Archive for Alice in Wonderland

At the Mountains of Madness

Posted in FILM, literature with tags , , , , , , on March 20, 2020 by dcairns

From the hardboiled classic You Play the Black and the Red Comes Up by Eric Knight (a Yorkshireman who moved to Hollywood, author of Lassie Come Home). The main speaker is flamboyant filmmaker Quentin Genter, engaged in a drunken evening with the narrator, Dick, and movie star Jira Mayfair:

“You see, I’ll tell you a secret. No one is sane here. No one is sane and nothing is real. And you know what it is?”

“Sure, it’s the climate,” I said, kidding.

“That’s it–exactly,” he said. His eyes were going sort of funny in the middle, and he was shouting in a whisper. He got real excited. “Dick, you know, you’re the only one man besides me in the whole world who’s discovered it. It’s the climate–something in the air. You can bring men from other parts of the world who are sane. And you know what happens? At the very moment they cross those mountains,” he whispered real soft, “they go mad. Instantaneously and automatically, at the very moment they cross those mountains into California, they go insane. Everyone does. They still think they’re sane, but they’re not. Everyone in this blasted state is mad. I’m mad. You’re mad. So is Jira. We’re all perfectly, gloriously mad.”

“You know,” he whispered again, real low, “we see things. Do you see things?”

“Sure,” I kidded. “I’ve never acted right since I’ve been here.”

“That’s it. It’s the climate. Now look, you see those mountains?”

He pointed out to where the hills went up, blue-black against the darkness, and with lights winding round on the roads like fire-pearls.

“Sure,” I said.

“There! That proves it,” he said.

“Proves what?” I asked him.

“Proves you’re mad,” he said.” You see those mountains there just like I do. And you know what?”

I shook my head.

“They’re not there,” he whispered. “You only think they’re there. And they’re not. It’s just a movie set. If you go round the other side of that mountain, you’ll see nothing but two-by-fours that hold up the canvas.

“And you see this restaurant? Well, it isn’t here. It’s a process shot. All Hollywood is a process shot. It’s a background just projected onto ground glass. And the only reason nobody knows that is we’re all mad.”

The novel was written in 1937. At some point, David Lynch was interested in filming it. It’s a slender volume, 134 pages with intro in my edition, but packed with incident. Each chapter could probably fill half an hour the way Lynch paces things, and they’re mostly about four pages long. I like the Mad Hatter reference here, and the whole phildickian fantasy reminds me of the early draft of THE TRUMAN SHOW, in which Truman prepares to go on holiday and the showrunners build fake pyramids a short distance from his hometown.

The Letters Column

Posted in FILM with tags , , , , , , , , , , , , on September 28, 2019 by dcairns

It’s worth trawling through everything in an old films and filming, from the small ads to the letters column. My June 1962 edition, the earliest I own, has Bryan Forbes writing in to defend his anti-union picture, THE ANGRY SILENCE, and the producer — also the director — of THE MASK — that part-3D Canadian horror movie with Slavko Vorkapich dream sequences — agreeing with the poor review the magazine gave his epic ~

You will have no argument from me since I would guess from editorial opinion and articles published that I agree in the main with your point of view. I deplore the gimmich film and the spurious attempts to bring people into the theatre. I went along with the point of view that the 3D sequences might be interesting enough from a fantasy point of view to make the project worthwhile. Believe me, we did try to give some credence and feeling in the 2D sections to an absolutely shoddy story. My greatest error was perhaps in not insisting on a better story. Mea culpa. I sincerely hope that my next film will be enough to expiate my sin and something we can both be proud of for Canada’s sake and mine. JULIAN ROFFMAN, 3 Ridge Hill Drive, Toronto. Canada.

I like THE MASK, personally, but only really for the dream sequences. The 2D is only useful as a kind of wadding to separate the dreams. But I like the voice saying “Put on the mask! Put on the mask!” but really meaning “Put on your 3D glasses!” It wouldn’t be half as good if it were all in 3D. (I would like Tim Burton’s awful ALICE IN WONDERLAND at least 5% more if he’d been allowed to make the scenes in England flat, as originally planned.)

Let’s see, what did Julian Roffman make next? Well, he never directed another feature. As producer, SPY IN YOUR EYE, four years after THE MASK, starred Brett Halsey and Pier Angeli. Whether Canada would be proud is moot, since it’s an Italian production, an espionage romp in which the Russians are learning US secrets via a camera hidden in Dana Andrews’ artificial eye. Works on the same principle as Trump’s android phone, I suppose.

Then Roffman is back in Canada for EXPLOSION, then he makes THE PYX which I do kind of like, though not necessarily better than THE MASK. It has a goddamn beautiful and eerie Karen Black soundtrack (!). He finishes his feature career with THE GLOVE, so nearly all his films are about things that you wear, including Dana Andrew’s glass eye (but I’d give it a wash first). That one is about an ex-con (Rosie Grier) beating his former tormentors to death with a metal glove. John Saxon is the bounty hunter hired to bring him in, and Joanna Cassidy, Aldo Ray and Keenan Wynn also appear.

I stand by my assertion that any Rosie Grier movie in which he ISN’T wearing Ray Milland’s cranium on his shoulder ought to be titled THE THING WITH ONE HEAD. And I say that with all due respect.

Oh, before THE MASK he made The BLOODY BROOD, a killer beatnik movie with Peter Falk in a non-lead role. Come to think of it, he should have had Falk in that Dana Andrews role…

Julian Roffman’s dreams of making Canada proud lie shattered like a glass eye punched with a steel glove.

The Shadowcast: Let’s Get Small

Posted in FILM, literature, MUSIC, Science with tags , , , , , , , , , , , , , , , on January 29, 2019 by dcairns

New podcast up!

Fiona and I take a microscopically close look at the TIMELY and IMPORTANT subject of human miniaturization, with a particular focus on THE INCREDIBLE SHRINKING MAN, FANTASTIC VOYAGE and INNERSPACE. Mike Clelland suggested the middle film, and from there things kind of snowballed. Shout-out to Mike.

Still audibly suffering from slight colds on this one, but the NEXT one was recorded earlier and you’ll hear some seriously bunged-up sinuses on that. Here, we just sound like a sexy, husky couple of Glynis Johnses, than which nothing could be better.

The discussion also encompasses (or brushes past) DOWNSIZING, FIRST PAVILION, BODY TROOPERS, THE INCREDIBLE SHRINKING WOMAN, and there are audio extracts from… well, I’ll let that be a surprise (and perhaps a mystery). Momo the podcat offers his views on the miniature human’s potential as snack.

Annoyed with myself for failing to mention the excellent (if slightly racist) miniaturization joke in Kurt Vonnegut’s Slapstick, which demonstrates the virtue of sandwiching virtually a whole novel between set-up and pay-off (more authors should try that). So I’m mentioning it here.

The 30s novelette He Who Shrank which is quoted from is by Henry Hasse and is worth seeking out online. Other literary works referred to are Richard Matheson’s all-important The Shrinking Man, Isaac Asimov’s Fantastic Voyage II: Electric Boogaloo*, Alice in Wonderland and The Arabian Nights.

The audio mixes at the start and end are designed to make genre fans dance around the room in a gleeful sugar rush. Let us know if this happens. Send photographic evidence.Very small people may already be inside all of us. Is there a message you would like passed on?

*Not its actual title.