Asynchronous

PICKLED HERRING

I remembered that DARK PASSAGE had a lot of bravura subjective camera stuff at the start, and some unlikely coincidences, but time had erased all other details, so I thought I’d watch it again.

Vince Parry (Humphrey Bogart, a few stand-ins, and a photograph of some other guy) escapes from San Quentin, smuggled in a barrel like the Marx Bros. in MONKEY BUSINESS. When the barrel falls off the wagon, we get the first POV shot, rolling downhill, then an artful POV of the barrel-bottom itself as Parry staggers off. Then we’re into the cool stuff, striking subjective shots as our hero climbs over a fence, thumbs a ride, gets in the car, with cleverly hidden cuts: at one point a pan takes us from a real car on a real road to a studio effects shot (it seems to be a matte rather than the usual process shot — I don’t know why this should be).

Parry, wanted for murdering Mrs. Parry (he’s innocent, of course) gets plastic surgery which makes him look like Humphrey Bogart — the only time in history anyone has done this. An hour in, Bogie takes the bandages off, so the slower audience members finally realise the reason for all that concealment. Rather than deal with the estrangement of the leading actor being subbed halfway through the film — which is always a problem — Daves has withheld his star from our gaze for most of the movie.

During the in-between bit, we can see Bogart but he’s swathed in Invisible Man bandages. Oddly, they make him look like Eddie Cantor.

I would like a movie where Humphrey and Eddie play brothers, please.

The reason I forgot most of the movie is that the plot stuff isn’t that interesting, once you get past the weird directorial devices, but you have Bogie & Bacall, and Agnes Moorehead, and a good smarmy turn by ex-Our Gang actor Clifton Young as a gloating blackmailer. Very peculiar to have interest in a film decline when Humphrey Bogart comes in. But he does get to say, to Young, “Tell me, or I’ll shoot it out of you!”

From a novel by eccentric noir/pulp specialist David Goodis, a favourite of the French (SHOOT THE PIANIST, MOON IN THE GUTTER), the film delivers plenty of bizarre stylistic touches, apart from yesterday’s trumpet massacre. Bogie keeps meeting people who randomly want to help him and believe him to be innocent. A friendly cabbie leads him to the rather disreputable-looking plastic surgery who messes his face up. This leads to a groovy ’40s-style expressionistic nightmare sequence ~

The fascinating thing is the way so many of Daves’ techniques separate Bogart’s face from his body. Or other peoples’ faces from their bodies. The location stuff at the start evidently created sound problems — the camera tends to pan off people before we hear their voices. Of course, the gigantic sound kit of the period couldn’t even fit in a car, so the driving scenes had to be done mute. Bogart has a VO to help us through his POV scenes, but when the actor steps onto the screen for real, wrapped up like the mummy, he is unable to speak because of his operation, and the VO doesn’t come back. Daves even shoots part of a conversation over coffee and candlelight through a window during a rainstorm, so Bacall’s dialogue is unheard.

Maybe because our hero loses his birth-face partway through the story, this separation of face and vocals seems appropriate, somehow meaningful…

An odd thing: with his face and name changed, nobody recognizes Parry, despite his having the most recognizable voice in Hollywood…

Shot with his own trumpet

A clue: the trumpet is a woman’s weapon.

Expressive carpet’s eye view.

This is what I’ll do when I’m lazy: post an image or two and invite people to name the film.

I am a boy

I think we all have things like this… here’s mine.

I was talking to students yesterday – and what a relief to be actually talking to students, maybe even TEACHING, as opposed to endless admin…

Anyway, I was talking to students and the conversation triggered a memory…

I think we all have things like this… but I don’t have many because I’ve solved most of mine. We all have memories of things we saw on TV where we didn’t know what they were, maybe because we tuned in late or we were too small. But an image stuck in our minds and haunts us. The mystery is part of it, though the thing would still have resonance anyway. I think mine were pretty mysterious and fantastical — one I recently solved was BLACK ANGEL, which I knew I saw as a supporting short in front of SOMETHING during my dim youth — it turned out to have been screened with THE EMPIRE STRIKES BACK. Though the short itself is flawed, it does have a lot of the style and atmosphere I remembered…

Anyway, the conversation triggered a memory… There used to be shows on BBC2 “For Schools and Colleges,” and occasionally we got to watch them in school. I think maybe a teacher was sick on this occasion but for some reason we as a class — this was primary school so I was between five and eleven… closer to the latter… so figure mid-to-late seventies. And we saw a short film…

I’d say it was British and probably BBC-made. A boy was wandering on a beach. He considered getting in a barrel or drum and the had a vision of himself drifting helplessly out to sea. Then, even scarier, he explored a sea cave. There was an echo, and he played games with it. At one point he shouted “I – am – a – boy!” and the echo came back: “I – am – a – aaaa!”

I think he ran away at that point and I’m surprised we didn’t also.

I have no idea why I was subjected to this alarming film in school at such an impressionable age. I’m kind of glad I was though. I’ve probably forgotten everything else that happened in school that year. But What Was It?

If you can’t help me, tell me your own mysteries.