DEMAND. Plus non-Hammer horrors like BEHEMOTH THE SEA MONSTER.

vlcsnap-2013-09-24-15h28m50s140

Frank Middlemass had come from FRANKENSTEIN MUST BE DESTROYED. Ferdy Mayne will be best remembered as Polanski’s Count Von Krolock, but also chalked up THE VAMPIRE LOVERS.

THE SHINING refers to Hammer only in its genre, but a comparison with THE EXORCIST is revealing, Kubrick having attempted to make a megablockbuster throughout his late career by patterning his films on the biggest box office smashes of history. But each of these films goes through the Kubrick funhouse looking-glass and emerges as something no sane person would expect to rake in the receipts — BARRY LYNDON purloins the child’s death from GONE WITH THE WIND, THE SHINING aims for THE EXORCIST and winds up in MARIENBAD country, and A.I. wants to be E.T. but can’t help its mechanical nature, like little Haley Joel Osment and the late Stankey K. himself.

vlcsnap-2013-09-24-16h12m23s191

FULL METAL JACKET is too American and too young to borrow Hammer actors, and by the time of EYES WIDE SHUT most of them were dead. However, with its quasi-Satanic shagging party, the movie seems to be channeling sixties and seventies horrors, particularly Corman’s MASQUE OF THE RED DEATH (and maybe CURSE OF THE CRIMSON ALTAR? And if there were a film called STENCH OF THE SCARLET PENCIL I’m sure that would have been an influence too).

Taking My Big Theory to its logical conclusion, we would have to say that Welles follows the path of Whale by telling moral tales in which nevertheless the truest, deepest sympathy is with the monsters; Kubrick follows the Sangster and Fisher route by portraying a world in which the oppressive patriarchy, though corrupt and inhuman, is the nearest thing to a safe side to be on…

State of Andress

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , , on May 27, 2013 by dcairns

vlcsnap-2013-05-27-08h23m16s142

Fiona and I had both had the same experience of the Hammer film SHE — as kids, we’d caught the ending on TV and been horribly fascinated by it. Watching as adults, we had relatively meagre hopes for the movie, but it proved to be solid fun. It grips from the beginning, loses its way slightly in the desert, and arrives at its climax amid plenty of drama. Roy Ashton’s makeup effects are predictably crude, but the (spoiler alert) accelerated aging of Ursula Andress’s Ayesha still has some power to disturb, especially when Andress is replaced by a genuine old lady in heavy prosthetics — the hunched posture would be impossible for an actor to mimic.

vlcsnap-2013-05-26-20h02m16s147

We were watching because of the Peter Cushing Centenary Blogathon hosted by Frankensteinia: The Frankenstein Blog. Cushing is typically fine in this, and it’s nice to see him in heroic mode, but it’s not one of his most memorable roles. He forms part of a trio of heroes a bit like the lads in GUNGA DIN, with John Richardson from ONE MILLION YEARS BC as the purportedly handsome one (Cushing is striking, which is better than being handsome) and Bernard Cribbins as the token working-class comedy relief.  Cribbins, his head a knob of gristle, ears like jug handles protruding either side, is played more grotesque than usual, I feel. He’s one of the neglected figures of British cinema (still going strong today) with roles in FRENZY, several of the CARRY ON series, and supporting roles to Peter Sellers. He also co-starred with Cushing in the awkwardly titled DALEKS’ INVASION EARTH: 2150 AD before returning to Doctor Who on TV in recent years.

Cushing’s hero was Olivier, and he aspired to his idol’s crisp delivery and athleticism — you can really see it in the climaxes of CURSE OF FRANKENSTEIN and DRACULA, and in his Sherlock Holmes. “We admired the precision of his movements within the frame,” said Martin Scorsese, though I take leave to doubt how many of the future filmmakers teenage pals were appreciating Cushing’s use of his body as a compositional element in those 42nd Street grindhouses of the early sixties.

Cushing’s best scene in SHE, delightfully, is played opposite Christopher Lee, as the high priest of this lost tribe of Egypt (who are all curiously white). The film, true to H. Rider Haggard’s source novel, displays a number of retrograde attitudes, with the black natives a primitive bunch easily dominated by the pale pseudo-Egyptians (though the black uprising at the end is viewed more or less with favour!), but Cushing’s scene is amusingly sexist, as he tries to understand why Lee and his cohorts allow themselves to be dictated to by a mere woman. “You are many, and men, whereas she is alone, and a woman.” He reckons without the power of Andress’s frosty stare.

vlcsnap-2013-05-26-20h02m02s18

Ah, Andress. She dominates the proceedings, not by means of acting, but by an admirable refusal to contemplate anything resembling a performance. She simply impresses. Director Robert Day lets it go at that, happy to move things around her as briskly as possible, while reveling in Les Bowie’s cheap-as-chips (but charming) special effects. Andress is also dubbed, by Nikki Van der Zyl, who not only revoiced her in DR NO, but replaced Raquel Welch’s too-American cave-speak in ONE MILLION YEARS BC — meaning that in both of his most famous roles, John Richardson found himself acting with Van der Zyl.

The movie made me admire Haggard, whom I’ve never read, more than previously. If this film is even remotely accurate to the book, Haggard’s original clearly not only inspired L’Atlantide, that much-filmed piece of Saharan exotica, but also bits of Kipling’s The Man Who Would Be King. Not bad going. The film’s weakest point is probably the use of Roman soldier costumes for its Egyptians. Not quite clear what the thinking was there.

vlcsnap-2013-05-26-20h02m33s72

The adventure yarn is a genre Hammer dabbled in, but didn’t really pursue with the doggedness of their horror cycle. I suspect the reticence was budget-driven. A shame — the hallucinatory mess that is THE LOST CONTINENT is probably Michael Carreras’ finest achievement, and SHE is one of their most entertaining non-horror flicks.

sherlock

Harry Potter and the Gashlycrumb Tinies

Posted in FILM, literature, Television with tags , , , , , , , , , , , , on February 15, 2012 by dcairns

We went to see THE WOMAN IN BLACK at Fiona’s urging, because the book’s a modern spook classic, the Nigel Kneale TV version has one of the greatest scares ever (even if it otherwise borrows a bit too freely from THE INNOCENTS), because it’s from the revivified Hammer, and because advance word was good. Didn’t know it was from James Watkins, director of the acclaimed EDEN LAKE (which I haven’t seen because it sounded too nasty for my squeamish side) but that’s good too.

The film, in which Daniel Radcliffe is terrorised by some other small children, as well as by the titular funereally clad lady, is proper scary. Admittedly it gets by on powerful BOO! gotchas rather than dragging the suspense out for as long as it might, but fans of Slow Creeping Terror will nevertheless  find much to be freaked by here. One shock moment — “That’s the sort of window faces appear at!” to quote Mr Withnail — made me scream like a woman, while another caused our friend Mr Brown to practically shoot vertically from his chair. I felt sorry for our dates, who were relying on us for manly protection.

The Victoriana is terribly vague — when is this supposed to be happening, exactly — but serves its atmospheric purpose in the best Hammer manner. Lots of vine-covered mansion, rattling carriages, puffing locomotives. Since this is a ghost story rather than an out-and-out horror, we’re deprived of what Philip Larkin approvingly called “tit and fang”, but I expect Hammer, still in the early days of new management, are limbering up for that.

Jane Goldman, the go-to girl for genre entertainment in the UK today (KICK ASS, STARDUST) pads out the slim plot with borrowings from Mario Bava’s KILL BABY KILL, inventing a rule that each sighting of the dreaded Woman causes… well, I won’t say exactly. In fact, spoilers are hard to come by here, since the plot is so slight and one-track. In a way it’s refreshing that it avoids major twists and reversals of the “He’s not who you think!” variety — it’s more like J-horror, and indeed the vengeful ghost is pretty much out of THE GRUDGE — she’s not open to negotiation.She takes a Hard Line.

Weakest element, as you may have guessed, is the man Radcliffe, who is never less than, well, physically present, and assumes a suitably worried expression throughout, but one can’t help, afterwards, imaging what a more substantial actor might have brought to the role.

Those who have seen THE ARTIST will recall the BANG! intertitle which serves a neat double-purpose (the film’s cleverest touch), seeming to mean one thing but instantly recontextualized by the following shot. Here, at the ending, of which I plan to give away NOTHING, there’s a similar switcheroo, with an image rather than a word being the ambivalent junction between two Schrodinger’s cat style possible outcomes to a single event. One solid, unambiguous image somehow serves as a signal-change shifting us from one reality to another… hard to describe, but I think you’ll dig it when you see it.

Follow

Get every new post delivered to your Inbox.

Join 438 other followers