Explosive Rod

Remember, remember the fifth of November 

Gunpowder, treason and plot

I see no reason

Why gunpowder treason

Should ever be forgot.

HENNESSY is a mostly pretty interesting terrorism thriller from the director of  THE FACE OF FU MANCHU (which had a big impact on me on TV as a kid) to the 1979 THE 38 STEPS (which I saw at the cinema a few years later) to the legend that is PSYCHOMANIA. Don Sharp was an Australian working in England, and he brought a rugged professionalism to everything he did — his films aren’t all good but they’re unapologetic.

In this one, Rod Steiger plays an ex-IRA man who sets off on a suicide mission after his family are (accidentally) wiped out by British soldiers during a riot. Traveling to London, he embarks on an elaborate plan to get access to the opening of Parliament, disguised as a cranky politician, and blow the Houses of Parliament, the Royal Family, the government and the opposition and himself to united kingdom come.

As you can see, the movie sparked some controversy (although possibly AIP are hyping it up for their promotional purposes). Back in 1975, any attempt to make entertainment out of the Troubles was regarded not only with suspicion (which would be natural and reasonable) but with hysteria — as Mike Hodges found out later when his A PRAYER FOR THE DYING likewise sparked a media shitstorm for daring to portray an IRA man who’s tired of violence in a sympathetic manner. While Carol Reed’s ODD MAN OUT was something of a beloved masterpiece, any attempt to treat similar ground provoked unreasoning fury from the tabloids. The subject WAS rather a grim one, and the horror WAS an ongoing scenario rather than safely in the past, but the frenzied denunciations rarely seemed to have anything to do with the subject under discussion. HENNESSY certainly isn’t an abhorrent film.

Rod and Lee, not being abhorrent.

In fact, the premise was the brainchild of co-star Richard “Who You Fucking?” Johnson, who plays a brutal cockney cop in the film, hot on Rod’s trail and sporting a Captain Haddock beard. He’s quite convincing as a thug, continuing the “violence to the shins” theme he originated in his Bulldog Drummond movies. And meanwhile, not only is Rod Steiger sporting a very convincing Irish accent, but so is Lee Remick, and both of them are really good.

Haddock to a tee.

Although the opening, which requires Rod to kneel and agonize by his slain wife and child (Patsy Kensitt, precociously attempting to justify the shoot to kill policy by her very presence NO! I don’t mean that I’m sure she’s very nice really), which is a red rag to a bull to a man with Rod’s histrionic tendencies, actually he’s 90% muted and restrained and underplaying and all that. Which is remarkable when you consider that this film was shot around the time of WC FIELDS AND ME, where he’s fairly flamboyant, and after the excesses of NO WAY TO TREAT A LADY, THE SERGEANT and WATERLOO, movies where the word “outsized” could fairly be deployed.

Only when Rod straps on the gelignite does an explanation suggest itself: clearly, Sharp stopped his star hamming by having him wired to explode should his acting exceed thirty Oliviers per hour. This clamps a lid on the tempestuous player: you can see him approaching conflagration point, but pulling it all in and down, broiling inwardly with the agony of not being a big show-off, radiating all that intensity through the eyes…

Special guest stars!

So that’s all going on. And then, at the climax, his ridiculous plan nearing fruition, Rod enters a studio mock-up of the Houses of Parliament, and Sharp pulls his cheekiest move: actual guest appearances by the Queen, the Duke of Edinburgh, Prince Charles, Princess Anne, James Callaghan and Margaret Thatcher… at the appearance of Mrs T, not yet elected to PM, I confess I did start to hope that Rod would heroically blow up and save us 11 years of right wing Tory rule…

Sharp is intercutting documentary footage of the real event, which an opening title shamefacedly admits was not shot especially for this film (but I bet it was, under false pretenses), with Rod and Richard in the Twickenham studios mock-up. To add further to the delirium, Sharp cuts to Steiger’s sweaty fingers connecting the wires within his clothing. Yes, this is doubtless the true reason the movie was banned: for daring to intercut images of our sovereign with images taken inside Rod Steiger’s clothing. These are, I think, the only photographic images recorded inside Rod Steiger’s clothing ever presented to the public. Some brief shots of his nipples chaffing against his shirt in IN THE HEAT OF THE NIGHT were deleted for pacing reasons, and although David Lean did consider shooting Steiger’s drunk scene in DOCTOR ZHIVAGO from under his furry hat, he decided against it (a decision he regretted to his dying day).

Inside Rod Steiger.

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9 Responses to “Explosive Rod”

  1. Cinema appears to have often tried to kill Pasty Kensit (see Lethal Weapon 2), but unfortunately she always somehow survives to grace daytime talk shows and soap operas.

  2. I’m still steeling myself for the inevitable drunken evening when I attempt to watch George Cukor’s The Blue Bird, in which Patsy’s childlike presence will inevitably decay my last remaining teeth right out of my head.

  3. david wingrove Says:

    Ah, but there are so many compensations!

    Liz Taylor and Ava Gardner dressed up as rival Christmas trees, Jane Fonda as the Spirit of Night and some actually quite good Bolshoi ballet numbers. THE BLUE BIRD is a cult movie that still awaits its cult.

  4. What will such a cult look like, when it arrives? Will they, too, dress up as Christmas trees?

  5. I felt I had to ask David about his Oliviers measuring system. What would 30 Oliviers per hr entail exactly? “Release the Kraken,” he replied. I didn’t feel the reading of that line was strong enough to merit the maximum Olivier rating, but the Cairnster was not to be deterred. “It’s concentrated”, was his reply. Please feel free to contribute alternative Oliviers from 0 to 30 miles per hour.

  6. http://www.youtube.com/watch?v=vRJ8Gs5N364 They said that no man could act at such speeds and survive, but in this film, Stephen Boyd proves them wrong. A special mention should be made for Jill St John, coming in at 10 Betty Pages per hour in the stripping stakes.

  7. Al Pacino motored through the corridors of City Hall at roughly 30 Oliviers per second, a distinct slowing from his younger days, when he sniffed his way through Scarface at a touch under 75.

    I assume, back reasonably close to the film at hand, that Odd Man Out, in addition to being from the hand of Carol Reed, benefited from appearing at a relatively quiescent period in British-Irish relations, and the fact that most of the cast were Irish rather than imports probably didn’t hurt its reception. This being Shadowplay, I am assuming a delicate hint of sarcasm in your description of Lee Remick’s accent, whatever about the bould Rod.

  8. No no, Remick (a very considerable actress) delivers on the Irish accent quite consistently, too my (admittedly inexpert) ears. And so does Rod, and I’ve had that on the authority of an actual Irish person.

    Olivier in 49th Parallel sets his own personal best as a French-Canadian trapper with what sounds like a Pakistani accent — a full 100 Oliviers per second, the Great Man dissolving into a kind of thespian blur before your goggling eyes.

  9. I’ve only seen the trailer for Hennessy, but I must confess I was somewhat alarmed by the snippet of Remick myself; Steiger sounded just fine. But that’s hardly giving the film, or the accent, a fair shake. She was a terrific actress; I saw Days of Wine and Roses on TV when I was about twelve or thirteen, and she floored me. Quite an introduction to her work.

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