Archive for Al Muloch

Crime Jazz

Posted in FILM with tags , , , , , , , , , , , , , , , , , on July 19, 2019 by dcairns

JAZZ BOAT, seen and enjoyed and wondered at thanks to Talking Pictures TV. Ken Hughes directed this boggling jazz musical crime comedy thriller, a star vehicle for Anthony Newley, who pretends he’s a master thief knows as The Cat, and gets mixed up with a criminal biker gang led by James Booth. Every scene depending on the anticipation of violence between these two “toughs” cracked me up.

Booth’s gang also features David Lodge in a beard and specs that make him resemble Nick Frost — his character, Holy Mike, is a kind of ironic religious maniac in black. Added muscle is provided by Al Muloch from the openings of THE GOOD THE BAD AND THE UGLY and ONCE UPON A TIME IN THE WEST, as a real gone thug, maybe the most substantial part of his tragically shortened career. And then they’ve got Bernie Winters as back-up, and busty Anne Aubrey as “the Doll,” whose going with Booth but somehow can’t keep her hands off Newley. He must have had something, I suppose.

“He was quite good as the Artful Dodger,” admits Fiona.

“With a walnut up his nose,” I remark.

“What?”

“A walnut.”

“WHAT?”

“He played the part of the Artful Dodger with a walnut up his nose.”

“WHAT?”

“Anthony Newley. Played the Artful Dodger. With a-“

“Whose idea was that?”

“David Lean’s, I suppose.”

“But that’s child abuse!”

“No it isn’t. Kids love shoving things up their noses.”

“But it might have gotten lodged, and gone deeper…”

“Well they could just have got… Mark Lester to go in after it.”

“Why Mark Lester???”

“Well, he was little…”

“But he was in a different film. He was in OLIVER!”

“Oh yeah… Well, that’s ideal. He’d have been REALLY little…”

Shoving aside the thought of an unborn Mark Lester being injected up Anthony Newley’s nostril in some grotesque nasal parody of FANTASTIC VOYAGE, we return to JAZZ BOAT. Lionel Jeffries plays a tough police inspector, and this oddball casting works great, because he’s a really good actor. All the oddball casting is defensible except that Newley and Booth are the same type, and Newley can’t suggest his character’s innocence.

The film opens in Chislehurst Caves where Ted Heath and his Band are playing and we meet all the characters, and a fight breaks out.

Then there is some quite decent storytelling where we see how Newley gets mistaken for the Cat, and how he’s honest, really, and then gets roped into doing a crime with Spider’s gang.

There is, eventually, a jazz boat, but it has little to do with the plot. Within minutes, it seems, the film is showing us Newley in drag trying to escape the gang’s revenge, then showing Booth and poor Aubrey slashing each other with razors. Then the boat docks at Margate and we may remember the Archers’ bit of doggerel about that town, and there’s a chase through Dreamland, the funfair immortalised by Lindsay Anderson in his free cinema documentary — a film which now looks a bit worrisome in its aghast depiction of working-class entertainment.

We never find out who the real Cat is, which seems like a big loose end. But then, this whole film, handsomely shot by Ted Moore with Nic Roeg operating, is a giant, marvelous blunder, a skull-throbbing offense against taste and tone and logic and genre — put together by professionals, so the bits don’t quite fall apart even though they might do better if they did.

I really want to see IN THE NICK now, made the same year of our Lord 1960 by mostly the same culprits, many with the same character names, but it doesn’t seem to be available anywhere.

JAZZ BOAT stars Heironymous Merkin; Prof. Joseph Cavor; Pvt. Henry Hook; Jelly Knight; Knuckles; and Clang.

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Nonce Upon a Time in the Midlands

Posted in FILM with tags , , , , , , on June 2, 2012 by dcairns

THE MARK seems to be pretty well a forgotten film — which is a shame because it has strong performances and a daring theme. Stuart Whitman, who got an Oscar nomination which marked the peak of his career — if anything, the film may have hurt him professionally — plays a man convicted of child abduction and released after a prison sentence and group therapy conducted by Rod Steiger. He’s theoretically “cured” of his pedophile impulses, and embarks on a relationship with secretary Maria Schell.

Manchester in this movie is a pretty cosmopolitan city — Whitman is American playing Canadian, Steiger is playing Irish, Schell is unmistakably German. Interiors were actually filmed in Ireland (where presumably the Church welcomed a film on this subject?), and among Whitman’s fellow convicts are Eddie Byrne and Al Mulock (the knuckle-cracker from the opening of ONCE UPON A TIME IN THE WEST — who committed suicide on the set of that film).

The film is compassionate, sometimes ploddingly earnest, but Guy Green’s direction does include some elegant lap dissolves drifting into flashback — the idea here isn’t anything bold (the really hep film-makers were into direct cutting at this point) but long dissolves that creep across a b&w ‘scope frame are always beautiful to look at: think THE INNOCENTS.

Where the film has dated is probably its assumption that pedophiles can be cured, which at present looks doubtful. With the simple faith in Freud common at the time, the movie posits that a domineering, puritanical mother and weak father have rendered Whitman unable to face adult female sexuality, leading to his libidinous impulses taking a predatory interest in children. He abducts a little girl but can’t go through with assaulting her, which allows the audience to retain some kind of sympathy with him. Steiger’s aggressive therapy sessions force Whitman to confront his demons and he leaves prison ready to begin a mature relationship. But is society ready to have him back?

The demonizing of the press, with their panic-stirring moral campaigns, does still feel relevant — is there any subject more muddled in hysteria in the UK than child sexual abuse? And this problem is all the more serious because there are matters of genuinely tragic import within it. The fact that the media recognize no distinction between a pedophile — someone sexually attracted to children, which seems to be as innate a condition as any sexual preference, and therefore a biological rather than a moral failing — and child molesters, who are people who CHOOSE to act on those impulses and are therefore both morally and criminally guilty (and likely more motivated by a desire to control and cause suffering than by biological imperative) — means that it’s quite hard to sanely discuss the issues. The fact that the law here seems to regard a pornographic drawing as just as sinister as an actual photograph suggests that the natural revulsion to child abuse is possibly clouding the clear-eyed judgement essential for protecting children from harm. It seems like every time there’s a hot-button topic involving real dangers and real evils, a lot of people think the correct way to react is by being really stupid, as long as they evince the correct form of emotion. And I’m prepared to bet that many of the people calling for convicted child abusers to be killed, tortured or castrated are themselves deriving illicit sexual pleasure from their socially-conscious snuff fantasies.

That said, THE MARK is in many respects a fascinating period piece rather than a powerful drama, since it’s based on a naive understanding of how seemingly fixed sexual preference is. It would be great if a real “cure” existed — except that I’m sure a lot of reactionary fools would start applying it to other, perfectly innocent sexual quirks or leanings. But it might be amusing to have a world where everybody could switch preferences at any time.