Archive for Madadayo

The Monday Intertitle: His Groping Soul

Posted in FILM, MUSIC with tags , , , , , , , on November 11, 2013 by dcairns

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Our Lon Chaney binge reached a fitting climax with a screening of THE HUNCHBACK OF NOTRE DAME at the Usher Hall (surrounded by people in fancy dress, for it was All Hallows’ Eve, an occasion we take seriously in Scotland) with live organ accompaniment by Donald Mackenzie.

The Usher Hall’s organ is massive — no sniggering! —  it towered from behind the screen, which itself must have been sixteen foot high. There are sixty settings, sixty different sounds it can make, and Mackenzie had to play it with both hands and feet — fortunately his score was improvised, so he didn’t have to follow sheet music at the same time, just the action on his monitor. Though extemporaneous, it did incorporate some well-known classical bits, as well as the original love theme which formed part of the film’s original score upon release.

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These screenings attract a big crowd — the joint was packed — the Film Festival, based right across the road, ought to put on an Usher Hall silent every summer — and the audience is not one particularly familiar with silent pictures. Mackenzie’s introduction stressed that while some of the acting might seem humorous today, the film was not a comedy. People did laugh, but never at Chaney, who rivets. It’s a very different performance from Laughton, and though I prefer the 1939 version in absolutely every single respect, Chaney’s very physical, ape-like approach is effective. Fiona was convinced he must have been studying chimpanzees at the zoo, and he even beats his chest at one point. Gargoyles are the other point of reference, hence his introduction, squatting still as a statue on the facade of the cathedral, and hence all that disgusting tongue work.

Rather than laughing at Quasi, the audience vented its ridicule on Phoebus, which is fair enough I suppose. He can take it. The Disney version makes him a buffoon from the off, and that approach works OK.

The comedy relief poet, Gringoire (Raymond Hatton) might actually be the stand-out performance — he’s robbed of Edmond O’Brien’s best moments in the ’39 version, but grabs his own. He was in 365 movies, by the IMDb’s count — you could watch one a day for a year, in a leap year (admittedly, they’re not quite sure about the numbers). In fact, he may be the most historically well-placed actor ever, appearing in the first Keystone cops short, BANGVILLE POLICE, the first Hollywood feature film, THE SQUAW MAN, the first version of THE CHEAT, the first version of HUNCHBACK, FURY, the US debut of Fritz Lang. He finished his career with IN COLD BLOOD in 1967.

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A reminder, meanwhile — above you can see Akira Kurosawa thanking a small boy for appearing in what would be the final shot of the final scene of his final film, MADADAYO. Which I hope to finally watch and write about during the week of December 1st-7th, since that is when THE LATE SHOW: The Late Movies Blogathon will be happening here. There are some groovy people already promising pieces or thinking about it, but this does not mean that YOU are no also welcome. No invitation or official decree is needed, just join in and let me know about it!

12 Hungry Films

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on September 24, 2008 by dcairns

Another one I should have listed in the previous post: Kurosawa’s MADADAYO. His final film as director. I loudly bemoaned the fact that it didn’t get a UK release at the time it was made, nor even after A.K.’s death. I was thrilled to finally get a copy. Then I failed to watch it. I look forward to getting Fellini’s last film, VOICE OF THE MOON, also denied a UK release, so I can fail to watch that too.

Here’s my list of films I’m aching to see (although whether I’ll watch them if I find them is apparently doubtful) –

1. THE DIARIES OF MAJOR THOMPSON. Preston Sturges’ last movie, described as “almost defiantly unfunny” by one biographer. But it’s hard to find anybody with a kind word for THE BEAUTIFUL BLONDE FROM BASHFUL BEND either, and that one, though not prime Sturges by the furthest stretch of hyperbole, has a fair few laughs.

2. There are lots of Julien Duvivier films unavailable, or unavailable with subtitles. LA BELLE EQUIPE may be the most historically important one. And it’s got Jean Gabin in it.

3. L’AMORE. I’ve yet to really get into Rossellini, so this interests me more for the presence of Cocteau and Fellini as writers, and Fellini as actor. Maybe it would help me appreciate Roberto R.

4. A GIRL IN EVERY PORT. I know Howard Hawks is considered to have really come into his own in the sound era, and especially once the grammar of Hollywood talkies had formalised into the Golden Age of the late thirties and forties, but shouldn’t SOME of his silent work be worth seeing? Particularly this one, which features Louise Brooks as a prototypical Hawksian dame.

5. DANCE OF THE SEVEN VEILS. Ken Russell’s Richard Strauss film, suppressed by the Strauss estate. Reportedly the most extreme of Mad Ken’s TV films. Soon to be available in the US in a box set of the Great Masturbator’s BBC works. But I probably won’t be able to afford it. NB There are lots of other TV works by the Mastur which I haven’t managed to see either.

(STOP PRESS — apparently it isn’t in the set, despite being listed on Amazon.)

6. PHANTOM. This early Murnau classic is available from Kino, but I can never afford it (or when I can, the prospect of three other films for the same price as this single one always tempts me) and has aired on TCM a few times, but I’ve never managed to get a stateside correspondent to record it. The clips I’ve seen are truly mouth/eye-watering. They turn my eyes into salivating little mouths, is what I mean.

7. I was going to put Victor Sjostrom’s THE OUTLAW AND HIS WIFE, but remembered that I have a fuzzy off-air NTSC VHS of that, so it really belongs on the previous list. Big Victor directed my all-time favourite film, HE WHO GETS SLAPPED. So, in the wake of David Bordwell’s brilliant piece on it, I choose INGEBORG HOLM from way back in 1913.

8. If Duvivier’s availability suffers from an unjustified downgrading of his reputation (as I believe), Robert Siodmak’s obscurity is a mystery. His Hollywood output is mostly obtainable with varying degrees of effort, but the only pre-American work out there appears to be PEOPLE ON SUNDAY and PIEGES, which isn’t exactly “available” but can be had if you know the right people. PIEGES is a dream of a film, a slick thriller that prefigures the American noirs and would be essential to an understanding of the man’s oeuvre. So who knows what else is required viewing? And the post-American period is almost equally underrepresented. I managed to see NIGHTS, WHEN THE DEVIL CAME, and was bowled over by it (a serial killer in Nazi Germany… some subjects may be too striking to actually do badly). DIE RATTEN is considered an important part of post-war German cinema, but you can’t see it. I’d like to.

9. INN OF EVIL. Of course my shame at not having watched THE HUMAN CONDITION yet should preclude my mentioning more Masaki Kobayashi, but this one sounds too enticing. The fact that there are IMDb reviews suggests it is possible to see the thing.

10. THE DAY THE CLOWN CRIED. I can’t believe there isn’t a thriving black market trade in copies of this one. Jerry Lewis’s Holocaust movie is something of a legend, its release forestalled by legal disputes, its reputation as the ultimate bad-taste artistic folly fuelled by only rumour and a few witness reports (I like Dan Castellanata as an actor but I don’t necessarily trust him as a film critic). Some of Lewis’s later films are problematic enough even without death camps, but this demands to be seen.

11. Anything at all by Alessandro Blasetti? Or any of the countless Riccardo Freda films that can’t be seen? Mario Bava’s last work, the TV film VENUS OF ILE? The unseen early works of Max Ophüls? There are too many candidates for this penultimate slot.

12. A note of optimism — I’ve longed to see Nick Ray’s films for a very long time, as it’s measured in Scotland. And finally it seems like WE CAN’T GO HOME AGAIN and THE JANITOR are on their way into my feverish clutches, to join the heaps of the great unwatched in my living room.

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