Archive for Shelley Duvall

Sleeper Hit

Posted in FILM with tags , , , , , , , on April 28, 2014 by dcairns

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Robert Altman’s THIEVES LIKE US sort of trundles into rickety existence with a bunch of scenes sort of recognizable from their vague equivalents in Nick Ray’s debut THIEVES LIKE US, only less incisive, more diffuse and goofy and realistic. You don’t really know why you’re watching until a dog comes panting along a railway bridge, its soft puffing exactly like that of a tiny hairy steam train. Keith Carradine, forced by barely-explained plot contingencies to sleep rough, gathers the compliant hound to his bosom. “You’ll be my blanket,” he says, rolling into a nook under the train tracks. BONK — the dog bumps its head on the overhead sleeper.

“Sorry,” ad libs Carradine, and wins our affection. He can rob as many people as he likes for the rest of the movie, his canine apology makes him one of us.

This residual goodwill proves very handy as the film, one of Altman’s most low-key, minor-league ’70s works, soon reverts to trundling, and Carradine’s character does little to ingratiate himself. Farley Granger in the original is impossibly naive, but what to Nick Ray is innocence, to Altman is stupidity. He doesn’t try to seduce us, as Arthur Penn & co did in BONNIE AND CLYDE, but that leaves the film to be defined mainly in the negative, for all the conventional things it resists doing, rather for any bold new ground it positively breaks.

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The use of old-time radio shows on the soundtrack seems unusually obvious for Altman — hearing The Shadow or something doesn’t seem to provide a new layer the way the tannoy announcements do in M*A*S*H. But the constant presence of Coca-Cola in the film is intriguing — we see it being promoted, the heroes drink nothing but, and in the final scene, every extra seems to have their own bottle. This is, I believe, before Cola got into movie-making, so I don’t think it’s mere product placement. Altman clearly has something on his mind. It’s like the fizzy drink version of INVASION OF THE BODY SNATCHERS.

Things I Read Off the Screen in “The Shining”

Posted in FILM, literature, MUSIC with tags , , , , , , , , , , , , , , , , , , , , , on November 12, 2012 by dcairns

To Edinburgh Filmhouse (last week) to see ROOM 237: BEING AN INQUIRY INTO THE SHINING IN 9 PARTS. Rodney Ascher’s essay film is a perpetual joy, cunningly assembled from (sometimes manipulated) bit of Kubrick movies and other (tangentially) related films. Six obsessives describe their theories about the “true” meaning of Kubrick’s horrorshow, which range from “secret, encoded study of the Holocaust” to “secret, encoded meditation on the genocide of the American Indians” to “secret, encoded confession to a role in faking the Apollo moon landing footage.” Despite the eccentricity of some of the claims, the evidence the offscreen voices cite is really there, and most of it seems to be there on purpose to signify something. My only problem was, “If THE SHINING is ‘really’ about the moon landings, why does it have all this stuff about the Holocaust? And if it’s ‘really’ about the Holocaust, why does it have all this stuff about the Indians?”

Each of the film-analysts is focussing very selectively, and each of them is somewhat guilty of the intentional fallacy, assuming they can read Kubrick’s intent, although one does helpfully acknowledge this fallacy and admit that what Kubrick may have intended is unknowable to critics and doesn’t, ultimately, matter.

While one commentator was talking about the partially occluded Indian heads on the cans of Calumet baking soda in this scene, I started scanning the other containers in the b/g to see if I could find anything else of interest. I did!

PIMENTO PIECES. SLICED PEACHES. TOMATO KETCHUP.

All these references to “pieces” and “slices” are deliciously pointed, considering that Jack is working up to trying to dismember his family (which we already know because of the example of caretaker Grady before him). And that is likely the reason the Indian heads are all chopped up by the composition — think also of the spectral party guest with the split head — and rogue English accent. In fact, why are the 1920s flashback/visions populated with Englishmen (Grady himself is the very British Philip Stone)? Only Lloyd the bartender is a red-blooded American. Since Kubrick is shooting in England but dragging Albion up as Colorado, it seems odd that he should so nakedly display the falsity of the premise — but it’s in keeping with the various ways in which the insistently real, textured banality of the hotel set is made to behave in an unreal, Escher-like way, folding in on itself with dream geography so that little Danny can cycle round a corner and find himself one story up.

One interesting lacuna not addressed by any of the commenters, but noted by the mighty Michel Ciment in his Kubrick book, is that Grady the waiter/caretaker has two names to go with his two jobs: we’re told about a Charles Grady, but then he gives his name as Delbert Grady. Why? Maybe it’s part of duality (“You know, the Jungian thing?”) — two names, two jobs, two daughters…

The most obvious things to read in THE SHINING are the titles, in a typical Kubrick sans-serif font, but with a glowing, modern look that suggests sci-fi rather than Gothic (which is apt: the film’s denial of dark shadows miffed Pauline Kael). And then there’s the intertitles, which start explicatory and wind up pretty confusing, another random element hurled in to throw us off-balance — they more closely resemble the title cards of early Bunuel, which make perfectly sensible statements like “Sixteen years ago” and “In Spring,” yet become darkly funny and absurd because of the context they’re spliced into.

Then there’s Jack’s novel, which some poor bastard had to type up — it matters that this doesn’t look photocopied, every page is different, complete with typos — “All work and no play makes Jack a dull bot.” “All work and no play makes Jack a dull bog.” “All work and no play makes Jack adult boy.”

Students of the life of John Barrymore will recognize where Stephen King got the inspiration for this freaky revelation. It also reminds me of a plot point from Michael Moorcock’s The Final Programme, which sadly never made it into Robert Fuest’s tasty film. One of the novel’s MacGuffins is a book written by the American astronaut who spent the longest time in space. When finally obtained, the voluminous manuscript turns out to consist of the single word “ha” repeated a great many times.

“That madman business” — Shelley Duvall is reading The Catcher in the Rye, favourite reading material of crazed loners. Also, the book, favoured by John Lennon’s killer (and later by Ronald Reagan’s attempted assassin) takes its title from a Mondegreen, the lead character’s misapprehension of a song lyric. Stephen King took the title for The Shining from the lyric “And we all shine on” from the John Lennon song Instant Karma.

In the background of the Torrance kitchen we can see a bottle of Joy. The fact that advertisers chose to name a cleaning product “joy” displays baldly the sheer blistering contempt they held for housewives.

Off to the Overlook!

The KEEP THIS AREA CLEAN sign is darkly amusing, in context.

PLEASE PUT CUPS AND OTHER GARBAGE IN THE BINS PROVIDED

Oddly aggressive tone to this notice, don’t you think? Why is my cup garbage?

During this scene, where the chair behind Jack playfully vanishes and returns between reverse angles, the scrapbook in front of Jack also executes a neat unseen page-turn, although it maintains perfect continuity during the vanishing chair sequence — which is intriguing, because if we try to explain the missing chair by suggesting one of those shots was a pick-up, filmed weeks later, it’s hardly likely that the scrapbook continuity would match so perfectly. The scrapbook calmly bides its time until a wide shot gives it the opportunity to flip on a page or two.

The scrapbook is significant — Jack is researching the Overlook’s past, and when he meets Grady he recognizes him from his picture. I think there’s more of this in the book, whereas at least in the UK edit it’s unlikely anybody would notice the book and understand what it was there for.

NEWSWATCH. 10 GLENN RINKER. WPLG Miami.

Kubrick filmed this shot with the newly developed “ScatCam.”

Weirdly, the show is announced as “Newswatch 10″ but the title just says “Newswatch.” Then anchorman Glenn Rinker is introduced, and the caption says “10 Glenn Rinker” which is just weird. It does actually seem like a moronic mistake, as if the captions guy had a scrap of paper with “Newswatch 10 Glenn Rinker” scrawled on it and he decided to break it up in the wrong place. Although it may be a veiled reference to Professor Ten Brinken from Hanns Heinz Ewers’ horror classic Alraune (filmed twice with Brigitte Helm).

The shorter UK edit (prepared by Kubrick himself after the American release) omits all the cartoons viewed by Danny, but we still have numerous cartoon characters in the form of stickers (with the vanishing Dopey), the Bugs Bunny-derived nicknamed “Doc,” and the presence of Scatman Crothers — but everybody is too polite to say “Weren’t you Hong Kong Fooey”?

In ROOM 237, much is made of Kubrick’s slow dissolves, particularly an early crossfade from hotel exterior to interior in which a stepladder echoes the point of the hotel’s roof. I agree that this is deliberate, and I think it may also be a tribute to Max Ophuls, who tracks past a stepladder in a hotel lobby at the start of THE RECKLESS MOMENT (another stepladder pops up earlier in Ophuls’ DE MAYERLING A SARAJEVO — I think he liked stepladders). Kubrick admired Ophuls and dedicated a shot in PATHS OF GLORY to the German director, on the day he learned of his death.

Fiona pointed out that in a later dissolve, Jack on his writing “throne” seems to acquire a matching “crown,” actually a light fitting bleeding through from the incoming scene. Again, this seems deliberate.

Kubrick insists, here and in EYES WIDE SHUT, that it is possible to perform oral sex through a full-face mask. “How much sex did Kubrick have?” pondered Fiona. Still, this is an impressive early appearance by “furries,” those creepy sex fetishists who get off on dressing up like cartoon animals. But it’s not the earliest!

This is SUPERBITCH, aka SI PUO ESSERE PIU BASTARDI DELL’ISPETTORE CLIFF? with Stephanie Beacham as a high-class escort giving the five-star treatment to a rich perv. I guess the furry fetish probably originated with fancy dress parties — alcohol, dancing, dressing up, can sex be far away? Then again, for some the connection may stem from early sexual fantasies being formed in childhood, while surrounded by cute imagery of talking chipmunks.

BTW, sorry my SHINING stills are 4:3. That’s the format Kubrick insisted on when his films first had their DVD release. Perfectionist, my ass!

“I don’t particularly like writing on the screen.” ~ Stanley Kubrick.

Lost in Cyberspace

Posted in FILM, Uncategorized with tags , , , , , , , , , , , , , on April 5, 2008 by dcairns

When you run a blog on WordPress, one of the handy features they give you (when they’re not totally changing the format and functions without warning, while leaving the “Help” section unmodified), is a guide to the search terms people use each day to find the blog.

Why are you all so strange? Some of the search requests are so specific to Shadowplay that I have to assume somebody’s not bothered to bookmark me and just uses a different weird search every time they want to find the site. But the ones I like best are the deeply peculiar requests that are in no way going to find satisfaction here, but which coincide in some peculiar way with some turn of phrase I’ve used or some subject I’ve mentioned in passing, like Walpamur Petrifying Liquid.

Here are a few:

The Great War Zeppelin (quite a popular one, this. All I did was mention Zeppo Marx.)

Giant squid (probably THE most popular search. Why, people?)

Songs with the word shovel (just BEAUTIFUL. I wanna party with this guy.)

Jessica Rabbit nude (very popular, beaten only by Angelina Jolie.)

Shelley Duvall fake (I’m slightly mystified.)

Williams Syndrome pictures (People, you need to learn about Google image search.)

Pittsburgh films Demonlover (Not sure I’ve ever mentioned the Olivier Assayas movie DEMONLOVER, which I like a lot, but I have mentioned the city of Pittsburgh in connection to George Romero, I think.)

Arthur Clarke pederast (I became the web’s top source on this pressing issue when the Great Man died. Sorry, Art.)

Videos feet smelling (No comment.)

Cut her hair really short.

Rot wang.

Balloo emote (I love this one like a brother.)

Shorter people quotes (?)

Surreal train (OK, you got me, I’m hooked. Now please EXPLAIN.)

Mathew Broderick on March 15th, 2008 (Intriguing, but I’m damned if I’m going to Google this in turn to try and find out what he was up to. Give the man his privacy!)

Mans final breath.

Sexual mental hospital stories.

Lactulose (Which leads folks unerringly to MY MOST POPULAR POST EVER.)

The worst toilet in Scotland (Somebody wants to find it?)

Stolen ambles (OK, now I’m officially FREAKED OUT.)

Wigs sex (Well, sure, we’ve all done this, right?)

I’m gonna open up your gate Phaedra song.

Smeel feet movies (If anything, MORE disturbing than “Videos feet smelling” since it conjures the image of a horribly stupid person with a somewhat disgusting and comical fetish. Stay on the internet! Avoid reality!)

There is a post to be written about what John Waters calls “shrimpers” in the cinema, a field taking in not only Tarantino but also probably Bunuel. But I’m not ready to write it!

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