Archive for Aldo Ray

Thrill Follows Thrill Follows Thring

Posted in FILM with tags , , on March 16, 2021 by dcairns

An Elizabeth Trailer! And Frank Thring is always good for a laugh, except when he actually appears, then the humour kind of dies in your throat.

The Pros

Posted in Fashion, FILM, Sport with tags , , , , , , , on October 17, 2018 by dcairns

Once again, Claire and Glenn Kenny anticipate me on PAT AND MIKE with an excellent piece I’m not even going to try to compete with. But it inspired me to watch the film for the first time, an easy sell for Fiona on account of the stars, particularly Aldo Ray. Come for Aldo Ray, stay to see Kate Hepburn beat up Charles Bronson.

This one also has William Ching in the schnook role as Pat/Kate’s betrothed, and a good central conceit — his presence “frazzles” Hepburn when she does sports — she’s a superhuman who can excel at anything, but not if he’s watching. There’s a great hallucinatory tennis match in which Kate’s racket shrinks and detumesces while her opponent’s (an intriguing Betty Page type in a satin costume) grows Brobdingnagian. Ching keeps turning up even though he’s not wanted — “I have never hated a man so much!” declared Fiona. And so the movie becomes an attractively progressive story, in which the initially exploitative Tracy character, her shady promoter, become a nurturing partner, highly preferable to the stifling stiff she started out with.

Watched this to get deeper into Cukor for a quick project I’m hopefully finishing today.

Cukor on Tracy/Hepburn: “Chemically they’re so funny together because they should have no rapport at all.” Accentuated here because Tracy isn’t playing a patriarchal authority figure, it’s a welcome return to his shady pre-code scoundrels.

But, aside from the Hepburn-Bronson fight scene, Aldo gets the biggest laughs as a dim boxer (a pure character role, a surprising transition from his introductory perf in THE MARRYING KIND). As when Tracy upends a card table to stop an after-hours poker game. A loud, plaintive and exquisitely drawn-out lament of “Now we’ll never know!” It takes about five seconds for this tiny sentence to be expressed, and it’s somehow touching and hilarious just because “Davie Hucko” thinks it’s an actual observation, something nobody would realise if he didn’t utter it.

Beautiful dialogue by Garson Kanin and Ruth Gordon, who have a way of garbling the language that’s semi-naturalistic, believable enough, but still stylised — every grammatical atrocity has its own demented poetry. Amid the real locations, with the real sports stars with their real human faces, the words are the most artificial element. A better film than ADAM’S RIB, we agreed, once you get past the weirdly huge amount of golf at the start.

Mail Anxiety

Posted in FILM with tags , , , , , , , , , , , , , , , on October 10, 2018 by dcairns

There’s this really interesting dream sequence in THE MARRYING KIND. Your basic anxiety dream, easy to interpret. Disgruntled postal worker Aldo Ray swept some loose ball bearings out of sight at work rather than clearing them up properly, and he’s worried they’ll cause an accident. Under the influence of too many cocktails, he feels his bed turn into a post office conveyor belt bearing him from his bedroom to the post office, which turns out to be an adjoining space —

   

That’s the best bit. The many ball-bearings that come scooting out to meet him are cute, but Cukor’s use of a single shot to travel from reality into dream, and the evocation of that weird spacial dislocation unique to the dream state (see also, Welles’ THE TRIAL, where the back entrance of the artist’s garret opens onto the law court offices; “That seems to surprise you,” lisps the artist, staring glassily).

It’s almost as good as the bed that becomes a car in Pierre Etaix’s LE GRAND AMOUR. Though our dreams typically see us leaving our bedrooms far behind with no hint of how way found ourselves elsewhere, movie dreams seem to benefit from keeping the idea of the bedroom in play — hence all those movies where the hero is in his pajamas to create surrealistic contrast with whatever scenario he finds himself wrestling with, and hence also Polanski’s use of bedroom sounds — breathing, the alarm clock’s tinny tick — to accompany his own uncanny dream sequences.

“If I ever had to do hell in a film,” Cukor told Gavin Lambert, “– no, not quite hell, let’s say purgatory — the New York post office would be the perfect setting.”

Cukor didn’t get to do many dreams, alas. He wasn’t likely to get many films noir, being a prestigious as he was, and the other genre associated with dreams, the musical, just didn’t lead him that way, unless you count his brief involvement with THE WIZARD OF OZ. A DOUBLE LIFE is his other hallucinatory one.

I really like that THE MARRYING KIND is a realistic comedy with a dream sequence. People in realist movies so seldom dream, and yet in ACTUAL reality, we all dream a lot. That’s why I like LOS OLVIDADOS better than anything by Ken Loach, even though it’s more depressing. Bunuel’s poor people still dream, though their dreams, as shown, are even more upsetting that Aldo Ray’s ball bearings.

Oh, maybe worth making a comparison to another Columbia picture —