Bunuel muffs it
I am second to none in my admiration for THE EXTERMINATING ANGEL, which does everything THE TOWERING INFERNO does only better (a bunch of rich toffs in gowns and tuxedos gather for a party and find themselves mysteriously unable to leave) but I think I’m on the whole glad that Bunuel didn’t get to make THE BEAST WITH FIVE FINGERS in Hollywood, as he had wished.
Apart from anything else, it seems just that Robert Florey got to steal the film from a fellow European, the way James Whale stole FRANKENSTEIN away from him (which we certainly can’t regret). Also, Florey’s film has a variety of reasonably impressive special effects. When Bunuel includes a Crawling Hand in a dream sequence in EXTERMINATING ANGEL, the effects are just ALL WRONG.
First, the hand enters, suddenly, with a wet slap, seeming jumping onto the floor from UNDER the door, a spatial impossibility which might be kind of cool and dreamlike if it looked better. Bunuel always liked using strange, counter-intuitive sound effects — he’s great to study for that — but they quite often don’t work (think of the mewing cats in BELLE DE JOUR — effective only because of an earlier non sequitur line about “Don’t release the cats!” but kind of awkward in situ). Here, the progress of the hand, which slides across the floor exactly like a prop on a wire, rather than crawling ratlike in the approved Florey manner, is accompanied by clapping or finger-clicking, which makes conceptual sense but just isn’t scary.
The hand at this stage looks waxen, which is eerie when the hand in question is attached to a real person, like Ivor Novello upon his entrance in THE LODGER, but not what is called for in a sequence where we have to be convinced the hand is human, as is the case here,
Far worse, the sequence climaxes with the prop hand attacking its victim, and
careful casual study of the shot reveals that the hand is not only a dummy, but is being worked from below by a real hand. The worst possible combination of techniques! I mean, if we’re not meant to see the edge of the wrist-stump, then just use a real hand. If we ARE meant to see it, maybe put it on a black stick or something? The last thing we want is for the prop hand to be transparently worn like a mitten by some Spanish props guy with his pale and obvious thumb sticking out.
Don Luis, you really must try harder or you won’t make it in the digital age.