Archive for Hitler

Hitting the Wall

Posted in FILM with tags , , , , , , , , , , , , on August 5, 2014 by dcairns

navarre

Jul 2nd — Mercoledi as they call it in Italy. And I ran out of stamina in Bologna, temporarily.

The day began well with FANTOMAS. I wasn’t completely sure of my ability to take the two-and-a-half hour SARAGOSSA MANUSCRIPT at 9am, so I opted for Feuillade’s serial, tempted by Ehsan Khoshbakht’s praise for the restoration. And indeed, so clean was the picture that it looked like a modern pastiche. When Rene Navarre looked into the camera he seemed to be RIGHT THERE with you.

In Edinburgh I had met Christoph Huber, curator of the Domenik Graf retrospective. Here he was again, in company with fellow donkey enthusiast Olaf Moller. Christoph wore a golden donkey T-shirt. Olaf, more discrete, had on a donkey pendant. And both made the revolutionary claim that Donkeys Make Everything Better. The donkey is an axiom of cinema.

So both were in ecstasy at the screening of scenes from the Ottoman empire — Turkish travelogues from the teens. Many exciting shots of donkeys, including a donkey photobombing a shot of camels at a trough. The ships of the desert are slurping away, and things are looking picturesque, and then the donkey sweeps majestically into frame in closeup profile, like Charles Bronson in ONCE UPON A TIME IN THE WEST, and wipes them off the screen.

But for true Donkey Heaven we would have to wait a day…

the-bride-talks-in-her-sleep-hanayome-no-negoto-1933-gosho-cov932-932x460

After lunch I made, i think, a mistake, dropping in on a Heinosuke double-bill — these early Japanese talkies tend to foreground sound and the voice in quite literal ways — the one I eventually stayed awake for was all about music, and featured a blind character for whom sound was particularly significant. These two, THE BRIDE TALKS IN HER SLEEP and THE GROOM TALKS IN HIS SLEEP were mild screwball comedies in which the voice plays a key role. Anyhow, I lapsed into unconsciousness for the first one and bailed on the second, which was apparently the better of the two. Makes me wish I’d discovered the Italian compendium films sooner, or opted for THE EPIC OF EVEREST, which cause quite a bit of excitement, or MIDNIGHT MARY, which is a SUPERB Wellman. When sleep threatens, you need a certain kind of movie.

I should have gone to see GIANT at this point, but opted for Barbara Steele’s video appearance, which I thought might be live and interactive but proved to be a pre-record. Beautiful Babs was speaking with regard to the Riccardo Freda season and was very entertaining and there is no danger of falling asleep when SHE is on the screen.

DerletzteAkt_Foto

I followed this with DER LETZTE AKTE, (THE LAST ACT, 1955), which deals with Hitler’s last days and is maybe the first big film to do so. It’s directed by GW Pabst and, as Olaf Muller said in his intro, comes from the post-war period when Pabst’s international reputation was and is very low, partly due to some inferior films but mostly because he had failed to get out of Germany during the Nazi era. Not that he ever made anything with pro-Nazi sentiments. The print was pure grindhouse — as Olaf put it (I paraphrase), “After seeing a lot of digital restorations that have all the charm of a hastily-done boob job, we are about to see source material that corresponds more to sagging skin and clumps of grey hair — to my body, in fact.”

The movie was indeed in ratty condition, but that somehow fit the low-ceilinged, oppressive claustrophobia of it. After two hours in the sweaty Sala Scorsese with intermittent, flirtacious air-conditioning, an exhausted simultaneous translator struggling in our earpieces, we all felt like we’d spent ten days in a bunker.

Albin Skoda played Hitler, and Oskar Werner played an obligatory Good German, perhaps not so much a sop to bruised national sensibilities as a sop to commercial cinema, which always feels more comfortable with a sympathetic character around. I was also dubious about whether Hitler really flooded the Berlin Underground to prevent the Russians reaching him by tube, but according to Wikipedia he may have done just that — the movie definitely inflates the resulting tragedy for dramatic purposes, though. I guess the idea of Hitler deliberately massacring the wounded who were sheltering below ground works as a metaphor for what he did to Germany.

DSCF4169

A leisurely dinner and then — carbon lamp projection! Germaine Dulac’s LA PRINCESSE MANDAINE is an elegant slice of exotic comedy, with a very funny camp central performance by either Edmond or Ernest Van Duren (IMDb and the Ritrovato catalogue disagree). It’s got a very slender plot and might not have sustained interest, but the added drama of an ancient projector belching poisonous fumes into the air, illuminated by blasting beams of light, and the resulting smooth, chocolatey picture shimmering on the screen, made up for quite a few deficiencies.

Dulac could be quite cheeky — at the end of his Michael Strogoff-inspired dream, the hero rescues the princess only for her to run off with her maid. “I’ve sold myself down the river for a couple of dykes,” complained Bob Hoskins in MONA LISA, and we were supposed to agree (and not wonder what happened to the girls afterwards). Actually, MONA LISA has one of the worst endings of any otherwise quite-good British film of the eighties. Whereas even my most soporific day in Bologna was a treat.

Hitler Saved from Drowning

Posted in FILM, Politics with tags , , , , on August 2, 2014 by dcairns

mickey&adolf0022

From Richard Schickel’s The Disney Version, which offers up a fairly pungent critique of Uncle Walt’s sensibility. He’s Disney on Hitler ~

“Mr. A. Hitler, the Nazi old thing, says Mickey’s silly. Imagine that! Well, Mickey is going to save Mr. A. Hitler from drowning or something some day. Just wait and see if he doesn’t. Then won’t Mr. A. Hitler be ashamed!”

As Schickel points out, what Hitler had actually said was, Mickey was “the most miserable ideal ever revealed … mice are dirty.”

I find the statement by Disney funny and surreal, though not in an intentional way. It’s clueless. Disney was certainly a wee bit antisemitic himself, and also like most of the studio bosses he wanted to keep making money out of Germany. Warners, the most courageously anti-Nazi studio, only shut down operations in Germany when their Berlin man was viciously beaten up for being Jewish. Disney, who was one of the only producers to welcome Leni Riefenstahl when she visited Hollywood, was obviously worried that the Führer was not a Mickey fan, as this had potential commercial consequences. He felt the need to respond, but couldn’t be inflammatory about it. “The old Nazi thing” is as insulting as he can bring himself to get, and his idea of a comeuppance for Hitler is that Mickey will do him a good turn.

I’m not saying Disney was a Nazi! It’s just unfortunate, is all. The cartoon is my way of showing I have something in common with Uncle Walt: neither of us can draw Mickey Mouse.

 

Night of the Long Schnozz

Posted in FILM, Politics with tags , , , on May 30, 2012 by dcairns

In BOSKO’S PICTURE SHOW, we get to see an entire 1933 cinema programme, including wurlitzer sing-a-long, newsreel, short subject and feature, condensed into a single cartoon. We also get a particularly startling gag in that fake newsreel. After an intertitle announcing that a famous screen heartthrob is taking a European vacation, we cut to this image –

Jimmy Durante: “Am I mortified! Am I mortified!”

The joke is as funny as cancer, but since this is Warner Brothers we can at least be sure it comes from a warm place.

It all hang from Durante’s nose — let’s see if we can unpick it, if you’ll forgive the expression. The first assumption (and all jokes are based upon shared assumptions, often in the form of stereotypes) is that Jimmy Durante has a big nose, and some Jewish people have big noses, therefor J.D. might be taken for a Jew (he was Italian-American and Catholic). This means that if Jimmy Durante went to Nazi Germany, he would be in danger of being personally murdered by Hitler. Hilarious!

While the idea of laughing at this stuff seems ghastly now, Warners probably deserve points for talking about this stuff so early, even if they’re not doing it in a way that treats the subject with the seriousness it deserves.

Follow

Get every new post delivered to your Inbox.

Join 447 other followers