Family Viewing Time
How are we getting on with our teen-supervision activities, you ask?
Films watched with Louis this week include THE WRESTLER (which I didn’t see, but which Fiona found pretty old-fashioned, like a marginally more disfigured version of King Vidor’s THE CHAMP — “I like his scary fridge film better,” says Fiona, referring to REQUIEM FOR A DREAM), HEAVENLY CREATURES, and THE PUMAMAN, a bizarrely homoerotic Italian superhero movie about ancient Incan space technology which gives the hero the powers of a puma: sensing danger, achieving a death-lke trance, flying — you know, just like a puma. “I always seem to end up watching something really weird with you guys,” Louis observed affably.
Best of all, we watched George Pal’s THE TIME MACHINE, which gives new pleasures every time I see it.
While Pal’s best pal couldn’t argue that he’s particularly sophisticated as a director, he has a very smart script to work with here, and has obviously been looking around and drawing inspiration from some pretty cool sources. When intrepid chrononaut Rod Taylor (marvellous perf!) goes for a walk in the Eden-like future forest, Pal throws in a variety of tracking shots suggesting that he’s been impressed by Kurosawa’s RASHOMON. The giveaway shot is the one looking up at the sunlight blinking through the branches.
Later, when Taylor discovers that the savage Morlocks (paunchy blue guys with unsightly body hair — the Scots of the future?) have a Gremlin-like aversion to bright light, he dazzles them for a moment by lighting a match, and Pal steals from the Master, with an orange glare of POV dazzle filched from REAR WINDOW. This struck Louis as implausible: “Just how bright IS a match, anyway?” Since the Morlock’s have Jawa-style glowing eyes, do they not get equally blinded whenever they look at each other?
As a fan of TV’s The Mighty Boosh, Louis has a fine eye for absurdity, and enjoyed such moments while still appreciating the beauty and craft of Pal’s special effects sequences and the sweep of the story, which must have made some impression: when I loaned him my battered copy of the Watchmen graphic novel later in the week, warning him that it might crumble to dust, he sagely remarked, “Like the books in THE TIME MACHINE.”
Yvette Mimieux: a bit too Paris Hilton for Louis’ taste.
Another weird coincidence: on Monday morning I was lecturing on Orson Welles, doing his whole film career only in reverse, and mentioned the amazing moment in the MAGNIFICENT AMBERSONS screenplay, deleted from RKO’s edit of the film, where the voice-over suggests a future time when George Amberson Minafer’s shade might be seen, kneeling, its head and shoulders disappearing through a partition wall that wasn’t there in his era (you really have to read it to make sense of this). That evening, as Rod Taylor fired up his elegant steam-punk time-sled, Louis speculated about what would happen if he materialised halfway through a yet-to-be-constructed wall…