Archive for The Nanny

Unbandaged

Posted in FILM, MUSIC with tags , , , , , , , , , , , , , , , on December 3, 2012 by dcairns

vlcsnap-2012-12-01-15h18m51s224

The director had hiccups. A really bad case — they lasted days. It was a real problem because he might hiccup at any point, during a take, and ruin the sound. It became a running joke — the production hiccups.

Then one day he didn’t come in to the studio. He was dead. Apparently hiccups can be a sign of an approaching heart attack. Who knew?

With Seth Holt out of the picture, the picture was finished by the talentless Michael Carreras, the man who destroyed Hammer films with his terrible ideas and equally terrible ambitions to write, direct, produce, none of which he had the slightest knowledge of or capacity for. But BLOOD FROM THE MUMMY’S TOMB is still a pretty interesting show.

vlcsnap-2012-12-01-15h16m53s73

It’s got Andrew Keir, the best film Quatermass, and James Villiers, and George “I was in CITIZEN KANE and now this” Coulouris, Aubrey Morris (Yay! P.R. Deltoid!) and Valerie Leon, known in the UK as the Hi Karate Woman. A fine actress with enormous juicy breasts.

The musique concrete is by Tristram Carey, who also scored THE LADYKILLERS, which Holt produced. He’s one of the very few filmmakers who worked at Ealing and Hammer, and he must have liked the dysfunctional family atmosphere — he might have fitted well into the BBC. Holt’s wife said that he and director Sandy Mackendrick should never have worked together, since rather than anchoring one another and compensating for their excesses, they hyped each other into a frenzy and made everything twice as crazy as it needed to be. Which is perhaps why THE LADYKILLERS is such a brilliantly extreme film. (Say, I’m writing a book about it, aren’t I?)

Kenneth Tynan wrote NOWHERE TO GO, consciously intended as the last Ealing picture (perhaps a good film to watch for this Blogathon!), a dark thriller which Holt served up with bracing savagery. TASTE OF FEAR, aka SCREAM OF FEAR, was Hammer’s best DIABOLIQUES knock-off, with the corpse sitting calmly at the bottom of the swimming pool destined to traumatize a young Tom Hanks when his mother, in a confused state, led him into the wrong cinema. Not BAMBI at all.

Holt’s best movie is surely THE NANNY, with a powerful and relatively controlled performance from Bette Davis, great work from the child actors, and a really gripping use of interior space — shot by Harry Waxman, who was always at his best in black and white (cf BRIGHTON ROCK). Davis described Holt as “a mountain of evil” or something, somewhat to the bafflement

vlcsnap-2012-12-01-15h18m56s17

Late Hammer films are typically portraits of the disintegration of a stolid but efficient studio organisation, derailed by monumentally clueless management. TO THE DEVIL A DAUGHTER is actually really good, but the powers that be cut off the whole climax, leaving Christopher Lee and Satan apparently vanquished by a small pebble hurled at the Great Man’s dome by Richard Widmark. This one manages to hold back on the nudity apart from a couple of modest, not-too-distracting instances, and balances creepiness with camp in an unusual way. The asylum scene, with the maniacal flurry of canted angles and ludicrous toy cobra, was actually helmed by Carreras and it may be the only good thing he ever did — I’m inclined to credit Holt’s shooting plan or DoP Arthur Grant, who’d begun in quota quickies with Michael Powell and had worked at Hammer throughout their glory years –

UK: Blood From the Mummy’s Tomb [DVD] [1971]

US: Blood From the Mummy’s Tomb

cropped-7women3-1.jpg

Three Disappointments and a Whoopee

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 15, 2008 by dcairns

Disappointment 1: the lack of a really great critical study of Powell & Pressburger. Ian Christie’s Arrows of Desire was a fine starting point, and the coffee-table quality of the book, with glossy and lurid colour stills, makes it a nice visual companion to the Archers’ films. But Andrew Moor’s Powell and Pressburger: A Cinema of Magic Spaces just seemed too DRY to evoke these lush romances, and Scott Salwolke’s The Films of Michael Powell and the Archers is hampered by the fact that he hasn’t seen all the films. Several times in the book we get the phrase “is hard to see nowadays”, which I might believe if I didn’t have copies of them on my shelves. I guess I’d admit they’re hard to see, but not IMPOSSIBLE. The author doesn’t admit to not having seen HONEYMOON, but since all he does is reproduce some contemporary reviews of it, it’s pretty clear he never managed to track it down. I guess since the book is ten years old, things were tougher then, but I can’t believe THE BOY WHO TURNED YELLOW would be completely inaccessible: Raymond Durgnat sold me a copy for a fiver.

Disappointment 2: What Happens Next: A History of American Screenwriting by Marc Norman. Norman wrote the script for SHAKESPEARE IN LOVE, which was then revised by Tom Stoppard (Norman professed himself delighted to have had Stoppard’s assistance), and this is his first non-fiction work. I was hoping to find some kind of thesis lurking in it, but it reads like a stack of anecdotes so far. It reads like *I* wrote it!

The early chapters on silent cinema fall for the old one about Mack Sennett not using written scripts (the half-page or page-long outlines have in fact been found — Frank Capra’s autobiography is not the most reliable source for ANYTHING) and he talks about BIRTH OF A NATION having a scene breakdown prepared from the book, but which was never seen on the set, but he misses my favourite Griffith script story: Griffith’s first short, THE ADVENTURE OF DOLLIE, had its scenario jotted down by Griffith and cameraman Billy Bitzer the night before shooting, on a piece of cardboard that came from the laundry with Griffith’s shirt wrapped round it.

Norman also refers to Chaplin’s first director as Henry Pathé Lehrman, missing the all-important inverted commas around “Pathé” (Lehrman got a job with Mack Sennett with a tall tale about having worked for Pathé: when the ruse was discovered, the name stuck) and says that Herman Mankiewicz worked on “some trifle” called CHRISTMAS HOLIDAY. It may sound like a trifle, and the casting of Deanna Durbin and Gene Kelly might have lead contemporary audiences to expect one, but CHRISTMAS HOLIDAY is a very dark film noir romance, and authors should resist making such statements about films they haven’t seen.

I’d still like this book to turn into an impassioned and informed account of the screenwriter’s role, so I’m going to persevere a little further — this isn’t a proper book review since I haven’t finished the thing. I will report back if I end up more impressed by it.

Disappointment 3: Hanno’s Doll by Evelyn Piper. I picked this up after belatedly realising that both THE NANNY and BUNNY LAKE IS MISSING, films I like a lot, came from Piper novels. I wanted to read something else by her. Although it does have a nice, twisty plot, the book took me ages to finish, being written in an irksome baby-talk that’s supposed to simulate the thought processes of the protagonist, a fat German actor (Piper must have had an eye of Curt Jurgens for a possible movie adaptation, or Gert Fröbe).

Whoopee 1: Maja Borg, a recent graduate of the Edinburgh College of Art film course where I teach, has a show on next week, Thursday 21st August, 8.30 pm on More4 in their First Cut series. Happy Birthday, You’re Dead takes its inspiration from the fact that a fortune teller once told Maya that she’d die in a car crash before her 25th birthday. The documentary charts the “last” weeks of Maja’s life leading up to her 25th.

I’m rooting for her to survive.

Misadventures in Babysitting

Posted in FILM, Television with tags , , , , , , , on March 4, 2008 by dcairns

This is a low-budget kids’ short I made for BBC Scotland and Scottish Screen’s Tartan Smalls scheme. It was fun to do Joe 90 sci-fi props and muck about with a childs’ eye view. But I guess I’ll never be Carol Reed or Alexander Mackendrick when it comes to directing kids. These boys were really good, but I didn’t know how to get the best out of them. I gained a lot of experience directing a couple episodes of a kids’ show called INTERGALACTIC KITCHEN afterwards, and feel I could do a lot better now.

But here’s how it SHOULD be done:

I like how the (very) little girl doesn’t seem to have been CONTROLLED, so much as turned loose with her dialogue. She swivels around and fidgets and she’s constantly in RANDOM MOTION, like a real kid.

It’s from THE NANNY, script by Jimmy Sangster, directed by Seth Holt. S.H. was an interesting chap whose career crosses from Ealing (he produced THE LADYKILLERS) to Hammer (he died — of hiccups — while making BLOOD FROM THE MUMMY’S TOMB). Holt was singled out by the iconoclasts at Movie magazine as representing the best hope for British cinema to escape its literary-inspired “tradition of quality” and achieve some kind of robust, authentic, home-grown cinema. It didn’t quite happen.

Holt’s NANNY star Bette Davis described him as “a tower of evil” and “the most ruthless director I have worked with apart from William Wyler,” which I assume was intended as praise, since Bette had a tempestuous affair with Wyler and made three great films with him. I wish she’d made more with Holt! Perhaps his failure to sleep with her ended that collaboration.

Come to Nanny

I can see why Movie rated Holt so highly — he’s gutsy, clever, and in THE NANNY, genuinely inventive and capable of exercising a tight grip on the audience’s emotions. TASTE OF FEAR (AKA SCREAM OF FEAR), the film Movie singled out as showing signs of real promise, is an above-par DIABOLIQUES clone with effective frissons (a corpse seated at the bottom of a murky swimming pool traumatized a young Tom Hanks when his mother mistakenly took him to see the film!). Even a piece of hokum like BLOOD FROM THE MUMMY’S TOMB has points of interest, from its frenzied character performances to its knock-out ending, which seems to anticipate Polanski’s THE TENANT.

More kidstuff: THE NANNY also features a turn from Perky Pam herself, Pamela Franklin, a Shadowplay favourite for her work in THE INNOCENTS and AND SOON THE DARKNESS.

Follow

Get every new post delivered to your Inbox.

Join 437 other followers