Archive for Kubrick

Space Envy

Posted in FILM, Television with tags , , , , , on August 4, 2014 by dcairns

YES, it is tatty British TV scifi (TBTVSF for short). Which is, in itself, admirable. But note the date! 1967 — BEFORE 2001: A SPACE ODYSSEY was in cinemas but undoubtedly WHILE Kubrick was working on it. And watch the space station-space shuttle link-up at the start! Highly reminiscent. What must Kubrick have felt when he saw this?

Well, we need not wonder, since I have here Kubes’ notes, dictated to personal secretary Isadore “Beeves” Krassovitz as he watched the show (Kubrick always had a short-hand typist on hand as he watched television, in case he made any remarkable observations during Crown Court), then recorded onto quarter-inch tape by voice artist Martin Jarvis, attempting a Bronx accent.

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0.16 Shit. This is EXACTLY like our first space sequence. Only… so much better! We are dead. DEAD. How do we top this? The music — it’s goddamn magnificent! The majesty of interplanetary travel, and yet, so perky! I’m gonna really have to shuffle through my record collection. It’ll never be as good as this.

0.28 Even their title’s better than ours.

0.35 Special effects by “National Interest Pictures.” Make a note of that. We have to get a spy in there to find out how they’re doing this stuff. We have traveling mattes and Schuftan and slitscan but this is WAY ADVANCED. It’s almost like they have access to alien technology or something.

1.22 The heroes are called Power and Tempo. And what do we got? Dave and Frank. We are boned.

1.36 Note how the stars are twinkling in a realistic fashion even though we’re in space and there’s no atmosphere to make them twinkle. That’s the kind of detail 2001 has got to have.

1.55 Actors are too emotional. But wait — that guy poking an ice cube tray with a pen light is Derek Fowlds, future star of Yes, Minister! I’m gonna have to cast the future star of a rival sitcom to compete. Maybe I can get the guy from Rising Damp? Or the guy from The Fall and Rise of Reginald Perrin? Hell, I’ll get both. That’ll make it really futuristic.

2:06 I like how the TV monitor is in black and white. No way they could afford colo(u)r TV in space. Still, better look into it.

2:13 Their chairs are made of egg cartons. Nice.

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2:48 Look at the size of that TV set! Is that realistic? Why don’t I have one that big?

2:56 Mini-skirts are never, ever, going to go out of style.

3:46 When the Discovery enters the “tunnels of light” it’s gonna have to look every bit as good as this dry ice fog effect they got here or we’re gonna be laughed off the screen.

3.50 Hey, the set’s bouncing up and down as if they were actually moving! How the hell are they doing that?

4.00 A masterstroke. Only now, four minutes in, do they tell us the name of the episode, “CLOUD OF DEATH.” Maybe I could use text on screen to introduce the various “chapters” of my film. Like at the beginning, it could say “DAWN OF THE PLANET OF THE APES” or something. But I know what’ll happen — they’ll say I stole it from Solarnauts.

4.25 Now they’re blowing shit up! How come I never thought of that? We got all these models, and we never thought of doing some kind of space dogfight and blowing them up. First thing tomorrow I’m gonna find Arthur C Clarke in that tree in Ceylon he lives in and smack his stupid face. Even if I have to fly there!

5.00 Those zigzag wipes are awesome. I would never be that bold. I go from a monkey tossing a femur to a nuclear missile station in space and what do I do? I cut! What a goddamn tragic missed opportunity. Still, I guess those wipes might get tiresome over the course of a movie that’s 141 minutes long as mine is destined to be.

5:24 Jesus, that bald guy’s head is coming right out of the TV. What an amazing way to visualize an alien intelligence — a guy with no hair! That’s it, I can’t compete. We’ll just have to keep our aliens offscreen. I was gonna use guys with no beards, but this show has me licked. I don’t think I can watch anymore (sob!)

TAPE ENDS.

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***

I find Kubrick an irresistible comedy character. He did try to sue the makers of Space 1999 for infringing his title… “That date is only two years away from 2001!” One sees his point, but he does rather miss the crux of the matter, legalistically, that you can’t copyright a title.

 

Spouse Invaders

Posted in FILM, Politics, Television with tags , , , , , , , , , , , , on July 30, 2014 by dcairns

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THE NIGHT CALLER

I wasn’t aware of UNEARTHLY STRANGER (1964) but I had seen THE NIGHT CALLER made the following year. Both are British sci-fi movies, both feature stand-out turns from Warren Mitchell, and both are weirdly, creepily misogynistic.

MARS NEEDS DUMB WOMEN

Briefly, in THE NIGHT CALLER, someone is advertising for models and when the swinging London dolly-birds turn up to audition, they get disappeared. A female scientist investigates, using herself as bait, and is murdered. Finally, the intrepid John Saxon confronts the extraterrestrial responsible, who confesses that his dying planet, devastated by war, desperately needs nubile young women, so he’s been advertising for them and whisking them off to Mars or wherever. He also reveals that Martian men are hideously disfigured by radiation but that using mind control he can prevent the dolly birds from realizing this. Saxon and the rest of the representatives of Earth are touched by his plight and agree that what he’s been doing is basically fine. Then they remember about the murder and ask about that. “She was a threat to us — she was too intelligent!” says the space chappie, and everybody agrees that, though it’s of course regrettable that she had to die, it was probably for the best. Too intelligent. Can’t have that.

Very disturbing viewing, and a commercially released genre picture, albeit a low-budget one. John Gilling of Hammer fame directed it. It’s actually like a film made by the warped-by-aliens men in Joe Dante’s alarming Masters of Horror episode, The Screwfly Solution.

Warren Mitchell, famous as TV’s Alf Garnett (comedy sitcom bigot, prototype of Archie Bunker), has a moving bit as father of one of the missing girls — so real and human he blows the doors off the film, and all the more disturbing when it gets to the end and his loss is swept under the rug.

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SEX IS A VIRUS FROM OUTER SPACE

Now. UNEARTHLY STRANGER, like TNC, starts smoothly and doesn’t reveal its bizarre sexual politics until quite late, but when it does the effect is striking.

Good cast! John Neville, who was about to be Sherlock Holmes in A STUDY IN TERROR, and would play Baron Munchausen for Terry Gilliam and have another run-in with aliens in The X-Files as The Well-Manicured Man, is a scientist working on a scheme of astral projection to enable mankind to travel into space by will alone. Philip Stone, the sinister waiter in THE SHINING, is his head of department. (Oddly, THE NIGHT VISITOR features two Kubrick stars too, Marianne Stone who dances with Peter Sellers in LOLITA, and Aubrey Morris, the camp social worker in CLOCKWORK ORANGE. I really do think Kubrick did all his casting from British B-movies.) And Patrick Newell, Mother in The Avengers, plays the security man whose job is to find out why Britain’s top scientists keep having their brains incinerated from within.

(“The brain drain” — a newspaper scare story about British talent being stolen away by countries with higher salaries and lower tax, was very much in the media at this time.)

(The movie is produced by Avengers head man Albert Fennell and directed by documentarist John Krish who also filmed that show’s credits.)

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Suspicion eventually falls on Neville’s wife, “an alien” — meaning she’s Swiss — or is she? Sympathetically played by Gabriella Licudi, she sometime forgets to blink, takes the casserole out the oven without gloves, has no pulse, and weeps acid tears. It seems the aliens have invented astral projection first, and they’re here. And they’re all women.

Nicely shot but confined to a couple of offices, the Neville family home, and a car — apart from an effective bit of Licudi wandering suburban streets and upsetting the children she meets, who all instinctively know she’s Not Right — the film suffers from an excess of wordiness and a lack of action and visual variety. But it’s short and somewhat original. Then the big reveal happens, and the further twist comes that secretary Miss Ballard (Jean Marsh) is also an alien. A struggle ensues with Neville and Stone trying to chloroform her — like the vampire-stakings in Hammer flicks, it’s filmed like a rape. She goes out the window, but by the time our panting heroes have descended the loooong flight of stairs, she’s vanished like Michael Myers. But just to drive its non-point home, onlookers start turning to the camera. Women onlookers. Staring with sinister womanly eyes. You’re next! You’re next! Watch the skies. God help us in the future.

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MOTHER, JEEVES AND BOSIE

Where does this fear and loathing come from? Sexual liberation may have stirred up some anxieties, I guess. The makers of The Avengers were an odd lot — celebrating kinks and campery, but treating Linda Thorson shabbily and establishing a “no-blacks” rule because “the show has got to have class.” A good part of UNEARTHLY STRANGER’s unease feels curiously homonormative (now there’s a word you really don’t get to use much). All the women are aliens and all the men are a bit fruity. Warren Mitchell’s cameo involves a PERFECT Scottish accent, the kind of posh one that’s slightly camp. John Neville had been Bosey to  Robert Morley’s OSCAR WILDE, and has a neurasthenic, dandified quality that’s pleasantly un-macho. “Mother” describes himself as a confirmed bachelor and is of course camp as knickers: this may be the best movie role he ever had, and he chews it up greedily, joyously. And Philip Stone, with his prissily plummy, theatrical diction… well, he doesn’t conform to any notion of sexuality, really: his characters always seem scarily inward. He’s magnificent, though: one can see why Kubrick loved using him. With Neville he forms a kind of cut-rate Richardson/Gielgud double-act. I wish they’d done a whole series of movies together.

Check it!

what’s inside a girl? from David Cairns on Vimeo.

I told you: this movie is just bizarre about sexual relations and society and everything.

The Avengers: The Complete Emma Peel Megaset

Mr Smith Goes to Town

Posted in FILM with tags , , , , , , on January 1, 2014 by dcairns

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THE TELEPHONE BOOK (1971) by Nelson Lyon Myers — this scene, near the opening, feels like it must have had an influence on CLOCKWORK ORANGE, right? Though the movies came out within a few months of each other. Still, I believe that if there were an influence, it was probably Lyon influencing Kubrick not the other way around, even though Kubes has a substantial filmography and Lyon has, basically, this one film.

Kubrick, through his contacts at Warners, probably got to see movies before they came out. And it’s interesting that his portrayal of the cat lady is a fairly substantial departure from Anthony Burgess’ source novel, which he’s otherwise fairly faithful to. In the book, the cat lady is a typical crazy cat lady. Making her run a health spa and have a large collection of erotic pop art was Kubrick’s idea. He also uses this to make her a shrill, middle-class lady and robs her of the pathos Burgess left her (which was never drawn attention to, you just felt it if you wanted to).

Also, Kubrick was kind of a phone freak (“Why should we spoil a perfectly good telephonic relationship by meeting?” he asked Boorman) and I think he’d have responded to the film’s creepy, impersonal brand of sex comedy.

Anyway, THE TELEPHONE BOOK is now available on a snazzy Blu-ray much more handsome than the ancient VHS rip I watched. Lyon has real cinematic flair and wit, and his sex farce is less obnoxious than comrade-in-arms and Kubrick connection Terry Southern’s. Although ditzy heroine Sarah Kennedy is constantly propositioned, obscene-phone-called or indecently exposed at, her innocence allows her to rise above it all. And she’s not stupid, just kind of space-y. And the movie doesn’t seem sadistic, it actually seems like it’s on her side.

(Kennedy receives the world’s greatest dirty phone call and spends the movie trying to track down the caller, one “John Smith”, convinced he’s the love of her life. Twisted, yes, but oddly good-natured. Misogyny is present, but it doesn’t seem imbued in the film, just floating around some of the characters, which is as close to realism as the film needs to get.)

Because it has a Warhol person (Ultra Violet) and is in b&w and has a sort of underground, Robert Downey counterculture vibe, it feels like a sixties film, until the naked ladies come on and then it’s, I guess you could say, timeless.

There’s also this, which is unmistakably Kubrickian, kind of the missing link between the droogs and that furry guy in THE SHINING ~

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The Telephone Book (Blu-ray + DVD Combo)

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