Babelsberg Psychos Go America

I have no mouth and I must scream 

A Fever Dream Double Feature.

Following in the mighty footsteps of Christoph Hubert, whose Fever Dream pairings were published hereabouts recently, I present for your delectation and sweaty perusal another brain-bending duo of movies that go together all wrong. I have selected two films, and I call them Film One and Film Two.

M for Murky

(Note the flag attached to David Wayne’s lamp to keep his face in shadow.)

Film One is “M”. Not the celebrated Fritz Lang-Thea Von Harbou 1931 classic, but the generally denigrated Joseph Losey remake from twenty years later. As films maudit go, the don’t come much mauditer than this. While Losey is much admired, mainly for his British films of the ’60s (the blacklist having driven him from Hollywood), his U.S. work is a mixed bunch, much of it rarely screened. The excellent noir THE PROWLER (many noirs tackle the theme of “wrong values,” but none so starkly as this) rubs shoulders with the curio that is THE BOY WITH GREEN HAIR, a jejeune anti-war parable that passes the time acceptably just by being very very odd. In this company, the M remake is just one more mis-step in Losey’s shaky Hollywood career arc, but fortunately it’s a bit closer to the intensity of PROWLER than the fey loopiness of GREEN HAIR.

M for Manky

The perennially prissy David Wayne essays the Lorre role, doing well with the hysteria but entirely missing Lorre’s uncanny, bug-eyed froth. The script pads out the predestined devil with some unconvincing dollar book Freud cod psychology.

Losey scores a little better with his cops and crooks — one detective is a virtual fascist, with less respect for the rule of law than the “punks and tinhorns” he yearns to subject to the rubber hose treatment. Luther Adler plays an alcoholic mob lawyer (called Langley in presumed homage, though old Fritz didn’t appreciate the gesture, turning up to single-handedly picket the premiere). This figure’s presence helps set up the kangaroo court more plausibly, but he’s an annoying character wrapped around an annoying performance (dialogue scribe Waldo Salt may have to shoulder some blame here. Salt, later blacklisted himself, made a glorious comeback as writer of MIDNIGHT COWBOY in the ’70s, but his work here is mostly on a Dick Tracy level, with a few corny left-wing pretensions). The rogues’ gallery gets livelier around the intense, ferret-eyed Martin Gabel (also director of one movie, the terrific THE LOST MOMENT, a labyrinth of sinuous camera moves with a centenarian Agnes Moorehead at its heart) and his henchmen: Raymond Burr, more hench than man, doing a gravelly voice like Putney Swope; Glenn Anders, not as soapy as in THE LADY FROM SHANGHAI (“Just doing a little taaaaarrrget practice,”) but sort of CHUNKIER; and Norman Lloyd, always always always a reliably sneaky face to fill out a frame.

M for Mob

M for Mean

But this “M” has its greatest success in the use of locations. Losey makes fine use of Bunker Hill and outstanding use of the Bradbury Building. Best known now as the site of BLADE RUNNER’s climax, this striking construction came to its architect in a dream, and Losey captures both the sharpness and the illogic of nightmare in the clamorous conflict he stages there. Each angle provides a bizarre and startling new perspective to affront the eyes and make giddy the mind.

M for Mall

M for Mannequins

And Losey’s eerie mannequin warehouse is better than Kubrick’s eerie mannequin warehouse in KILLER’S KISS. In moments like this one can feel that Lang’s cautionary horror tale has found a new home in the city of angels.

Secret Beyond the Door

Film Two is DR. CALIGARI, another U.S. remake of a German classic, this one directed by Stephen Sayadian, (A.K.A. Rinse Dream / François Délia / Sidney Falco / F.X. Pope / Ladi von Jansky) maker of the cult sci-fi porno CAFE FLESH, which I’d previously seen and failed to admire.

This struck me as much better! Sayadian, whose speciality is production design, crafts a low-budget expressionist world and stages a sort of Cartoon Network VIDEODROME ballet in it. Everything is over-stylised to the point of panic-attack claustrophobia, the movements are choreographed and the blocking avoids standard continuity and settles for a snappy succession of ruthlessly composed tableaux, shuffled like smutty playing cards in the hands of a stoned dealer. Imagery tends to the nauseating (weeping sores) and peculiar (a wall with a giant mouth) rather than the sexy, but most effective porn is totally boring as art anyway. Sayadian is probably more interested in arousing the pineal gland or something weird like that.

The Big Mouth

See this thing! It’ll make you feel weird, which you ought to enjoy if you like reading this stuff. In addition to the purely visual pleasures (and the retro fun of the ’80s synth-score), Sayadian makes the best use of porno-style acting I’ve ever seen, creating an expressionistically oneiric B-movie vibe out of his performers’ limitations, reminiscent in its delirium of Ed Wood’s avant-garde trash aesthetic.

Madeleine Reynal, with clipped Mittel-European delivery, essays the role of Caligari’s grand-daughter, following in her “grrandvasser’s vootschteps,” as the late Kenneth Mars might put it, while Laura Albert brings agreeably mannered body language, and an agreeably mannered body, to the role of science project Mrs. Van Outen. Albert slices through the film, nipples primed to at any instant pierce some unsuspecting fellow thespian and pump them full of silicone. It’s not surprising to learn that when she’s not playing characters with “names” like “Bambi” and “Strip Joint Girl” and “Whipped Cream Girl” (in the TV show Dream On — some may remember this) L.A. is a stunt artist: she has a robust physicality to her and in a way this whole performance — nay, this whole film — is a death-defying piece of stunt art.

In the Doghouse

If you see Losey’s “M”, I hope it’s the same copy I have — a glitchy AVI file of a fuzzy DVD of a chewed-up VHS of a ropey telecine of a speckly print — because you get the surreal impression that the ’50s remake is older than the ’30s original.

If you see DR. CALIGARI… say hi.

I’m quite staggeringly indebted to Shadowplayer Brandon  for providing these movies, after I mentioned having never seen the J-Lo “M”. I should mention right now that I am in no way averse to FREE STUFF. If you stay alert you may catch me dropping the occasional hint, such as “I’ve never seen this film,” which you may all take as your cue to offer me complimentary bootlegs. I promise I won’t mind.

Bathing Beauty

17 Responses to “Babelsberg Psychos Go America”

  1. Wow — those stills are amazing! The Losey M is one of my major “want sees.”
    His American period is indeed fascinating, especially it’s finale, The Big Night.

  2. Oh good, I’m glad those two were worth watching. I haven’t gotten to them yet because I seem to acquire twice as many fourth-rate bootlegs of rare films as I have time to watch. Even if I had, I’m sure I wouldn’t have come up with “a snappy succession of ruthlessly composed tableaux, shuffled like smutty playing cards in the hands of a stoned dealer.”

  3. I’ve been promised a copy of The Big Night, looking forward to it immensely. Maybe we can do a trade for M and Caligari (they’re on the same disc, as AVI files).

  4. Definitely worth seeing! if M were an original it could qualify as a semi-major work, and Dr. C might just be a masterpiece… of some kind.

  5. I always say that if if HUAC hadn’t been on Losey’s case he would have been thrown out of the U.S. for making The Big Night. The script is by the blacklisted Ben Barzmann, and the star — John Drew barrymore — years later tearfully confessed to Losey that the FBI had ordered him to snitch on the director if he was caught doing anything ‘subversive.”

    It is also the very last film appearance of another blacklist victim. . . .Dorothy Commingore.

  6. David Caute’s Losey bio gives The Big Night short shrift, but then he also disses Lang’s original M for being set-bound, which is a bit like saying “old movies sure suck”. So I’m resolved to ignore his opinions and just use him as an info source.

    I love Dorothy Comingore to bits.

    I forgot to mention that almost everybody associated with M was blacklisted (even Fritz Lang came close) and I presume that’s why Martin Gabel only directed the one masterpiece — The Lost Moment puts him in the company of other legendary one-shots like Laughton and Herk Harvey.

  7. I second David’s recommendation of The Big Night – it feels a little cheesy at first, but it’s intelligent, and rather arty for a Hollywood film. After The Prowler, I think it’s Losey’s best in the US.

  8. Sounds like a Losey genre film alright — some of his early British crime films have the same quality of sharp intelligence emerging from slightly dopey, or anyway limited material.

    Looking forward to getting my copy of this!

  9. Christoph Huber Says:

    Glad to see this is bearing appropriately demented fruit. Although actually I’ve always found Losey’s M simply undeservedly underrated. (Also agree on Prowler props.)
    This Caligari remake surely sounds splendid, however.

  10. Yeah, I recommend the Caligari. Dunno what Sayadian’s other, pseudonymous, work is like though. M, if it had been an original, would surely have had more defenders, but treading directly in the footsteps of Lang is obviously risky.

  11. […] film-supplier Brandon (sorry, don’t know your last name) offered this short but sweet song for Edward G […]

  12. […] M. Losey’s remake of the Lang classic has terrific scenes, and uses some of its borrowings well — others get in the way. Some of the script is fairly dumb, but Losey’s use of L.A. locations, including the iconic Bradbury Building, makes it fly. I blogged it HERE. […]

  13. […] the 1962 CABINET OF CALIGARI meant I’d seen all the Caligaris — the original, the porno version, and now this, the 1960s reimagining, which despite its title, lacks any sort of significant […]

  14. Do you know where I can get a copy of the M remake? I am trying to put together a lesson plan about film censorship. This movie was censored in Ohio (where I live) and became an important court case. I would like to show part of the film but cannot find it anywhere. Suggestions?

  15. There are some places you can download it, I believe, but I don’t know if they’re all members-only. It seems to be unavailable for legal reasons. I have a bad copy of it I could copy for you if you can’t find it elsewhere.

    Easy to see why it might be banned: he’s a child-killer, and the doctor implies his problem is homosexuality (which makes no sense).

  16. David Gregson Says:

    HOW do you get to see Losey’s “M”? Whether it’s good or not, I want to see it and have no idea how to get a tape, download or whatever. Chris Schnieder suggested I email you. If it’s a bootleg (the captures look pretty awful), what’s the company?

  17. Brandon of Brandon’s Movie Memory sent me a copy. It’s available also as a download at certain secretive online communities… It’s not even an official bootleg, if that makes sense, just a privately circulated file. I can get you a copy if we can arrange a deal/swap.

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