No Thanks for the Memories

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I remember — that word! — TV play Hauser’s Memory coming on TV when I was a kid. I was interested because I had been a fan of David McCallum in The Invisible Man TV show in which he would disappear and somehow the back of his polo-neck would disappear with him. Maybe it was backless. So, here was another science fiction thing with the Greatest Living Scotsman!

(David McCallum has, in a unique honour, been granted the title of Greatest Living Scotsman even after death, an event which we hope is a long way off, since he has basically not aged since 1955.)

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But there wasn’t much for a little kid in this dour drama about loss of personhood, death, castration and political exploitation and personal betrayal. The only thing I committed to memory were the opening credits, which I remembered as the closing credits, which is apt, because the credits sort of loop back from the last scene to create a perfect Moebius strip. If we’d had a video recorder in the seventies I might still be watching it.

Now look — you’ll hear a lot of loose talk around here about Curt Siodmak beng the idiot brother of the talent Robert S, but I have to give the affable old fellow credit here — allowing for the pseudoscience (an injection of RNA taken from the blenderized brain of a dying scientist allows McCallum to experienced the deceased man’s memories), this is an excellent piece of drama. I lost count of the number of simultaneous, interwoven plotlines that are really one big plot. Let me try to enumerate them —

The Americans (led by LESLIE NIELSEN as SLAUGHTER) and the Russians both want the formula the deceased physicist was working on at the time of his demise. The hope is that McCallum will remember it. But he begins to remember much more, and the mystery of his memory-donor’s life starts coming into focus.

But the late Hauser has needs of his own — he wants to make his peace with his loved ones (including widow Lilli Palmer) and avenge himself upon a Nazi persecutor.

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Seeking to achieve closure in his life, Hauser begins to take over McCallum’s brain, so it becomes a horrifying drama of loss of personality, the sense of no longer being who you are supposed to be. Weirdly enough, we can relate to this. It’s this aspect of the story that allows McCallum to turn in a moving performance that really should have won him awards. He has to play a Jewish biochemist and a German physicist and sometimes both at once or one pretending to be the other (the late Hauser proves to be a shrewd manipulator to further his own agenda).

Boris Sagal (THE OMEGA MAN, another candidate for 70s SF Week) directs, sometimes badly, but the psychedelic editing is quite good — it really would take a Resnais or Roeg to do justice to this idea, but the flash-cutting and fisheye POV shots are pretty effective. Susan Strasberg has a slightly thankless role as Mrs McCallum, Robert Webber gives it the crowning TV movie touch and says “baby” a lot.

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McCallum has memory trouble again in the Christopher Isherwood/Don Bachardy-scripted Frankenstein: The True Story. Fiona and I both saw this as kids. From Invisible Man to sub-Donovan’s Brain guy to a subsidiary monster-maker in this, David McCallum had quite a psychotronic decade (and there was still Sapphire & Steel to come). Slightly de-gayed by TVexecs, the two-parter is still provocative. The film still makes much of the attraction between creator and creature, understandable since Leonard Whiting is Frankenstein and Michael Sarrazin is his handiwork, and taking its cue from James Whale’s monster duology, the film contrasts the appeal of a respectable marriage with the frisson of playing in God’s domain with a male friend.

Like Branagh’s rather anemic movie version, this comes to lusty life in the scenes involving Frankenstein’s lost, then reincarnated love, here played by Jane Seymour. Appearing in Edinburgh recently for the Film Festival (with the movie BEREAVE, which Fiona discovered in her role as submissions editor), Seymour remembered James Mason reading The Times out loud while she was trying to learn her lines, getting to choose her nude body double from a line-up, and accidentally sitting in Ralph Richardson’s chair. “He didn’t say anything, he just circled me, like a dog.

Unlike the Branagh, this has sufficient run-time to explore the story in depth, and invents the new notion of a handsome creation who only gradually deteriorates into scabby monstrosity pockmarked with syphilitic gumma — his rejection by his father thus becomes a bit like an aging lover getting the heave-ho when his youthful bloom fades.

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Whale’s version transposed the first names of Victor Frankenstein  and the stolid Henri Clerval, who became slightly caddish Victor Moritz. This movie transposes the characters, so that Clerval (McCallum) is much more passionate about creating life than Frankenstein is, at first. Rude, sodden, sporting an anachronistic moptop and saying things like “yeah”, McCallum’s Clerval is a hell of a lot more fun than Whiting’s pallid Daniel Radcliffe act. When he dies, it’s a loss to the film, but his brain gets transplanted into the monster so that occasionally his voice echoes out of Sarrazin’s fleshy lips — he even gets the last line (and laugh).

Isherwood and Bacardy have cheekily plundered the Universal classics while claiming to honour Mary Shelley’s original, so we get the blind man, and James Mason as a fruity Dr. Polidori, very much inspired by Ernest Thesiger’s immortal Pretorius, but with crippled hands, a touch pilfered from Hammer’s Peter Cushing vehicles.

In terms of story logic, the script is free and easy, bending the rules whenever doing so will allow a cool scene or idea. When a severed arm Frankenstein has helped amputate grabs him by the wrist, McCallum cries in delight, “It knows you!” (My vote for most fervid line reading of 1973.) A new definition of muscle memory, perhaps. Yet, when McCallum’s brain is reborn in the monster, he suffers total amnesia. A touch inconsistent. Frankenstein teaches the monster to talk, but Mason, using hypnosis, contacts McCallum’s memory, still cradled somewhere within that jagged, scabby brow. A reminder that the myth of hypnosis as memory aid was very much in the air — see also The UFO Incident…

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4 Responses to “No Thanks for the Memories”

  1. I featured Frankenstein: The True Story and Alexander: The Other Side of Dawn as a Made-for-TV edition of “Le Petit MacMahon de David Ehrenstein” last week on Dennis Cooper’s site.

    Chris an Don also wrote a Mummy movie, with a female Mummy — The Lady From the Land of the Dead. Don says Universal still owns it , so it would be nice if some enterprising TV filmmaker took it on.

  2. Or even if it could be published?

  3. Don’t know about that. I’ll ask Don.

  4. […] I was really impressed by TV movie Hauser’s Memory — teleplay by Adrian Spies, based fairly faithfully I think on Siodmak’s novel. And […]

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