Archive for The Exorcist

My Theory #2: Kubrick = Hammer

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , on September 25, 2013 by dcairns

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Part Two of my Big Theory. Part One concerns the influence of Universal horror movies on Orson Welles. Part Two is the influence of Hammer Horror on Stanley Kubrick.

(Welles and Kubrick, two fans of the wide-angle lens, belong together because of Welles’ description of the young SK as “a giant” — later, Welles seems to fall silent on the subject of the Bronx genius, and as an arch-humanist it seems possible he went off Kubes’ work sometime after LOLITA…)

I’m not sure how this will hold up, but let’s assess the evidence. Firstly, casting –

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Kubrick’s first British-shot picture, LOLITA, features only one major player with Hammer associations, Marianne Stone (above), reaching a career high with her interpretation of Vivian Darkbloom (anagram of Vladimir Nabokov). Her involvement with Hammer films was off-and-on, and she also played in many British horror movies from other studios.

Hammer films before LOLITA: SPACEWAYS, THE QUATERMASS EXPERIMENT, QUATERMASS II,

Non-genre Hammer films before LOLITA: HELL IS A CITY

Non-Hammer horror films: CORRIDORS OF BLOOD, HORRORS OF THE BLACK MUSEUM, JACK THE RIPPER, THE DAY THE EARTH CAUGHT FIRE.

Hammer films after LOLITA: PARANOIAC, THE CURSE OF THE MUMMY’S TOMB, HYSTERIA, COUNTESS DRACULA, Hammer House of Mystery and Suspense. Non-Hammer horrors: WITCHCRAFT, DEVILS OF DARKNESS, THE NIGHT CALLER, CARRY ON SCREAMING, BERSERK, TWISTED NERVE, INCENSE FOR THE DAMNED, WHOEVER SLEW AUNTIE ROO?, TOWER OF EVIL, THE CREEPING FLESH, VAULT OF HORROR, CRAZE (one of many contenders for Freddie Francis’s worst film).

That’s not going to convince anybody that Stone’s Hammer work or horror movies was what brought her to Kubrick’s attention.

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But the scene where Humbert Humbert takes his wife and step-daughter to the drive-in to see CURSE OF FRANKENSTEIN might make an impression on doubters. This is the only Kubrick film to feature Christopher Lee and Peter Cushing.

But DR STRANGELOVE doesn’t feature anybody with major Hammer credentials, except Shane Rimmer, whose Hammer work, major though it was, was all in the future. In 2001, we have William Sylvester, who had been in GORGO, DEVIL DOLL and DEVILS OF DARKNESS, but he’s plainly been cast because he’s an American in England. But Leonard Rossiter was in THE WITCHES.

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It’s with CLOCKWORK ORANGE that Kubrick embraces the trashier side of British culture. Most significantly, we see Alex (Malcolm McDowell) fantasizing about being Count Dracula, with long plastic fangs and red red kroovy dripping from his lips. This second overt Hammer reference clinches the Kubrick fascination for the Studio That Dripped Blood, and check the cast list –

I contend that Patrick Magee wasn’t cast for his Beckett experience, but for DEMENTIA 13, MASQUE OF THE RED DEATH, THE SKULL and DIE, MONSTER, DIE! admittedly not Hammer productions but generically bang-on. Also for his unparalleled ability to form himself into  a series of living Messerschmidt Heads, TALES FROM THE CRYPT, THE FIEND, ASYLUM, DEMONS OF THE MIND and — AND NOW THE SCREAMING STARTS were still to come — followed by BARRY LYNDON.

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Scottish actress Adrienne Corri had a long genre back catalogue, and her future would feature even more entries. To begin with we have DEVIL GIRL FROM MARS, CORRIDORS OF BLOOD (again), THE HELLFIRE CLUB, THE VIKING QUEEN and MOON ZERO TWO (both Hammer). Right after working for Kubrick, she made VAMPIRE CIRCUS, and later MADHOUSE. Despite Renoir’s THE RIVER, horror movies will probably always be what she’s known for (along with being stripped to her socks for Kubrick’s dubious delectation).

Aubrey “PR Deltoid” Morris made BLOOD FROM THE MUMMY’S TOMB the same year as CLOCKWORK ORANGE so we probably can’t count that. Dave Prowse had already done HORROR OF FRANKENSTEIN and would soon shoot VAMPIRE CIRCUS and FRANKENSTEIN AND THE MONSTER FROM HELL. And some space thing. Steven Berkoff had done THE FLESH AND THE FIENDS, KONGA and SLAVE GIRLS, and would return in BARRY LYNDON.

The girls: Katya Wyeth, from the film’s final shot, came fresh from TWINS OF EVIL and HANDS OF THE RIPPER (in the important role of 1st Pub Whore). Virginia Wetherell had done CURSE OF THE CRIMSON ALTAR and DR JEKYLL AND SISTER HYDE. Shirley Jaffe was fresh from TASTE THE BLOOD OF DRACULA. Vivienne Maya chalked up LUST FOR A VAMPIRE and TWINS OF EVIL — her best role is as the flashback girlfriend in A FISTFUL OF DYNAMITE.

Of course, I admit the difficulty of casting a dolly-bird in 1971 who had NOT been in a Hammer horror or two. But now we come to BARRY LYNDON.

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The casting of Andre Morell strikes me as highly significant — Morell isn’t as tightly bound to Hammer in the public consciousness as Cushing and Lee, or Michael Ripper, but he should be. He was Quatermass on TV (an indirect link) and Watson to Cushing’s Holmes; THE SHADOW OF THE CAT, SHE, PLAGUE OF THE ZOMBIES, THE MUMMY’S SHROUD, VENGEANCE OF SHE, and a number on non-horror Hammers including the terrific CASH ON DEMAND. Plus non-Hammer horrors like BEHEMOTH THE SEA MONSTER.

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Frank Middlemass had come from FRANKENSTEIN MUST BE DESTROYED. Ferdy Mayne will be best remembered as Polanski’s Count Von Krolock, but also chalked up THE VAMPIRE LOVERS.

THE SHINING refers to Hammer only in its genre, but a comparison with THE EXORCIST is revealing, Kubrick having attempted to make a megablockbuster throughout his late career by patterning his films on the biggest box office smashes of history. But each of these films goes through the Kubrick funhouse looking-glass and emerges as something no sane person would expect to rake in the receipts — BARRY LYNDON purloins the child’s death from GONE WITH THE WIND, THE SHINING aims for THE EXORCIST and winds up in MARIENBAD country, and A.I. wants to be E.T. but can’t help its mechanical nature, like little Haley Joel Osment and the late Stankey K. himself.

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FULL METAL JACKET is too American and too young to borrow Hammer actors, and by the time of EYES WIDE SHUT most of them were dead. However, with its quasi-Satanic shagging party, the movie seems to be channeling sixties and seventies horrors, particularly Corman’s MASQUE OF THE RED DEATH (and maybe CURSE OF THE CRIMSON ALTAR? And if there were a film called STENCH OF THE SCARLET PENCIL I’m sure that would have been an influence too).

Taking My Big Theory to its logical conclusion, we would have to say that Welles follows the path of Whale by telling moral tales in which nevertheless the truest, deepest sympathy is with the monsters; Kubrick follows the Sangster and Fisher route by portraying a world in which the oppressive patriarchy, though corrupt and inhuman, is the nearest thing to a safe side to be on…

Sisters

Posted in FILM with tags , , , , , , , , , , , , on February 2, 2013 by dcairns

Spent all of Thursday thinking it was Wednesday and went in to work on Friday thinking it was Friday. Despite not even opening that bottle of vodka I bought. Probably a good thing I didn’t.

Here’s yesterday’s entry in Dwight Frye-days at Limerwrecks, on SON OF FRANKENSTEIN. And so –

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LES ANGES DU PECHE, Robert Bresson’s nunsploitation film? Well, the title, ANGELS OF SIN is a fantastic one — Nigel Wingrove should recycle it for one of his softcore habits-and-tits films. The film itself is something else.

Bresson’s style is still at an early stage of evolution, which means he hadn’t yet eliminated everything he didn’t like, or modified everything he didn’t quite like — the movie is more like a traditional one of the period (1943), albeit a particularly elegant and tasteful one. And it has actors, not models, in the lead roles, including the brittle Jany Holt, who was leading a double life at this time, acting by day and working for the resistance by night. Her sharply-sculpted face, often chic, is here useful to suggest frosty, hard-bitten cynicism.

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She plays a woman framed for a crime she didn’t commit who resolves to kill the man who framed her. Bresson gives her a gun-buying scene to compare with Cagney’s in THE PUBLIC ENEMY or Schwartzenegger’s in THE TERMINATOR. “This is the best. It takes six bullets. Six more in the extra clip. Will that be enough?” Jany replies: “If it isn’t, I’ll come back.” Which fills the mind’s eye with the cold-blooded image of her plugging her betrayer twelve times, noticing some vestigial respiration in the ventilated form, and calmly returning to the store to buy another round, then strolling back and perforating him again. It doesn’t happen that way in reality, of course.

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Meanwhile, Renee Faure, a young novice, has become obsessed with saving Holt’s soul, and invites her to join the convent, which welcomes women with a shady past (the first scene shows the Mother Superior and her cronies planning to collect a parolee from under the nose of her pimp, the whole operation planned like a heist or a military raid–gripping stuff!). Holt moves in to the nunnery as a way of hiding from the law, but resents the way her would-be-rescuer sees her as some kind of personal project. She resolves to destroy Faure rather than be saved by her.

When John Boorman unwisely undertook EXORCIST II: THE HERETIC, he said that rather than making a horror movie he wanted to make a theological thriller. Ignoring the fact that Friedkin’s original already is that, at least to an extent. Boorman made a gloriously silly film. When Paul Schrader unwisely undertook the film that, incredibly, wound up entitled DOMINION: PREQUEL TO THE EXORCIST, he acknowledged that the first film had powerfully visualized the struggle for a soul (albeit in somewhat corporeal terms).

But Bresson’s film does all that much more simply, without the distraction of pea soup — it’s a really exciting movie, as exciting as PICKPOCKET though less mature in Bresson’s style, and even though I regard the business of marrying Christ with a certain amount of horror, I was able to get into it and see it from the point of view of the sisters. It’s a point of view that sees salvation as more important than life itself, which I always struggle with a bit, but this is one of the more compelling dramatic uses of the idea I’ve seen.

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Cinematographer Philipe Agostini also shot part of Ophuls’ LE PLAISIR, and all of Dassin’s RIFIFI, Carne’s LES PORTES DE LA NUIT, Duvivier’s UN CARNET DU BAL.

Strange to see Bresson so much part of the mainstream at this point. I enjoyed this so much I’m resolved to try LES DAMES DU BOIS DU BOULOGNE without delay.

You can buy it: Angels Of Sin / Les anges du péché / Angels of the Streets (1943) Region 1, 2, 3, 4, 5, 6 Compatible [DVD]

Crawling from the Limerwreckage

Posted in FILM with tags , , , , , , , on August 24, 2012 by dcairns

Three supernatural blaxploitation limericks comin’ atcha –

BLACULA

SCREAM BLACULA SCREAM

ABBY

I must say, the possession make-up in ABBY affects me much as Dick Smith’s makeup on Linda Blair did — both seem crude,  well over the top and unconvincing — but somehow they’re all the more upsetting for it.

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