Archive for June 24, 2019

The Wrong Films

Posted in FILM, MUSIC with tags , , , , , , , , , , , , on June 24, 2019 by dcairns

A strange day of interventions by fate — we panted up the road to see THE WINNING OF BARBARA WORTH, a Henry King late silent with Kevin Brownlow intro and Vilma Banky, Ronald Colman and Gary Cooper in the leads — but I got the cinema wrong and when the lights dimmed, Renoir’s TONI appeared on the screen in a new restoration. My only regret was missing the RARER film. I hadn’t seen the Renoir before and of course it’s very fine, though none of the cast seemed able to reach the upper pitches of emotion the script demands. At one point Toni insists his wife stop screaming, when she’s been doing nothing of the kind.

But what an ending!

Then I thought we’d better get coffee so I didn’t pick the wrong cinema again, and when we got back from it, UNDER CAPRICORN was completely packed out. So we went up the road to the Lumiere and saw LA MASCHERA E IL VOLTO, a 1919 Augusto Genina film which turned out to be a splendid Italian comedy anticipating aspects of DIVORCE: ITALIAN STYLE in its jet-black approach to the comic possibilities of uxoricide. A husband who has expressed approval of Othello’s honorable way of resolving marital difficulties is undone when he discovers his wife has strayed. He can’t bring himself to actually strangle her, but he orders her to leave the country so he can tell everyone he DID kill her — so he can be a feared murderer rather than a pathetic cuckold. Things go awry when he hires for his defense lawyer his wife’s lover. A great line: “The ridiculous always seeks out those who are afraid of it.”

Then we split up — Fiona & Nicola going to see a noir double bill of THE DEVIL THUMBS A RIDE and THE THREAT, but succumbing to heat and sleep deprivation during the second — me going to see the brilliantly restored MEMPHIS BELLE, introduced by director William Wyler’s daughter Catherine, along with THE COLD BLUE, a new documentary made by Erik Nelson from Wyler’s rediscovered rushes, and then having a couple of Aperol Spritzes.

The immediacy gained by MEMPHIS BELLE’s colour photography now that you can actually see the B-17 pilot’s five O’clock shadow in a long shot — it’s that pin-sharp — really makes a difference in a you-are-there kind of way. Everything Peter Jackson promised and failed to deliver with his crappy colorization is authentically provided here.

We all met up for MASQUE OF THE RED DEATH, which a mistake in the programme COULD have caused us to miss. As it was we had to bolt our dinner. But it was worth it. “I have never seen reds so red or blacks so black!” Fiona exclaimed. A very new 4K restoration which made this handsome, eccentric, alternately campy and poetic film glow.

“The Fall of the Blouse of Asher,” Nicola christened it. Which nails the campery aspect, but it has this compelling comic-book Bergman side to it too. Corman’s direction, Roeg’s photography, David Lee’s score, and the best ensemble cast Corman ever assembled outside of ST VALENTINE’S DAY MASSACRE. Very nice, very nice indeed.

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