Archive for Andy Clyde

The Sunday Intertitle: Hot Air

Posted in FILM, Theatre with tags , , , , , , , , on January 18, 2015 by dcairns

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Roy Del Ruth was one of very few Keystone directors to graduate to anything resembling the big time — Capra was the exception, attaining far loftier status. While many small-time silent boys fell by the wayside when sound came in, RDR surprisingly was at the forefront of the talker boom at Warners, where his old dark house spookshow THE TERROR was apparently quite innovative, and he churned a host of fast-talking comedies with the likes of James Cagney.

SKYLARKING (1923) is one of those early slapstick shorts, starring a fellow called Harry Gribbon who has a funny name and lots of technique but just isn’t very funny. The movi also features Billy Armstrong as a recklessly destructive blind man who anticipates W.C. Fields’ sightless nemesis Mr. Muckle, and cameos by Scotsman Andy Clyde and Teddy the Dog. None of these made me laugh, but my eyebrows levitated as if painted with Cavorite at the sight of the sightless proto-Muckle. Had Fields already used a version of this character on stage?

I like the special effects, as Gribbon takes to the air, which benefit from incorporating camera movement along with double exposure for a dynamic and halfway convincing effect. And I like this intertitle, which could easily have been converted into dialogue for one of the peppy pre-codes RDR made later. Sennett films frequently recycled catchphrases and gags heard in bars in just the way Warner scenarists would do in the thirties.

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Oddly, the visual gags of the Sennett era didn’t generally make it into those films, even the comedies, apart from that riotous sequence with monkeys and custard pies in LADY KILLER — for zany imagery, you really have to look to Del Ruth’s later HORROR MOVIES (here and here).

The Hepburn-RKO-J.M. Barrie Axis of Whimsy

Posted in FILM with tags , , , , , , , , , , , , , on August 19, 2013 by dcairns

Two J.M. Barrie adaptations, filmed at RKO, starring Katherine Hepburn, QUALITY STREET and THE LITTLE MINISTER.

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THE LITTLE MINISTER, directed by Richard Wallace, is set in Barrie’s native Scotland and showcases Kate’s Bryn Mawr version of a Highland burr. Several real Scots provide doughty support — Andy Clyde is particularly enjoyable, and Sherlock Holmes regulars Alec Craig (in his first movie role, according to the IMDb) and Mary Gordon make welcome appearances. Donald Crisp looks exactly as he did thirty years later in GREYFRIAR’S BOBBY, but sounds different — he nailed the accent sometime in the intervening years.

But why no James Finlayson?

Poor John Beal struggles with the R-rolling, and is blown off the screen by Hepburn in gypsy drag. Flashes of authentic Scottish scenery, including brief use of the zoom lens (quite popular at RKO at this time — see also KING KONG).

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QUALITY STREET is, we thought, the superior production. Never mind that Barrie’s conceit, Hepburn scrubbing up and impersonating a fictitious younger relative to fool Franchot Tone, even though Tone knows perfectly well what she looks like, is unworkable on-screen (suspension of disbelief and the perpetual long-shot would sell it on stage). Never mind that the whole cast is doing convincing English accents except tone-deaf Tone. Enjoy the Napoleonic era gadgets (women’s veils which swish open on a drawstring like net curtains, English geisha shoes for walking in the rain) and the dialogue and performances and director George Stevens’ elegant, witty framing.

In the prologue, Hepburn is disappointed in love as her beau decides to go off to the wars — she sits by the window with her aunt, and the Greenaway-symmetry does something expressive and very un-Greenawayesque: it captures their resignation to staying unmarried for life. Possibly while sitting in the window.

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Skelton in the Closet

Posted in FILM, literature with tags , , , , , , , , , , , , , , on May 21, 2010 by dcairns

I’m very glad I looked more closely at Roy William Neill’s work, because during this last hectic yet sedentary week of marking student’s films (and production files, screenplays etc), I barely had the energy to watch any movies at all. But Neill’s SHERLOCK HOLMES movies (he made eleven of them) are perfect entertainments for the tired academic — short (usually just over an hour), funny, atmospheric, and plotty without being too demanding. And the warmth of entering a cosy B-movie world peopled by familiar and loved character actors is not to be underestimated. Besides these restful merits, the films are stylish and witty, and managed the difficult (and somewhat unwise) task of removing Homes and Watson from their Victorian roots and planting them in WWII era settings, the better to shoehorn in propaganda messages, sometimes as overt as direct quotes from Churchill. Despite this potentially damaging decision, under Neill’s production and direction, the movies are thickly foggy, shadowy and authentic to the spirit of their source material.

Does anybody have a good source of info on Neill? What’s available online is patchy but intriguing. We learn that he was the Holmes expert on-set, deferred to by Basil Rathbone, who called him “dear Mousey.” He was born on a ship off the coast of Ireland. His father was captain. He died while visiting relatives in England, just after finishing the last Rathbone-Bruce Holmes movie, and the excellent Cornell Woolrich adaptation BLACK ANGEL. His was a Hollywood career, but he had returned to the UK to make DOCTOR SYN, with George Arliss, and nearly directed what ended up as Hitchcock’s THE LADY VANISHES. His Holmes films benefit from a strong sense of Britishness, and in particular, oddly enough, Scottishness.

The Phantom! In THE SCARLET CLAW.

These “English relatives” fascinate me, because Neill is a Celtic name, suggesting Irish or Scottish roots, and Neill’s Holmes movies are peppered with Scottish characters and situations. In PASSAGE TO ALGIERS, Holmes and Watson are planning a Scottish fishing holiday. In THE SPIDER WOMAN they actually manage it, at the start of the movie. TERROR BY NIGHT takes place on the London to Edinburgh train, and HOUSE OF FEAR plays in a remote Scottish village, and amid the extensive cast there isn’t a single embarrassingly fake accent. THE SCARLET CLAW is set in Canada, where we naturally run into a couple of Scotsmen, including David Clyde, brother of silent comedian Andy. And every other film seems peppered with Scots cameos, from reliable bit-player Alec Craig, and series regular Mary Gordon as Mrs Hudson. Nigel Bruce himself, of course, was descended from Robert the Bruce, King of Scotland.

All of this could simply be in homage to Edinburgh-born Holmes creator Arthur Conan Doyle. But such a tribute seems unlikely unless Doyle’s origins had some personal meaning to Neill, so I’m holding out for a Scottish connection until proven wrong.

Here’s Skelton Knaggs in TERROR BY NIGHT, as a Scottish hitman, a role he luxuriates in obscenely, coming across like a depraved rentboy from Kelvinbridge.

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