Archive for the literature Category

The Sunday Intertitle: Quaker Boats

Posted in FILM, literature with tags , , , , , , , on January 31, 2016 by dcairns

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I was reminded of 1922’s DOWN TO THE SEA IN SHIPS by a Guardian article about whaling in the movies, prompted by Opie’s recent HEART OF THE SEA. There is a great deal of whaling — actual whaling, with actual whale death, in DTTSIS, which is not surprising I guess since it’s produced by the Whaling Film Corporation. Not, I’m guessing, a hugely prolific outfit. Though the intertitles quote Moby Dick (accurately, unlike those of THE SEA BEAST, an official adaptation with John Barrymore s a sexy Ahab, later remade as an even more ludicrous talkie), the company never even got as far as doing Melville. Perhaps they could have tried adding a whaling component into popular stories of the day?

Mass cetacean snuff footage is not the only thing that makes this hard to watch in places. The movie has a part-Chinese villain, “Samuel Siggs” (Jack Baston), a yellowface stereotype who goes undercover in whiteface to seduce the heroine while defrauding her father. So it’s about the yellow peril and miscegenation nightmares in Massachusetts.

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The other reason I’d heard of it is the presence of the juvenile Clara Bow, and here at least the film isn’t appalling. Bow is a screen natural from the first, shown scrapping with a little boy, and though she doesn’t apparently know how to make a fist when fighting (that would be unfeminine), she throws herself into the action in a blur of flailing arms, porcelain features contorted in feline snarl. Hooray!

Also — Clara in drag!

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By the end she’s properly girl, in summer dress in a field of flowers, but still untamed — popping up from the petals to startle her beau and make him break all his eggs. New Bedford’s first flapper is about to be formed.

I provoked hilarity n Facebook by reproducing the credit “Personally directed by Elmer Clifton,” a branding which even seems comic when used by Griffith or Stroheim. On the forgotten Elmer it’s ludicrous. But in fact Clifton’s work is very able, setting up the life of the Quaker whalers with ethnographic precision, expressive detail shots and elegant wides. He can’t find a way to reconcile the vigorous naturalism of young Bow with the slinking melodramatics of Baston, but then the whole concept of Baston’s character is a ghastly mistake anyway.

And here’s Mr. Clifton’s name again ~

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Airless in Wonderland

Posted in FILM, literature with tags , , , , , , , , , , , , , , on January 28, 2016 by dcairns

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I had never even heard of this 1949 British ALICE IN WONDERLAND. I have suspicions it may have been suppressed by Disney, but maybe it was just judged not entertaining enough. But if so, how to explain the 1972 ALICE’S ADVENTURES IN WONDERLAND, possibly the least entertaining thing since the Aberfan disaster, which got tons of airplay in my dim youth?

This one has wonderfully smooth stop-motion animation — their ways of integrating the live-action Carol Marsh (of BRIGHTON ROCK fame) are simple, but adequate. Split-screen predominates rather than matte shots or rear projection. Lou Bunin, whom I had never heard of, was in charge of animation. A Russian-born American and former apprentice to Diego Rivera…

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Unfortunately the script pursues some pointless conceit of Lewis Carroll’s characters all having real-life analogues. This extends the framing structure endlessly, a real problem since the movie also reproduces all of Alice’s to gain access to the garden of Wonderland — I’ve never seen the caucus-race presented on-screen before, and now that I have I understand why it’s usually cut.

Pamela Brown plays Queen Victoria and voices the Queen of Hearts. A couple of other popular actors do voice-only duty: Peter Bull (unspecified role/s) and Joyce Grenfell (Duchess AND Dormouse). There’s a preponderance of French crew, including Claude Renoir as co-cinematographer.

It’s curiously unaffecting, maybe because the material is so familiar and the film does nothing very effective to re-energize it. There’s an arch style of playing which nearly everybody adopts when doing Carroll (which is why Ian Holm’s White Knight is so startling), and you then need either magnificently odd production design or some other means of refreshing it. Here, the smoothness of the animation is coldly admirable but the designs and characterisations aren’t uniformly beautiful or charming, though there’s some nice use of Regency stripe and some of the flattened stylisation is pleasing in its approach to Yves Tanguy.

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Worse, it isn’t funny. Disney’s version is criticised for Americanizing the characters but it does have a certain slapstick energy. When I saw it as a kid, on a double-feature with CANDLEWICK, it made me feel stoned, before I knew what that was. It’s interesting that Disney couldn’t completely Disneyficate this unconducive material. One reason I hated the Tim Burton version more than I hate my own body is that it mutilates and malforms Carroll’s nonsense into a bogus “empowering” Disney princess tale. There aren’t enough thunderbolts in heaven to punish anyone who (a) thinks that’s a good idea (b) attempts to do it (c) breaks box office records by doing so. The only good thing is that schoolchildren drawn to the book by the Burton monstrosity are due to have their minds blown all over the nursery walls by the unexpected psychedelic hilarity.

A softly falling silent shroud of snow

Posted in FILM, literature, MUSIC, Television with tags , , , , , , , on October 31, 2015 by dcairns

This is really wonderful. I didn’t know the classic story it’s based on, by Conrad Aiken, but it’s beautiful and very very strange. This semi-professional filming (the IMDb doesn’t know of its existence) manages a kind of expressive naivety in its effects which works well. The same filmmaker, Gene Kearney, later filmed the story again for Rod Serling’s Night Gallery, with Orson Welles as narrator. I must see that, though I sort of doubt it will be as good in colour, with an NBC TV look to it. The narrator on this version does great. But I must admit I’m psyched to hear Welles do it. Where did I put my set of Night Gallery season 2?

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Found it! Wonderful to hear Welles at work on this text, and the episode justifies the whole existence of Night Gallery (which, let’s face it, was frequently crummy) — it’s the kind of material one simply can’t imagine seeing on television. Having said that, feeding it through the NBC de-flavouring machine does result in a loss of visual atmosphere. In the b&w version you COULD close your eyes and still enjoy it, but you really WANT to watch.

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I’m reminded of the fact that the great Wendy Toye remade her own masterpiece, THE STRANGER LEFT NO CARD, as an episode of Tales of the Unexpected. I’m very curious to see it, but despite a TOTU box set and constant TV replaying, that one never seems to turn up…

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Note: the ending of Youtube’s SSSS seems abrupt, and comes before the last couple of lines of the short story. Truncation was suspected — but Night Gallery trims the show at exactly the same line, so I guess that’s Keirney’s decision, and all that can be missing is some kind of end title.

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