Archive for the FILM Category

Mutant Testimony

Posted in FILM, Science, Television with tags , , , on May 26, 2015 by dcairns

vlcsnap-2015-05-26-09h14m54s75

Sort of a follow-up to the sci-fi themed blogathon action.

We really enjoyed RETURN OF THE FLY (which has the same initials as Rolling On The Floor) some time back, particularly the moment when a telepod accident with a rodent produces a kind of Frankenstein hamster. There was seemingly something in the water at Twentieth Century Fox in the fifties, so that their science fiction output was more demented than most — check out THE ALLIGATOR PEOPLE sometime.

The first FLY sequel was directed by one Edward Bernds, whose career fluctuated from goofball space movies (QUEEN OF OUTER SPACE) to Three Stooges comedies, and we resolved to check out more of his marvels sometime. The chance came with WORLD WITHOUT END, a fairly poor film which is not without interest. Sadly, the most ridiculous thing in it is a giant killer bug which springs out at the heroes suspiciously as if drop-kicked into shot by a stagehand. Much of the rest is dull, but the film anticipates other, better movies, in a variety of ways.

vlcsnap-2015-05-26-09h11m57s91

Our heroes are astronauts whose Martian mission is blown wildly off-course — they find themselves accelerating out of control, eventually coming to rest on a wild planet inhabited by scary goofy mutants. When this planet turns out to be Earth in the future after an atomic war, the parallel with PLANET OF THE APES is complete. All that’s missing are the apes.

Instead, the movie posits a humane race divided intwo two breeds — the fey wastrels moping about underground in a science-bunker, and the rampaging uglies on the surface. Thus the movie has inverted the Eloi/Morlocks dichotomy from HG Wells’ The Time Machine. And, delightfully, one of the astronauts is played by Rod Taylor, who would go on to star in George Pal’s lovely adaptation of the Wells novel. He’s pretty good here too, giving the whole thing more conviction and dynamism than it deserves, and almost more than the flimsy set walls can contain just because it would kill him not to.

vlcsnap-2015-05-26-09h16m00s221

Bernds’ self-penned script is otherwise pretty dopey — the heroes remark regularly on the strange fact that the listless subterranean dweebs are blessed with curiously dynamic womenfolk, but no explanation for this is ever offered. And, despite having more vim than the men, the women have not taken over, as they often seem to in dystopian fantasies — they are content to be led by a council of crapulent pantywaists.

vlcsnap-2015-05-26-09h15m03s168

I kind of wish I’d seen this movie as a little kid, because I would have been quite impressed with its minor virtues and overlooked its glaring flaws. But on the other hand, I’m definitely glad I had my mind blown by PLANET OF THE APES and THE TIME MACHINE first.

The other seminal sci-fi movies of my youth, mostly seen in BBC2 seasons, were FORBIDDEN PLANET, THE INCREDIBLE SHRINKING MAN (the ending!), THE DAY THE EARTH STOOD STILL, THEM! (the beginning!), and I guess WESTWORLD and SILENT RUNNING. I was less taken with WHEN WORLDS COLLIDE and so-so on THIS ISLAND EARTH. THE ANDROMEDA STRAIN seemed cold and slow. Movies that would surely have entered my DNA, but which I didn’t see until I was a bit older, were things like THE FIRST MEN IN THE MOON, THE THING FROM ANOTHER WORLD, INVADERS FROM MARS (one of the only two copies of Famous Monsters of Filmland I ever owned cautioned that this movie was one of the very few it would NOT recommend for small children, which of course made me very keen to see it) and IT CAME FROM OUTER SPACE.

One summer holiday I was playing in the garden when my Dad told me there was something coming on TV I might like, something he’d enjoyed as a boy — the original FLASH GORDON movie serial. Watching it again, he was kind of shocked by its hoakiness, I think, but I was awestruck.

I was devoted to Dr Who, hiding behind the sofa or outside the door when the scary title music played (Delia Derbyshire’s weird sounds), and Star Trek was sometimes scary but always colourful, even on a b&w TV, it seemed.

vlcsnap-2015-05-26-09h13m57s250

Big screen experiences of sci-fi were not so successful for me, until STAR WARS. I was lucky to see the original KING KONG projected, which was a seminal moment, but LOGAN’S RUN freaked me out (I was too young to be seeing it, surely — not sure how that happened) and I have vague memories of a science fictional submarine movie that bored the life out of the whole family. STAR WARS which I was simultaneously obsessed by and a little disappointed in, having built it up in my head first, was followed by CLOSE ENCOUNTERS and a re-release of 2001, both of which were a lot less child-friendly but probably did a lot to advance my cinematic thinking, even if I wasn’t ready for where they were leading me yet.

Not Wanted On Voyage

Posted in FILM with tags , , , , , , on May 25, 2015 by dcairns

vlcsnap-2015-05-25-10h31m37s19

My late friend Lawrie Knight was an assistant director in the 1940s. He did some work for the Boulting Brothers, among others — I’m not sure what the film was. One time, he found himself trapped in a kind of airlock with one of the twins — not sure which, let’s just say Roy. Or John. The airlock was the space between the outer and inner doors of the studio, and just as they had passed through the outer doors, the red light had come on, signalling filming (not doubt under the aegis of the other brother, John. Or Roy.) So they were stuck at close quarters for a few minutes.

During the awkward silence, Roy (or John) noticed Lawrie’s school tie. And because it was a tie from one of our better public schools, he immediately started treating Lawrie a lot better, And Lawrie, who would confess to being a bit of a snob himself at times, was appalled, thought “You idiot,” and generally thought far less of John (or Roy) Boulting thereafter.

I mention this because TRUNK CRIME, an early (1939) opus, produced by John and directed (and edited) by Roy, deals with school in a way, and conveys a rather anxious view of it, perhaps anticipating the brothers’ 1948 film THE GUINEA PIG.

vlcsnap-2015-05-25-10h31m22s117

Manning Whiley plays an over-aged college graduate who takes a hideous revenge on the young man who’s bullied him since their days at public school, even to the point of once burying him alive. At the start of the story, the bully and his drunken pals break into Whiley’s digs and trash the room in a home invasion scenario only slightly less brutal and shocking than that in CLOCKWORK ORANGE. Deranged with impotent fury, Whiley proceeds to drug his arch-enemy and lock him in a steamer trunk, having informed him just as he becomes insensible of his intention to ship him to his cottage in the country and sink him in quicksand.

It’s an unusual scenario: the victim is utterly unsympathetic, and the villain is someone you feel a lot of compassion for, but you can’t quite go along with what he’s contemplating doing (I nearly can: I hate bullies). Of course, Whiley is forever bumping into people who randomly want to open his trunk and have a shufty inside, and even Patch the dog, who gets his own screen credit, is very curious. It’s all very ROPE — some of the plot developments don’t quite convince or compel, and Boulting should have hired someone else to edit it — when we edit our own stuff, we often don’t try hard enough to solve our directorial mistakes, accepting them as somehow inherent. But it has a very nice denouement — we suspected the movie’s heart was in the right place, and it is.

Fiona, wandering in midway, couldn’t believe it was called TRUNK CRIME. There’s even a newsstand bearing the slogan ANOTHER TRUNK CRIME, so presumably this was a common phrase in 1939. I can’t seem to find out exactly what it meant, but I doubt it typically involved doping people, packing them up and submerging them in a handy quagmire. “Does he have a trunk?” she asked. “He has two,” I replied, which is true. There’s some unnecessary detail about Whiley planning to substitute one case for another. “Should it be called TRUNKS CRIME then?” But I think that might have suggested a crime committed by a swimmer.

vlcsnap-2015-05-25-10h32m22s200

Manning Whiley is good at being high-strung, that’s for sure. His every utterance is a-quiver with neurasthenic fervor. He also looks oddly Japanese. I see he was born in Australia… well, anything’s possible down there.

The movie also features a shockingly young and unrecognizable Thorley Walters, though once you get over the shock, his acting style is quite consistent. The bluff, ruddy, dopey Dr. Watson manner he assumed in all his Hammer performances has quite a different effect when filtered through the personage of a gangly youth — he’s much more of a P.G. Wodehouse twerp from the Drone’s Club. Interesting.

vlcsnap-2015-05-25-10h30m43s205

Walters, left.

Boulting, anticipating Carol Reed, is not shy about getting his Dutch tilts out. (Why are they called Dutch tilts? Isn’t Holland notoriously flat?)

The Whit Sunday Intertitle: Crossing Delaunay

Posted in FILM, Painting with tags , , , , , , , , , , on May 24, 2015 by dcairns

ptitparigot

Marvelous Mary came back from the Sonia Delaunay exhibition at the Tate, clutching the catalogue and full of enthusiasm. I was totally unable to procure the Delaunay-designed 1926 movie LE P’TIT PARIGOT, a clip of which had entranced Mary, so we settled for Marcel L’Herbier’s LE VERTIGE, costumed by Delaunay the same year, which the IMDb doesn’t even know she did (sharing screen credit with Jacques Manuel).

LE VERTIGE is pretty slow and dull dramatically, but the production design by a team including top architect Robert Mallet-Stevens and Delaunay’s husband Robert, is really striking. Sadly, there aren’t many of the striking patterns she made her name with. L’Herbier’s lover and star Jaque Catelain does turn up with a nice robe at the 105 minute mark, and there’s a Mexican stand-off at the end by two men both attired in fabulous scarves, but that’s your lot.

vlcsnap-2015-05-22-23h30m48s52

Compare with the designs for LE P’TIT PARIGOT ~

ptitparigot3

ptitparigot4

Or this stunning set of jammies modeled by architect Erno Goldfinger (whose name inspired the Bond villain) ~

goldfinger

If I owned a set of jim-jams as stylish as that, I wouldn’t think twice about detonating a nuclear device in Fort Knox either.

Still, LE VERTIGE has something else: a storyline which seems closely connected to Hitchcock’s similarly-titled 1959 necrodrama. The movie opens at the height of the Russian revolution. The jealous General Mikhail (Roger Karl) shoots his rival Jaque Catelain in full view of his straying spouse, Emmy Lynn. Then the revolutionaries burst in and bayonet the prone philanderer. So he’s dead, right? Shot in the heart and bayoneted by the entire Russian revolution, he’s dead. Rumours of his death are not only NOT exaggerated, we can say they don’t go nearly far enough.

So imagine Emmy’s surprise when Catelait turns up on the Cote D’Azur years later, alive, smirking and driving a speedboat. The same smile, the same lipstick, the same guyliner. Positively the same Catelait.

vlcsnap-2015-05-22-23h33m43s36

She now attempts to recreate this passionate affair with the doppelganger of her lost love, and it works pretty good too, from what one can gauge between passionate fadeouts, but she still has that jealous husband.

“Did Hitchcock see this?” asked Fiona. We agreed it was possible, but perhaps more likely that Boileau et Narcejac, the writing team behind the novel D’entre les Mortes, Hitchcock’s source, saw it. In VERTIGO, Both Kim Novaks are the same character. In LE VERTIGE, there are two Catelains, their resemblance coincidental. Jimmy Stewart’s vertigo is a literal acrophobia, but it’s also a spiritual terror, a fear of falling out of one’s place in time, into the past, and a desire to do so. That feeling is already present in LE VERTIGE, and accounts for all Emmy Lynn’s swooning fits, I guess.

More Sonia Delaunay to enjoy — in colour! (And with the promised intertitles.)



Follow

Get every new post delivered to your Inbox.

Join 568 other followers