Archive for March 2, 2016

The Rittenhouse Affair

Posted in FILM with tags , , , , , , , on March 2, 2016 by dcairns

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Otto Preminger: “Everything I know about camera blocking, I learned from ANIMAL CRACKERS. How to get the actors through a door, how to make them stand still so we can see them. How to make them go away again (yelling works for this).”

It had been an age since we’d watched ANIMAL CRACKERS, which is the most primitive Marx Bros film apart from of course THE COCONUTS, which is positively primordial. My love of Lillian Roth made me want to see this again — I became a fan back in the early days of Shadowplay, when this blog was in short trousers, so to speak, but I haven’t looked at her turn in this film in detail — my memory told me she wasn’t a very strong actress, though, and her musical number, like all the romantic numbers in Marx Bros films, was kind of a drag.

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In short, I may be the first person in eighty years to watch ANIMAL CRACKERS for Lillian Roth.

She’s not a very good actress, but she’s a very cute actress, It’s like watching a tiny child doing a school play. They say acting is reacting, in which case she does a lot of acting here, but she’s not really responding to the other actors, she’s responding, I somehow feel, to the lines in the script. It makes sense that she was a child actor — she uses a kind of artifice which would be acceptable in a kid, since we’re always a little impressed by kids acting at all, and a kid has a kind of built-in authenticity, like a dog or a very old person. We believe them, unless absolutely forced not to by the worst kind of ineptitude. We can tell they really are a child, a dog or an old person, actually performing for us.

She’s also the most improbably society girl outside of Jean Harlow in PLATINUM BLONDE, her astonishing Boston-by-way-of-everywhere vowels creating a funhouse mirror with the English language.

Her song is a dull one, and of course we don’t need relief from the comedy in a Marx Bros film, and we get plenty of it anyway, via the plot scenes. The fancy art deco set also functions as a kind of relief, since manoeuvering from one corner of it to another eats up a certain amount of screen time during which we can admire the woodwork.

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The other actors aren’t seen quite at their best. Margaret Dumont smiles too much, like she actually gets the jokes. She found more dignified ways to react later. Robert Greig, the archetypal, platonic ideal of the butler, is required to be a bit more nimble and excitable than his constitution can bear. Louis Sorin as the art expert is probably the best foil, although one appreciates Zeppo — pretty much his entire role is to be abused by Groucho, and anybody who comes in for plenty of Groucho abuse is worth having around.

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Censored lyrics —

(Mrs. Rittenhouse) You are the only white man to cover every acre.

(Spaulding) I think I’ll try and make her.

I see Hollywood is obliging us with a new film called ANIMAL CRACKERS, with Sylvester Stallone. Based on his appearance at the Oscars, he ought to make a superb Mrs. Rittenhouse.