Archive for November 18, 2021

Traveling Matte Finish

Posted in FILM, Science with tags , , , , , , , , , , , , , , on November 18, 2021 by dcairns

Joe May’s career has a curious shape. From detective series starring Anglophone-sounding heroes called Stuart Webbs and Joe Deebs, he graduated to epic adventure films starring his wife Mia, then sold his studio and went to work for UFA, reaching an artistic pinnacle with HEIMKEHR and ASPHALT. When sound came he turned his hand to musical comedy, and kept at that as he emigrated rapidly through France and Britain and wound up in Hollywood where he made another, MUSIC IN THE AIR.

His American career was patchy, and declined rapidly to B-pictures, but these are not terrible. He never made a little classic like his protege E.A. Dupont’s THE SCARF, but he never made THE NEANDERTHAL MAN either, so there’s that.

During his speedy passage through France, he managed to make three films, and two of those he made twice: PARIS-MEDITERRANEE (1932), for instance, was shot in French, and again in German (as ZWEI IN EINEM AUTO). Presumably the French contacts helped May get out of Germany the following year. The French version was a Pathe-Natan production, and I got hold of a scrappy off-air recording of it back when we were making our documentary NATAN. Somebody subsequently made very good subtitles for it, and Fiona and I just watched it.

Charmant! Annabella is lovely as ever and her then-husband Jean Murat essays a totally convincing English accent throughout. Scenic views of the Riviera. All very fuzzy, with an intermittent sound problem that makes everyone like they’re snorting helium at the bottom of a well while wrapped in vinyl sheets.

The movie is nothing remarkable, except that the early sound musicals are full of invention, even when the stories are souffle-light and not particularly memorable. This one ends, for instance, with the two comedy relief idiots hanging off a tree over a cliff on the Riviera, with the jealous Spaniard (José Noguéro) biting the buffoonish accountant (Frédéric Duvallès) on the bottom. It’s not exactly LE REGLE DE JEUX.

More big thick matte lines for us to enjoy, though! Tricky to be making a romcom road movie a year before the Translux scene was gifted to the film industry by its inventor, Yves Le Prieur, making rear-projection a vastly more effective technique, and making KING KONG possible. If the film had been silent, May could have filmed the car stuff for real, but a talkie needed to be filmed in the studio, so we get Jean Murat and Annabella haloed with wavering jagged white outlines that keep biting off portions of their heads you would not think they could do without. Excellent stuff. Even if the film were not as charming as it is, that kind of thing could make it endlessly diverting. Elsewhere May rapidly cuts together real car POV shots with our heroes outlined against a perfectly blank whiteness, as if driving into Jimmy Stewart’s nightmare limbo in VERTIGO.

Wagons, who?

Posted in FILM, literature with tags , , , , , , , , , , , , on November 18, 2021 by dcairns

My copy of Eureka! Masters of Cinema’s JOHNNY GUITAR Blu-ray arrived yesterday, chunky and resplendent with extras, including the video essay I made with Chase Barthel and featuring Jessica Martin as Joan Crawford, Jeff Johnson as Philip Yordan, Isaac Brooks as Nicholas Ray, and my crudely-animated plasticine sculptures of same. Also an interview I conducted with Ray’s widow Susan, covering Ray’s memories of the traumatic shoot, and his lessons as teacher.

The best writing I found on the film to drawn upon was by the late James Harvey in Movie Love in the Fifties, and, especially, by V.F. Perkins, who later collaborated with Ray on an unmade feature project. Must get his book.

Furthermore, Shadowplayer Tony Williams just sent me this link to his review of Arrow Video’s MAJOR DUNDEE, for which I also did a video essay, edited by Stephen C. Horne. Many thanks! Glenn Erickson, who contributes several of the disc’s best features, also reviewed me favourably here.

And I have THREE more exciting projects at various stages of development which I can’t talk about yet. Except to emphasise how exciting they are.