Preview of Coming Attractions

Posted in FILM with tags , , on July 28, 2015 by dcairns

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Remember how I was going to revisit all the directors I’ve devoted a week to? I still have Preminger, Borzage, Milestone and oh, several others to do. I got interrupted by Edinburgh Film Festival but I’m going to get back into it.

And I’m going to do a week on Seventies Sci-Fi movies. And television. Your suggestions are welcome. You can probably guess some of the things I’m going to tackle, but I’d love to hear about what you’d be interested in. It’d be great if there’s some stuff I haven’t seen.

And I’m going to bring back Film Club — where you are all invited to watch a movie and then I’ll do a big blog post on it and we can discuss it. So I have homework for you — can you all get ahold of THE KNACK…AND HOW TO GET IT, please? This was the first film I ever wrote about on Shadowplay and I like revisiting it. It’s like a great smorgasbord of film style. Paul Schrader likes PERFORMANCE and THE CONFORMIST to nick from, I like THE KNACK.

And I’m hoping to make a short film soon — more on this as it develops. I have Big Plans.

 

 

Script Creepers

Posted in FILM with tags , , , , , , , , , on July 27, 2015 by dcairns

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I’m addicted to screenwriting books — searching for the ultimate secret! — and to books of interviews with film practitioners, so I should have liked Declan McGrath and Felim MacDermott’s book more than I did. It’s either called Screencraft Screenwriting, which is what it says on the front, or Screenwriting Screencraft, which is what the spine says. And that’s a clue to the central problem. (In fact, it’s an entry in a series called Screencraft, with this being the volume devoted to the script. But you wouldn’t know that.)

A book about writing should be readable, but this one is hampered by a weird format. George Axelrod is just saying “As you write the script, you know Audrey couldn’t possibly say something so ~” and you turn the page, and instead of the end of the sentence you have four pages of stills of Marilyn Monroe and Frank Sinatra, with lengthy captions and a letter about censorship problems. Should I read this now, before I find out what Audrey couldn’t possibly say?

But there’s worse. William Goldman is saying “You are seeing the city at night, you are seeing this kid in terrible pain, you are seeing the bad guys coming after ~” and then we get four pages of stills and script pages (printed very small so you need a jeweller’s eyeglass to read) with accompanying commentary by Goldman on the pages. It’s a whole essay embedded within the essay.

This makes the book kind of a nuisance, even though most of what’s said in it is interesting. It’s probably more the publisher’s fault than the authors’.

Goldman probably needed nudging to say something he hasn’t already said in his various books, and it’s a shame to have Jim Sheridan, one of the maddest, most brilliant raconteurs I’ve ever heard, simply explaining the basics of three-act structure. He does come up with some good suggestions as to WHY the structure is useful — a script needs to have a strong point of view, but unless you’re careful, “It is like being stuck in the pub with someone who is telling you a very personal story and you begin to feel that this person is compelled to tell you that story whether you want to hear it or not. You start to feel uncomfortable. Structure can help the writer avoid creating that uncomfortable feeling in the audience. It works as a necessary impediment to that potential torrent of emotion.”

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It’s also great that the book has contributions from Kaneto Shindo and Suso D’Amico and Krzysztof Piesiewicz, people who don’t usually get asked questions about screenwriting in this kind of study. One screenwriting book uses THE KARATE KID as its example of a perfect screenplay. It’s very nice to have a broader and, let’s face it, better range of references. Unfortunately, while the Americans (Schrader, Towne, Zaillian, Andrew Stanton) love to talk about the nuts and bolts of craft, writers outside Hollywood seem reluctant to get into specifics. There are some stories about directors (Vittorio De Sica was very superstitious), some generalities about working hard and using your own psychology, but nothing you can take to the bank, as Robert Blake would say. The exceptions are Ruth Prawer Jhabvalla, who is very explicit about her technique, and the great Jean-Claude Carriere, who has a very practical mind as well as a poetic one — some of which he seems to have learned from Tati. Writing is problem solving — or problem creation, perhaps.

Here’s a good bit ~

In DANTON, an important part of the script was that the two main characters, Danton and Robespierre, should meet only once. Before shooting we rehearsed the scene where they met, in Wajda’s apartment. The dialogue worked but there was some spark missing. I said to Depardieu (who played Danton), “I think there needs to be a physical contact between the two of you. Consider that it is easy for a judge to sentence someone to death but much more difficult to kill someone with his own hands. Now, what will you say to Robespierre?” Depardieu understood immediately. He took Robespierre’s hand and put it round his neck saying, “You feel this flesh, this neck, if you keep going your way you will be obliged to cut it.” This became one of the best moments in the film and it came from the collaboration with a great actor who gives more than he is asked for.

The Sunday Intertitle: Things I Read Off the Screen in Blackmail

Posted in FILM, Mythology with tags , , , , , , , , , , , , , , , , , , on July 26, 2015 by dcairns

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Glasgow! With silent film accompanist Jane Gardner, to see BLACKMAIL with live score by Neil Brand, under the baton of Timothy Brock. This was preceded by a special concert of Hitchcock scores — Webb, Rosza, Tiomkin, Waxman and of course Herrmann. It’s quite something to have VERTIGO blasted at you live. As for PSYCHO, a young couple to my left obviously regarded the shower scene as their song: as the violins shrieked, he mimed stabbing her in the back with an invisible knife, to her apparent delight.

Getting there, mind you, was a journey of Hitchcockian suspense — taking the bus to meet Jane we got caught in football traffic (ugh! the worst kind of traffic — even worse than badminton traffic) and arrived late, then scooted off in her Fiat 500, struggling to find a parking spot near the venue and then struggling to find the venue, eventually arrived seconds before the lights dimmed.

The BBC Scottish Symphony Orchestra did us proud, and there was a surprise treat in the form of a theremin for SPELLBOUND — I wasn’t at all sure such a thing would be provided — there are, after all, entire recordings of the SPELLBOUND score without a theremin — some wretched fiddler taking the part, I guess, I haven’t troubled to listen to such abominations. This was a delight.

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Then BLACKMAIL, which I hadn’t seen since Hitchcock Year, Maestro Brand’s score was thrilling, of course — with many playful references to the musical spirit of Hitchcock to come. The most overt was the extract from Gounod’s Alfred Hitchcock Presents theme (I know, I know, he didn’t write it for TV) played when Hitch makes his first true guest appearance. I wondered whether such references would distract me,  but in fact, the playfulness was discrete — it must have taken restraint not to turn the scene where artsy rake Cyril Ritchard waits while Anny Ondra changes into something more comfortable into a straight reprise of the similar scene in VERTIGO.

The score, in fact, worked wonderfully, the proof being that despite the visible presence of the orchestra between us and the screen — Brock’s hands would occasionally rise into the bottom of the frame as he signalled a particularly vigorous moment — for much of the show we forgot the music except as part of the enjoyable experience of watching a story unfold on a screen. A smooth artistic synthesis was achieved!

Hitch’s cameo got me noticing how incredibly well handled all the extras are. The small boy who torments Hitch on the underground ends the scene, having been told off, standing on his seat and simply glowering malevolently at Hitch, like a raven from THE BIRDS. He doesn’t realize that Hitch has a short way of disposing of children on public transport. From then on, I was aware that each individual walk-on character, however crowded the scene, had a bit of personal business to distinguish them, and each performed his role perfectly.

I also started noticing writing. Some of what follows was noted during the show, some found afterwords, perusing the DVD.

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Receiving a radio message — “Flying Squad Van 68 — Proceed at once to Cambri” — the rest is unfinished — the van makes a 180 turn into Looking-Glass Land, where all the shop signs run backwards into a kind of cod-Russian cypher. Evidently nobody had shot a background plate traveling in the right direction, so they simply flipped the film. The store Dollond & Aitchison glimpsed here, is also advertised on the London Underground scene later.

Perhaps due to this confusion, when the Sweeney arrive at their destination, it isn’t Cambridge Street or Place or Circus of Terrace, it’s Albert Street. Perhaps close to Eastenders‘ Albert Square? Certainly in the mysterious East. Less salubrious than Hitch’s native Leytonstone.

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A slew of text inside. The criminal is reading The Daily Herald. An ad for Wrigleys in the bottom corner. Another newspaper lies on his desk, bearing his watch and revolver. We can read a headline about MURDER TRIAL and, at the bottom, the words I’VE FOUND IT! — probably another advertisement. Most amusingly, above the bed is a religious motto, GOD HELPS THOSE WHO HELP THEMSELVES. Ironic, since it seems our friend in the nightshirt has been helping himself a little too freely.

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The note Anny has received proposing a secret assignation ~

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Torn from a cocktail menu, it suggests a whole furtive nocturnal backstory. I like the abbreviated slogan “NIPPY” COCK — a partial directorial signature?

Anny’s despondent walk after she’s killed Ritchard is full of printed cues and clues. For one thing, she passes a poster advertising the climactic fight from THE RING, Hitchcock’s previous film, starring Carl Brisson, Anny’s lover from THE MANXMAN. The fight is staged at the Albert Hall, looking forward to THE MAN WHO KNEW TOO MUCH.

A neon sign in Piccadilly Circus, advertising Gordon’s Gin “The Heart of a Good Cocktail” dissolves so that a cocktail shaker outline becomes a hand stabbing with a kitchen knife — a ludicrous idea, but bold, and the call-back to the “nippy” cocktails is appreciated.

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IS PRAYER ANSWERED? A significant question in Hitchcock, directly addressed at the film’s climax, when Ondra apparently prays, and her decision to confess her crime is answered with the death of the blackmailer. See also THE WRONG MAN.

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Ondra’s family newsagent yields a plethora of signage! My eyeballs dart like frightened mice, from one corner of the screen to another to try and catch all the little textual nudges. Alice’s first sight of home is viewed through the reverse side of a shop sign, so we get mirrored lettering AGAIN — Alice is through the looking glass! The earlier accident begins to look deliberate. Confirmed when Alice stares at herself in her dresing table mirror just moments later.

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PICTURE SHOW — lower right. Ah, if only Anny had gone to the pictures with John Longden, we wouldn’t be where we are now. The reference may also remind us of the pieces of art in Ritchard’s sex garret, each of which has an accusatory role in the narrative. One is a laughing, pointing jester, the other is a sketch on canvas signed by Ondra.

When we see the phone booth again, from Longden’s POV, that sign has vanished, in the best ROOM 237 manner. On the left of frame is a possible explanation — a MYSTIC ERASER. Just what Anny needs to obliterate the past 24 hours as neatly as the obliterated her incriminating signature from Ritchard’s canvas.

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The booklets and other props around the phone booth will continue to change randomly throughout the scene, an uncanny peekaboo of discontinuity.

Ondra’s dad, Mr. White, is explicitly framed with a halo reading the word WARLOCK. Not sure why. But the shopkeeper dad is obviously a stand-in for Hitch’s own father, with whom he associated his fear of arrest. So although Mr. White is kindly, Hitch makes him a source of anxiety with this supernatural halo of occult lettering.

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Ondra has mentioned Edgar Wallace earlier — now a poster at floor level refers to Sexton Blake, stalwart hero of schlock thrillers, whose exploits had been printed in the Union Jack since 1894. The threat from ‘D’ (no idea who he is), “If Sexton Blake comes to Yorkshire, I’ll get him!”, gives the blackmailer’s first appearance a further underscore of menace.

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And finally ~

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SHAG (middle left). Obviously a reference to another fictional detective, Sherlock Holmes, whose favourite pipe tobacco this was.

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