Archive for Hazel Court

Paranormal Inactivity

Posted in FILM, literature with tags , , , , , , , , , , , on November 22, 2010 by dcairns

I reported the slightly ungenerous opinion of my late friend Lawrie Knight, regarding filmmaker Vernon Sewell (“As far as I could tell, Vernon never had a brain in his head”) and then I heard from Sewell’s godson, advising me to look deeper. So I did.

It’s unfortunate that the three films I watched descended in quality from one to the next, but there was quality, and to correct that negative impression, I’m reversing the order and starting with the worst first.

GHOST SHIP (1952), starring Hazel Court and her husband Dermot Walsh, is a supernatural thriller — as were the other two films sampled. All three films use parapsychological explanations to fold their ghostly happenings into a scientific worldview, and all three feature cosy ladies who act as mediums (or should that be “media”?), as well as making substantial, and somewhat unconventional, use of flashbacks. This one was of particular interest to me because Lawrie had mentioned it — “He bought a boat, to use as studio. And I think he did make a couple of films on that boat.”

Unfortunately, Sewell hadn’t cracked a system for filming in the cramped quarters of his steam yacht: the result is lots of empty frames, into which characters protrude from the sides, before having discussions in lifeless flat two-shots, before exiting and leaving us with an empty frame again. Contrast this with Polanski’s dynamic use of even tighter environments in KNIFE IN THE WATER.

His story also takes ages to get going, with early manifestations limited to disembodied cigar smoke. Eventually a murder mystery is explicated via the medium’s intervention, and the middle-class couple can get back to yachting in peace. Best fun is the no-nonsense psychic investigator with his tuning forks, who realizes that the heat from the engine room acts as a trigger for spooky appearances ~

“The greater the heat, the more these vibrations are evident. Has it ever struck you how so many apparently inexplicable things only ever happen in hot countries? I mean, nobody’s seen the rope trick outside India. Voodoo’s only practiced in South/Central America. Firewalkers, fakirs, witch doctors: all in tropical climates. It’s like developing a photographic negative: the hotter the solution, the quicker the picture appears.”

Delightful. And all conducted with the aide of a set of tuning forks, too.

We also get a very young Ian Carmichael as a comedy drunk, holding up the action just as it gets promising, and a painfully young Joss Ackland. Having Danny Glover drop a packing case on his head in LETHAL WEAPON II was all in the future for young Joss.

A good bit better is LATIN QUARTER, also known as FRENZY, a tale of a murderous sculptor whose crime haunts his studio, necessitating the intervention of another pukkah psychic investigator and another mumsy medium. This movie integrates its flashbacks better, and it has Frederick Valk (the shrink from DEAD OF NIGHT) as the investigator, Joan Greenwood as a murdered model, Valentine Dyall (THE HAUNTING) as a prefect of police — lots of enjoyable players. The bad guy actor rejoices in the name of Beresford Egan, so we had to like him. Derrick deMarney is the hero, but you can’t have everything. Lots of Germans in this studio Paris, I guess because it was 1945.

Best of all was the modest HOUSE OF MYSTERY (1961), which reprises most of the plot of GHOST SHIP with a better, more involved flashback structure, more like THE LOCKET or The 1001 Nights. And the filming is MUCH better, with a mobile camera and slightly fogged style. The haunted cottage carries a genuinely intriguing mystery story which mixes ghosts, straightforward murder, and science fiction of the Nigel Kneale variety — lots of talk about buildings acting as recording instruments for the emotions enacted within them. Oh, and a really nice twist at the end. The cast here is very low-key, with Nanette Newman the best-known face, but the lack of star-power works with the film’s quiet, unfussed approach to the eerie. No wonder Sewell didn’t really thrive in the later world of British horror — his gaudy BLOOD BEAST TERROR, CURSE OF THE CRIMSON ALTAR and BURKE AND HARE aren’t a patch on these mild-mannered chillers.

The Shadowplay Impossible Film Quiz: February Edition

Posted in FILM with tags , , , on February 1, 2010 by dcairns

A typically enthusiastic reaction.

Round (1) The dreaded Quotations Round.

a) “Well, he didn’t have anything to spend it on, did he? Stuck out in Greece. Lowest standard of living in Europe.”

b) “Fucking bollocks.”

c) “Come back here, Sidney, I wanna chastise you!”

d) “You are determined to get me in the salade.”

Round (2) Lowest Common Denomonators. What do the following have in common?

a) Colin Farrell; James  Coburn; José Luis López Vásquez.

b) Ken Russell; John Boorman; Janet Gaynor.

c) Andy Serkis; Slim Pickens; Haruo Nakajima.

d) Roman Polanski; Kim Novak; Wile E Coyote.

Round (3) Images round. Identify the following films ~

There’s a whopping connection between all four which should help. Name the connection.

Round (4) What connects the following directors?

a) Jules Dassin; Roy Boulting; Serge Gainsbourg.

b) Claudio Guerín; Juzo Itami; Humphrey Jennings.

c) Ronald Neame; Jack Clayton; Guiseppe Patroni Griffi; Michael Lindsay-Hogg.

d) Francois Truffaut; William Wyler; Luis Bunuel.

Round (5) Who did what to whom?

a) Who has sex while wearing a full suit of armour?

b) Who achieved satisfaction hanging on hooks over a bleached corpse?

c) Name any two actors who have played zero gravity sex scenes.

d) “I can’t fuck a gorilla!” complained Steve Martin in 1983’s THE MAN WITH TWO BRAINS, But who could, and did, yield to the loveplay of an ape three years later?

Round (6) Dwarfs round. Name the missing small person.

a) Happy, Dopey, Sneezy, Grumpy, Sleepy, Bashful and – ?

b) Randall, Wally, Fidget, Ogg, Strutter and – ?

c) Screwball and – ?

d) Fili, Kili, Oin, Gloin, Thorin Oakenshield, Dwalin, Balin, Bifur, Bofur, Bombur oh the hell with this.

Round (7) Missing limbs round. In which film does ~

a) Arthur Lowe’s severed head end appear mounted on a milk bottle?

b) Robert Alda’s hand play the piano, unaccompanied?

c) Herbert Lom’s thumb go to the guillotine?

d) Ed Begley Jnr’s arm pop out of a panther?

Round (8) Music round.

a) Why should we expect to meet Montgomery Clift and David McCallum in ALIEN?

b) Why should we expect to meet William Shatner in TITANIC? Asides from the fact that he would improve it immeasurably?

c) Why should we expect to meet Yves Montand in 2001: A SPACE ODYSSEY?

d) Why should we expect Tim Matheson to meet a cartoon wolf in NATIONAL LAMPOON’S ANIMAL HOUSE?

This man is not a clue.

Round (9) Before they were famous. Who were ~

a) Diana Fluck?

b) Herbert Charles Angelo Kuchacevich ze Schluderpacheru?

c) Barbara Seagull?

d) Angela Dorian?

Round (10) The halt and the lame.

a) What would, late in life, disqualify Mitchell Leisen and Maurice Tourneur for the role of Tarzan?

b) What connects Orson Welles directing his first film with John Huston directing his last?

c) What connects Terry Gilliam casting his dream girl in BRAZIL with Josef Von Sternberg directing THE SHANGHAI GESTURE (according to them, anyway)?

(d) What did Michelangelo Antonioni and Nagisa Oshima both have to struggle with?

Bonus question: What connects Buster Keaton and Lee Van Cleef?

Alfred Christmas Presents

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , on December 11, 2009 by dcairns

Before we run out of Hitchcock Year, I just wanted to run through the episodes of Alfred Hitchcock Presents directed by the master, so I can say I’ve done ‘em.

Breakdown is a real mini-masterpiece, reuniting Hitch with two-time collaborator Joseph Cotten. There’s an extremely nice conflation of theme, character and plot in this one, which gives the impression of being a simple exercise in suspense and subjective camera. Many of the best AHPs do this: deceptive simplicity at the service of an idea.

Revenge went out as the series opener, bumping Breakdown into a secondary spot, purely because Hitch was so pleased with Vera Miles. She co-stars with Ralph Meeker in a very dark, upsetting little conte cruel, strong meat for 1950s TV.

The Case of Mr Pelham I’ve already discussed, and it’s a nice, inexplicable fantasy tale with Tom Ewell and Tom Ewell. Hitch’s intro and outro actually expand the story nicely.

Mr Blanchard’s Secret is basically comedy — I think Hitch was often drawn to these episodes as a way of working outside the thriller genre which his feature films committed him to. This is a tiresome, overplayed story, with a very annoying performance by Mary Scott as a crime writer (a frequent Hitchcock character/stand-in) with REAR WINDOW style suspicions about a neighbour. I found this so tedious the first time, I’m deliberately leaving it unwatched in Hitchcock Year. Because nothing should ever be really complete.

Maybe because it’s so dull, the episode escapes mention altogether in Charlotte Chandler’s filmography in It’s Only a Movie, Alfred Hitchcock, A Personal Biography.

Back for Christmas is a marital murder romp (lots of wives and husbands get the chop in these things), undistinguished as a story but enlivened by the presence of John Williams, sometimes called Hitchcock’s most frequent star. Williams also crops up in –

Wet Saturday, a fairly delightful John Collier adaptation with Sir Cedric Hardwicke, another actor Hitch enjoyed greatly. Collier’s stories also graced The Twilight Zone, and one, The Fountain of Youth, got the experimental treatment by Orson Welles. If you haven’t sampled his short fiction, I highly recommend it. In amoral little comedies like this, Hitch’s outro is often used to placate the censor with a tacked-on “happy” or “moral” ending.

One More Mile to Go is another neat little suspense situation, referred to in my PSYCHO post. David Wayne (the killer in Losey’s M) plays another sympathetic wife-murderer in search of a body of water to lay his wife to rest in, and pestered by a persistent traffic cop and a faulty tail-light. A lot of these pieces nicely balance the sympathies of the audience, as deftly manipulated by Hitch, with the demands of morality and censorship.

Perfect Crime is enjoyable enough, the story not being anything special, but the pleasure of seeing Hitchcock direct Vincent Price is a unique one.

A Dip in the Pool is a comedy with uncertain sympathies but a very nice twist. Keenan Wynn stars, and it’s nice to see Fay Wray in a supporting role. Spectacular stunt, also (above).

Poison — almost missed this one! Will watch it tonight and report back.

Lamb to the Slaughter is the famous one where Barbara Bel Geddes kills her policeman husband with a leg of lamb, which she then cooks and serves to his investigating colleagues. Even better than the idea suggests, although it is basically a typical Roald Dahl piece, stronger on its central gimmick that anything else. This shot of BBG seems to anticipate the end of PSYCHO.

The chair against the wall, the slow track in to a smile…

Banquo’s Chair is a fairly predictable story, in which a fake ghost is to be used to trap a killer, but the cast is magnificent: John Williams, Kenneth Haigh, Max Adrian. The VERTIGO echoes are amusing too, with impersonation, faked supernaturalism, a retired detective hero, and a Ferguson.

Arthur is a black comedy about a homicidal chicken farmer, with a lovely sinister and charming perf from Laurence Harvey, and the always-welcome Hazel Court.

Crystal Trench crams most of Fred Zinneman’s 5 DAYS ONE SUMMER into half an hour, with this tale of a woman waiting decades for her lover to be freed from the glacier in which he perished. Evan Hunter, preparing to take the job of writer on THE BIRDS, came by the set, and the block of ice shipped in nearly melted while Hitch entertained Hunter’s attractive wife.

Mrs Bixby and the Colonel’s Coat is another incredibly drab comedy, with no bad-taste or homicidal element whatsoever — it shouldn’t have been done on the show, let alone by the master himself.

The Horseplayer could be said to have similar issues, but the religious setting is intriguing for Hitch, and the presence of Claude Rains (and Percy Helton!) means the piece can’t be considered a total loss. Quite enjoyable.

Bang! You’re Dead is another masterpiece, and a great note to end on. It’s not the last ever episode of Hitch’s show, but it’s the last he directed himself. The story is so nerve-wracking, Hitch dispenses with humour in his intro in order to justify the torture he’s about to subject us to. It’s a little gun-safety lecture wrapped up in another basic suspense situ: a small boy with a loaded gun. The small boy is Bill Mumy. As he aims the pistol at his mother, neither of them realizing that it’s a genuine weapon, the effect is both frightening and deeply shocking, almost blasphemous. Various parties are placed in danger as the story goes on, and the jeopardy mounts as the kid keeps adding bullets to the gun, so what starts as Russian roulette ends with the certainty of a shot being fired…

Hitch guesses that we don’t expect him have the kid assassinate his own mother, so for the climax he aims the pistol at the family maid. We’re calculating… is Hitch going to go through with this? He wouldn’t kill the other, that would be too much. But maybe the maid? After all, she’s not a family member, she’s not white, she’s not middle-class… You’d think the mother might produce the maximum suspense, but it’s the maid, because she seems more… disposable.

Hitch and his writers have thought it all through, of course.

British readers can support Shadowplay by shopping here:

Fancies and Goodnights (New York Review Books Classics)
Alfred Hitchcock Presents – Series 1 – Complete [DVD]
Alfred Hitchcock Presents – Series 2 – Complete [DVD]
Alfred Hitchcock Presents : Complete Season 3 [1957] [DVD]

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