Archive for Anthony Mann

Nero LeRoy

Posted in FILM with tags , , , , , , , , , , , on March 30, 2021 by dcairns

“Is this, then, the end of Nero?” asks a dying Emperor Peter Ustinov at the climax of QUO VADIS?, more or less quoting Edward G. Robinson at the end of LITTLE CAESAR. Which was directed by the same guy, Mervyn Leroy, back when he was young and awake. Since there are varying accounts of Nero’s actual or supposed last words, and none of them include a quote from a Warners gangster picture, this must surely qualify as one of the most prominently placed in-jokes in Hollywood history.

Would that there were any other evidence that the film had a sense of humour about itself. It’s entertaining rubbish, though: the sets are big, and the acting varies from dreadful (Robert Taylor, not a screen god in this household) to the impressive — how Deborah Kerr, Leo Genn, Abraham Sofaer (the judge/surgeon from AMOLAD), Marina Berti and Rosalie Crutchley are able to make their dreadful lines sound like human speech is quite staggering.

Crutchley, darkly gorgeous, is the only character who’s apparently read the whole script, not just the scene she’s playing: she knows how it’s going to end.

I watched a bit of TORA! TORA! TORA! on TV the same day, and it was interesting to see how the American scenes in that managed to turn comparatively recent US history into the same kind of lifeless tableaux as the typical ancient world epic. I forget if it was in this film that Ustinov blew on his soup to cool it, and was told the gesture was too modern. “In what age, pray, did the wretched Romans stop eating their minestrone piping hot?” he inquired. Of the two films, QV has slightly more authentic human behaviour. By the end, I was dying for some actual life.

So Fiona wondered if Ustinov contributed his own famous last words, since the man did have a sense of humour absent elsewhere in this roaring stodgefest. The scenes at court are weapons-grade camp, with Patricia Laffan (DEVIL GIRL FROM MARS) a resplendent whore-empress Poppaea, and Ustinov clearly taking to heart departing helmer Anthony Mann’s character sketch of the depraved Caesar: “Strikes me as the kind of guy plays with himself nights.”

QUO VADIS stars Quentin Durward; Sister Clodagh; Starbuck; Hercule Poirot; Nyah; Magwitch; Benjamin Disraeli; Queen at Tarsus (uncredited); Vargas the Diablo Giant; Hecuba; Inspector Buchanan, Special Branch; Horatio, His Friend; the screenwriter of THEY SAVED HITLER’S BRAIN; Mrs Dudley; Mrs Alexander; Bambino; and the voice of Morbius.

God Goes West

Posted in FILM with tags , , , , , , , , on October 17, 2020 by dcairns

One of our watch party gang requested westerns, and another didn’t like westerns, so I tried to find two westerns that weren’t.

Jacques Tourneur’s STARS IN MY CROWN is set in a small western town but doesn’t really have any of the expected action and Joel McCrea plays a parson. It’s wonderful, though.

WINCHESTER ’73 is pretty much a pure western but it’s wall-to-wall film noir people. Anthony Mann, Shelley Winters, Dan Duryea. Seeing it on my little b&&w portable as a youngster was a decisive cinephile moment, I don’t know why. But I was immediately taken with Duryea.

I guess you could say these films offer contrasting visions of America. STARS is pretty timely, actually: McCrea considers his work so important he continues going door to door after his young ward comes down with typhus, and there’s reason to suspect he could be a super-spreader. McCrea comes to see this as a mistake — the film eventually lets him off the hook, rather, but it’s an interesting point.

Little Dean Stockwell complains of the quarantine lockdown — “It’s like we’re all in jail only we ain’t done nuthin’.”

Then there are these guys. I wish they didn’t seem equally timely.

I remembered McCrea’s great scene facing down the Klan armed only with a couple sheets of paper, to save Juano Hernandez from the noose. I’d forgotten it was the climax, but of course, how could they top it?

STARS gives the lie to the idea that a western can tell any kind of story. I don’t think it can tell a pacifist one. McCrea’s preacher has been a soldier, but he isn’t about to strap on his guns again, and so it never feels like SHANE or something, where the moment may be deferred, but is inevitably coming. So we have a film with all the accoutrements of a western, the period and the Americana, but we just can’t call it one.

WINCHESTER ’73, as the title implies, is one of the most gun-obsessed westerns ever made. Not the rootin’-tootin’est, but possibly the shootin’est. But at least it has an interesting female character. Mann’s westerns usually did. Unlike Ford he didn’t primarily regard women as homemakers…

It turns out to be an almost biblical tale of blood vengeance, and I realise now that not only is Duryea scary and crazy, but very hep and modern. And he can wheedle arrogantly, which is some trick. When he’s identified as the fastest gun in Texas, he wheedles, “Texas? Baby, why limit me?” Also, he’s the only person in the film who seems to be having a good time.

STARS IN MY CROWN stars John L. Sullivan; Sofia de Peralta-Reavis ‘The Baroness’; Doctor Wellington Yueh; Little John; Nayland Smith; Duke Harris; Miss Robin Crusoe; Lucas Beauchamp; Homer Higgins; Juror 10; Butch Cassidy; ‘Dum-Dum’ Clarke; Col. Edward Carruthers; ‘The Thing’; and Pee Wee.

WINCHESTER ’73 stars John ‘Scottie’ Ferguson; Charlotte Haze; Duke Pastrami; Sheriff Al Chambers; Senate Minority Leader; Marvin Unger; Jordan ‘Bick’ Benedict Jr.; ‘Teddy Roosevelt’ Brewster; Chota; and Sidney Falco.

Werker B

Posted in FILM with tags , , , , , , on October 3, 2019 by dcairns

Poor Alfred Werker! His best-loved film — or credit, anyway — is HE WALKED BY NIGHT, which everyone know was substantially directed by Anthony Mann, and anyway shot by John Alton which accounts for a lot of its flash.

But here’s a post-war war film with a leaden, uninspiring title — SEALED CARGO — and it’s got a lot in its favour, including moody prowling by flashlight on various ships on misty seas. Dana Andrews, noir paragon, is our hero, and Claude Rains is a salty Danish sea dog who may not be all he seems. And he seems to be a German agent.

George Diskant (THE NARROW MARGIN, ON DANGEROUS GROUND) photographed it and all the murky ocean-going and below-decks stuff is highly atmospheric.

Alas, when the ships get into a little Newfoundland port (an impressive set), a lot of the suspense associated with the rolling dry ice, dark shadows and limbo-like uncertainty about who is who and what is afoot, is dissipated by the bright studio sunshine and throngs of Central Casting Newfies. But it had me going there.

The best shot in the film, actually, takes place under the main titles:

SEALED CARGO stars Joe Lilac; the former Sally Bliss; Captain Louis Renault; Renault; Dr. Franz Edlemann; Melakon; Johnny Gallagher; the Reverend Cyril Playfair; the Reverend Dr. Mahin; and Prof. Teenage Frankenstein.