Archive for At the Circus

(Horse) Without Feathers

Posted in FILM, MUSIC with tags , , , , , , , , , , , , , , , , , , , , , , , , , on February 9, 2017 by dcairns

vlcsnap-2017-02-09-10h20m44s294

As regular Shadowplayers may recall, I’ve been reviewing the films of the Marx Bros and writing about those aspects of them which do not involve the Marx Bros. Picture a Richard J. Anobile book that’s been mutilated by some scissor-wielding schoolboy.

I already wrote about HORSE FEATHERS once, before starting on this scheme. Here we go again. We haven’t watched this one as often as, say, DUCK SOUP — of course, the reason is plain: no Margaret Dumont. Or maybe the reason is related to what Fiona said at the end: “That was really shambolic!” “Even by their standards!” I added.

Perhaps it’s the unusual spliciness of the print, the lack of any real romantic subplot, the slenderness of the main plot… but the wear and tear is not unique to this movie, the minimal love interest should be a boon, and the best Marx films are not known for labouring over narrative. Anyhow, the film is composed mainly of classic scenes — the ending is a bit rocky, but Groucho has a signature song, the “Swordfish” routine is classic Chico-Groucho crosstalk, there’s a great farce bit, and the canoe sequence is a joy. No more of that.

vlcsnap-2017-02-09-10h21m40s721

We begin with a scary cartoon horse which rides out of a college building and then vanishes, a laughing wraith. The rest of the movie is less frightening. Fiona commented on the crudeness of the caricatures that follow, but they’re both simple and highly identifiable. I like ’em.

First up is Reginald Barlow as the retiring college president, a testosterone-free pillar of patrician dignity, about to be destroyed by the incoming Quincy Addams Wagstaff. Surprising to learn that this embodiment of effete academicism was a hero of three wars. A perennial bit player, his career does boast a few characters with names, one of them quite Marxian: Otto K. Bullwinkle in IF I HAD A MILLION. Fiona was much more wide awake than I during this screening, and spotted that, after being apparently annihilated by Groucho’s opening salvo, the unflappable ex-prez retires to his seat and quietly reads a book all through Groucho’s big number.

vlcsnap-2017-02-09-10h22m15s793

Barlow is the only beardless professor at Huxley College, it seems. Nice the way the staff all get mesmerised by Groucho’s song into playing the role of a minstrel chorus. Similar to the way Bugs Bunny, leaping onto Elmer Fudd’s back, convinces him instantly that he’s a donkey (and Bugs was in large part modelled on Groucho).

Zeppo appears, to no particular effect this time, though we note his strong singing voice. But I’d rather hear Groucho’s quavering warble. Casting Zeppo as Groucho’s son (“Hello, old-timer!”) is an amusing idea, and using Z. as a sort of romantic interest substitute (sex pablum) is economical. Young Z. also delivers the expositional info-dump about football that sets the “narrative” in motion. We’re off!

vlcsnap-2017-02-09-10h25m25s728

Oh, before we leave — the Marxes’ career sometimes looks like one long, successful attempt to prove wrong that thing Rosalind Russell supposedly said — “You can’t do comedy on big sets.” Here, there are no grand art deco constructs, except the opening scene, which is no more impressive than it needs to be. Cost-cutting at Paramount?

Director/traffic cop Norman Z. McLeod begins each sequence with a sign so we know where we are. Probably Pauline Kael would attribute this rigorous visual storytelling to the uncredited script contribution by Herman J. Mankiewicz. Next up is the Elm Street speakeasy where villain David Landau is recruiting two professional ball players for the rival college’s team. Since I started thinking about this stuff I’ve noticed how grating and uncharismatic the bad guys in Marx films tend to be. I’m now ready to launch my Unified Theory: since the Marx Bros’ characters are themselves larcenous, lustful and conniving, it’s necessary for the baddies to distinguish themselves by adding to those qualities a positive charmlessness. The overall message of every Marx Bros film can be taken to be that villainy is fine if accomplished with wit and panache.

vlcsnap-2017-02-09-10h49m55s861

The field of Marxian antagonists is crowded with displeasing performers. Why, Louis “the walking fontanelle” Calhern stands out in such company as uniquely compelling and gracious. Still, among this throng of snarling plug-uglies and decaying louts who lack even a moustache to twirl, David Landau as Jennings stands out as uniquely unpleasant. His signature role, completed the same year as H.F., is the brutal warden in I AM A FUGITIVE FROM A CHAIN GANG. What a face. I’d say it’s the kind of face you’d like to hit, only I think we’d all be afraid of losing our fist in its putty-like recesses.

I used to be convinced this was Martin Landau’s dad. I think I just assumed there couldn’t be two Landaus. It only just struck me to check. I say it for the record: they are no relation. So shaken am I by this revelation, I had to look up Osgood Perkins to make sure of him. It’s OK: he was indeed Anthony’s poppa.

With Landau are Nat Pendleton, another charmer, and James Pierce, the most handsome of the bunch but equally lacking in the mystery quality known as Appeal. He was married to the daughter of Edgar Rice Burroughs, it seems, but despite this never got to insinuate his hulking frame into the role of Tarzan (see comments). His best role, going by the name alone, is Griswell Henchman in something called THE LIGHTNING EXPRESS. I like to think this is not a mere description, but the actual character’s birth name.

Pendleton (OK, I checked: not the father of Austin Pendleton) was a wrestling champ, but his uncle was an actor for Griffith. He also co-wrote one movie, DECEPTION, made this same year, and also co-starring Thelma Todd, who we’re about to meet. Inexplicably, he failed to write himself the lead role. Nat, of course, got second helpings of the Marx treatment as the strongman in AT THE CIRCUS. His swan song was opposite Abbot & Costello, cementing his stooge status, and twenty years later he was fatally attacked by his own heart two days after I was born, so I can say with confidence that I am not his reincarnation.

vlcsnap-2017-02-09-11h04m12s124

Also among those gathered: Vince Barnett, a very funny man with nothing to do. Harpo is about to appear, baffling a series of characters who all look like the same actor, but aren’t. This clone effect is enhanced when director McLeod incompetently cuts around a payphone customer, making it seem like he’s two different guys. The payphone man is regular bit-player Sid Saylor, the hobo harpo hands a cup of coffee to is an authentic Forgotten Man — history, and the IMDb, do not record his identity.

vlcsnap-2017-02-09-11h05m46s027

Theresa Harris sighting! Playing a maid, as usual, although this time she has a name, Laura. Of her ninety listed roles on the IMDb, thirty-four are explicitly identified as maids, but I imagine characters with names like “Clementine” and “Bessie Mae” MIGHT also be maids. Still, my heart is always brightened by a Theresa Harris appearance.

Then we finally get La Todd. Thelma wears a series of racy costumes in this, starting with the negligee in which she entertains Zeppo for the unavoidable crooning display. He feeds her lomticks of toast while literally singing “I Love You” — this HKalmar/Ruby tune is the film’s endlessly reprised bit, performed by each brother in turn. Is it OK to discuss Zeppo here? I sometimes consider him an honorary non-Marx Brother, so it should be fair play to talk about him in these Marxless articles.

vlcsnap-2017-02-09-11h37m02s216

Fiona suggests that Thelma’s beauty spot vanishes from scene to scene, like the cartoon horse at the beginning. Let’s see if she’s right.

Thelma had memorably gone hotcha! with Groucho in MONKEY BUSINESS and it’s a pleasure to have her back. An interesting career, alternating between low comedy with the Marxes and Laurel & Hardy and Charley Chase and a short-lived comedy pairing of her own with Patsy Kelly, and substantial roles in “straight” films. Thelma was tragically short-lived herself, her carbon monoxide death a subject of wild speculation to this day. Husband Roland West, director of THE BAT WHISPERS, is one named suspect. How she found time to get married and run “Thelma Todd’s Sidewalk Café” is a mystery too: 119 films in ten years.

Harpo, as a dog-catcher with a horse, is surrounded by animals, regularly producing cute specimens as mute punchlines to some remark by Chico. His horse has no name and the IMDb is uninformative on the subject. McLeod and his editor are almost in too much of a hurry to let us register the parrot and monkey on Harpo’s cart. Ben Taggart, a Central casting traffic cop, plays a traffic cop bamboozled by Harpo. McLeod should have considered making a Hitchcockian cameo in the role.

vlcsnap-2017-02-09-11h21m48s053

Harpo also eats flowers, like Leos Carax’s recurring character, Merde. There may be a connection. Also: oatmeal from the horse’s feedbag (sprinkled with salt) and a zip-up banana.

Groucho’s desk is covered with walnuts, and I belatedly realize this may actually be the influence for the walnut-bedecked office in Bertolucci’s THE CONFORMIST. After all, both are 1930s tales of academia and corruption with a surrealistic edge. Flanking Groucho are E.H. Calvert (also a prolific director) and Edward LeSaint, swiftly disposed of, then we get Harpo burning books and then bringing in a seal, whose barking, wiggling presence immediately turns Groucho, Harpo and Chico into seals too. Suggestible fellows.

vlcsnap-2017-02-09-11h50m26s136

Also worthy of remark: Wagstaff’s secretary, played woodenly by Sheila Bromley, delivering possibly the worst line readings of anyone in a Marxian film (“He’s waxing wrath”). And it doesn’t matter at all. Sheila turned into a perfectly good character actor. Her last role is Alan Rudolph’s disgraceful early exploitation film, BARN OF THE NAKED DEAD, in which they spell her name wrong. A shame.

Robert Greig turns up as a bearded tutor. The butler from SULLIVAN’S TRAVELS, he’s also the butler in ANIMAL CRACKERS. That was a proper role, whereas Greig is more suited to playing archetypes — butlers who embody their profession. He doesn’t suit his beard, that’s for sure. And I don’t like the pseudo-medical gibberish he’s spouting — if Groucho is going to denounce it as gibberish, it should feel like it actually has some abstruse meaning. We most recently saw Greig in John Cromwell’s SON OF FURY, playing a judge, and while a judge is not a butler, it proved to be within his range.

vlcsnap-2017-02-09-11h45m18s744

Harpo produces a drawing of a horse. We’ve already seen him kiss his own horse, so the theme of Harpo as horselover, which climaxes in DUCK SOUP, is clearly established. Harpo later produces a piece of pin-up art showing a hefty vaudevillian lady, and there’s a suggestion that horses and women are interchangeable for Harpo, especially as he keeps sitting on women in class.

Harpo’s candle burning at both ends is, I think, my favourite Harpo prop. It fulfills all the requirements — it is funny in itself, it’s a punchline to someone else’s remark, it’s impossible that it could be stored in his raincoat (which is inexplicably tattered throughout), and for good measure it is in itself almost impossible.

vlcsnap-2017-02-09-11h57m34s642

Thelma is back, minus her beauty spot. Fiona was right! “I keep thinking her tits are going to fall out of that dress,” she says, and again, she is right, though it doesn’t seem to quite happen on camera.

Through the miracle of bad continuity, Groucho’s chin is suddenly on Thelma’s shoulder, something the Red Queen does to Alice in Through the Looking Glass.

At other times, the continuity is perfect, pretty much proving that Mcleod is using multiple cameras, common during early sound pictures and a sensible idea when dealing with the disruptive Marxes — “It was a miracle if you could get all of them on a set at the same time,” recalled Buster Keaton.

vlcsnap-2017-02-09-12h03m30s506

Chico’s grabbiness here is a LITTLE disturbing. On the whole, the Bros’ skirt-chasing hasn’t dated too badly — we don’t worry about what Harpo would do if he caught a girl. But Thelma’s decolletage is so exposing, and her performance relatively convincing by the standards of these things, so all the lunging feels a little unpleasant. Easier to pull off with Margaret Dumont.

Chico’s rendition of “Everyone Says I Love You” hits on the theme of insect life and exploits it thoroughly, before moving on to the adventures of “Christopher Columbo.” Good lyrics. Thelma’s reactions turn this into probably Chico’s most welcome, least interruptive musical number.

Mcleod’s “blocking” is functional, letting us see the Marxes, which is all that really matters, but it’s neither elegant nor convincing. He’s rather fond of the “washing line” composition, and sets things up so that Landau suddenly gets suspicious of Chico’s behaviour despite being positioned so he can’t see any of it.

Harpo’s harp solo is, as usual, a full stop, a grinding gear change the film struggles to survive.

vlcsnap-2017-02-09-12h15m40s815

As a hormonal teen I was fascinated (yet frustrated) by the second appearance of Thelma’s negligee (the film IS cheap — customarily, the leading lady is entitled to a fresh outfit for every scene). Anyway, the lower half seems to be translucent, with no hint of underwear. But no hint of anything else, either. However, her mole has returned to her face, like a tiny black homing pigeon.

vlcsnap-2017-02-09-12h19m44s563

Slightly stilted performance by a duck. I wasn’t immediately convinced. But this makes this not only the only Paramount film to justify its title with actual appearances by the title animal, but one that looks forward to a later title too. At the end of this brilliant sequence (in which Groucho refers to Paramount’s AN AMERICAN TRAGEDY while canoeing through probably the same body of water featured in Sternberg’s drama), the duck is somehow inside the canoe, but I bet only Fiona spotted it, so rushed is the fade-out. Theory: the Marxes probably broke character the second a scene was finished, leaving the editor no spare footage for optical transitions. Or else Thelma couldn’t swim…

vlcsnap-2017-02-09-12h24m19s692

In the water, Thelma seems to be wearing lacy sleeves, which she was NOT wearing before falling in. Continuity in the Marx Bros universe is not only outrageously poor, it is often INEXPLICABLY poor.

Has her mole washed off?

vlcsnap-2017-02-09-12h24m08s337

Another animal: Harpo’s surprise piglet. Harpo’s hat, which formerly said DOG-CATCHER on the front, has now been reversed and his new job title, KIDNAPPER, is listed.

Pendleton and Pierce’s bijou apartment seems all wrong. I couldn’t work out why. It’s an astonishingly shoddy-looking set, and maybe the in-character presence of sporting trophies is contributing to the air of it being assembled from whatever was lying loose in the property store. But I think the truly bum note is struck by the presence of SIX BOOKS on a shelf. I find it easier to believe in Harpo carrying as lit candle and a steaming cup of coffee inside his coat than in these thugs reading.

vlcsnap-2017-02-09-12h28m20s821

Big football finish, about which I have nothing to say. We disbar all sporting activity here at Shadowplay. But I do like Thelma’s vamp outfit. MONKEY BUSINESS forgets she exists, and HORSE FEATHERS nearly does too, but at least she’s part of the crowd, and then gets to appear in the coda, which comes out of left field, to use what I believe is an old footballing expression.

vlcsnap-2017-02-09-12h32m13s248

This coda, one realises only later (thanks to Shadowplayer Matthew Hahn) is supposed to fool us into thinking Thelma is marrying Zeppo, until the other brothers/father/strangers barge in. But McLeod, that genius, stages the action with the groom completely eclipsed, so the gag looks like G, H and C are marrying T right from the start. It’s possible Zeppo was occupied elsewhere that day, as we are told the brothers frequently were. But his presence for the film’s closing shot would seem to be essential…

vlcsnap-2017-02-09-12h41m22s550

Three men piling on top of Thelma SHOULD be a bit disturbing as a final fade-out, but through the miracle of Marxian anarchy, somehow it’s fine.

 

 

 

 

Advertisements

Magic Man.

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , , , , , , , , , , on December 8, 2016 by dcairns

I’m delighted to present The Late Show’s first guest blogger this year — my wife, Fiona Watson.

vlcsnap-2016-12-08-00h00m41s43

Did someone say Jonathan Creek? No they didn’t. They said,  Miracles For Sale (1939, MGM), Tod Browning’s last feature, a zippy little number that bears more than a passing resemblance to the BBC TV series. A magician gets involved with crime. Who wants to watch something like that? Now don’t tell me. Even though my eyes are covered by a silk scarf,  the ether is buzzing with telepathic impressions. Give me a moment… EVERYONE is the answer! Thank you ladies and gentlemen. (They do watch, every year, for the past twenty years.) It’s got magic and crime. Two great tastes that taste great together.

And the similarity doesn’t end there, Morgan is a magician who designs tricks for other magicians, just like Creek. He also has a sidekick just like Creek, but in Morgan’s case it isn’t a series of ladies ending in a wife, it’s his endearingly, curmudgeonly dad (Frank Craven) who’s just dropped into the big city to visit his thaumaturgically dexterous son. A bit like The Rockford Files, if The Rockford Files had more seances, card tricks and mind reading. Dad Morgan doesn’t like New York at all,  (“New York is the only town I’ve ever been in that you could learn to hate in a day”) but is prepared to put up with it to have family time with the smoooooth Robert Young.

vlcsnap-2016-12-07-23h41m06s97

Where Alan Davies brings an insouciant, quirky charm to Creek — sort of lumpy if we’re getting synesthetic –MGM leading man Robert Young is as glossy as a pane of glass wiped down with vinegar. It’s not that he’s featureless, he just plays it so fast and with such ease that he whizzes past without scratching the retinas. I almost thought that this film, and his character, could easily have been strung out into a Thin Man type series, and perhaps that was the original intent, but I’d have re-cast it with someone you could get a good hold of with your eyeballs.

vlcsnap-2016-12-07-23h33m05s122

Just to make things even more Creek-like, this is a locked room mystery.  And just like Creek, we have oodles of enticing celebrity guests. Here’s Gloria (Daughter Of Dracula) Holden as medium Madame Rapport. Henry (Werewolf Of London) Hull as Dave Duvallo, an escapologist and customer of Morgan. (On seeing his name in the cast list, I mused, “Henry Hull. The sign of quality. Well… not really. It’s just the sign of Henry Hull.”) To make this even more alluring, Hull emerges, Jacqueline Bisset-like from a tank of water in a wet vest, creating an erotic frisson that no-one in the world, anywhere, has ever experienced. Except hardcore Henry Hull fans who like their men prematurely aged and dripping.  (He always seemed late-middle-aged even when he was young and again when he was old. Now that’s magic!)

vlcsnap-2016-12-07-23h44m31s87

Joining the merry band is the ever-reliable William Demarest as a confused cop (Quinn) –  “Not even a half-grown microbe could’ve got out of this joint without using a crow bar and a grand jury.” Florence Rice is our imperiled (and bizarrely costumed by Dolly Tree) heroine (Judy Barclay). Florence would immediately  have an encounter after this with the Marx Brothers in At The Circus, making her career at this point very Browning-like, with his connections to travelling circuses and freak shows. And finally and wonderfully, an uncredited performance by E. Alyn Warren as Dr Hendricks, a comedy coroner. “Maybe you can examine a corpse in the dark but I’m no bat.” Also uncredited in the stock music department, Franz (Bride Of Frankenstein) Waxman.

The screenplay is by Harry Ruskin, James Edward Grant and Marion Parsonnet, writer of Gilda and Cover Girl and in a strange coincidence, screenwriter in 1937 of a remake of Browning’s first sound film, 1929’s The Thirteenth Chair, another heavily seance-related tale. Miracles For Sale is based on the “Great Merlini” novel Death From a Top Hat  by Clayton Rawson. There were four Merlini books in total. In a poll conducted by 17 mystery and crime writers, Death From a Top Hat was voted as the seventh best locked room mystery of all time.

vlcsnap-2016-12-07-23h44m08s123

Brilliant prologue. We think we’re watching a very bad B War Movie, but things start to quickly fragment when we see the awful, oriental makeup on the soldiers and a woman gets machine-gunned in half in a box. “Stop the war!” barks someone off-screen at the end of the performance, and the distant shelling is switched off. We’re introduced to the world of Merlini, here renamed Michael Morgan. It’s the cut-throat world of the professional stage trickster.

Miracles For Sale is the name of the store run by Son Morgan, much to the chagrin of Dad Morgan. “Well, if you wanted to go into business, why didn’t you open a butcher shop? Now, selling meat’s a business, but, selling miracles – that’s monkey business.”

vlcsnap-2016-12-07-23h36m33s170

vlcsnap-2016-12-07-23h40m21s173

But before you can say “Hey Presto!”  or even “Robert Houdin!” we have damsel in distress Judy Barclay charging through the front door, begging him to stop a fake medium taking part in an experiment for a cash prize if she’s authentic. And only a magician whose sideline is debunking fake mediums will do. In this regard he’s very Houdiniesque. In fact Morgan even mentions a case in which a father was being put in touch with the son he lost during World War 1. Arthur Conan Doyle, much? Judy seems disinclined to give up the whys and wherefores, but she’s so cute and her sleeves, like voluminous bellows on a concertina, are so impressive, that he just can’t help being sucked in (probably osmosis created by the shoulder bellows). Later, she’ll show up with sleeves like giant, bacofoil croissants and Morgan becomes even more besotted. Or possibly hungry.

vlcsnap-2016-12-07-23h38m30s88

Before we know where we are, and in amidst a welter of card tricks, mind reading, attempts on Judy’s life because she may have inside knowledge, and spooky chicanery, there’s a dead man, master of legerdemain Tauro (Harold Minjir) then another dead man, occultist Dr. Cesare Sabbatt (Cesare was of course The Somnambulist played by Conrad Veidt who slept in a coffin in The Cabinet Of Dr Caligari (1920) and in his early, pre-director years, Browning performed a live burial act in which he was billed as ‘The Living Hypnotic Corpse’). Dr Sabbatt is played by a man called Frederick Worlock, if you can believe that on top of everything else! Both corpses are laid out in esoteric circles lined by candles in locked rooms. Not only that but Sabbatt is a post-mortem ventriloquist. Apparently. Who the dickens is the murderer or murderers? How did they get in and out? And what is their motive? There are plenty of suspects to choose from, all of them involved in the murky world of Magic and Magick.

vlcsnap-2016-12-07-23h43m33s29

At this point we welcome the input of the late, legendary F. Gwynplaine McIntyre on the IMDb, for once reviewing a movie that actually exists, and not a wondrous creation of his imagination – ‘This film violates the most basic rule of magic: never do the same trick twice for the same audience, unless you do it two different ways. In one scene, sitting at a breakfast table, Robert Young casually waves his hand and makes a sugar bowl vanish into thin air. We didn’t expect it, so we don’t see how he did it. He orders another sugar bowl from the waiter, played by the annoying bit-part actor Chester Clute. When it arrives, Young waves his hand again and makes the second sugar bowl vanish too, by the same method. This time we’re expecting it, so we see how he does it … and you’ll be as disappointed as I was.’

Yes, this is an effect shot. Or to be precise, a series of effects shots. But we can’t expect Robert Young to do real, close-up magic. He’s an actor, not a prestidigitator. I see where Froggy is coming from, but I wasn’t offended by this, and indeed, its sloppiness (although David found it charming) may be one of the few signs that Browning is thoroughly fed up with the whole venture. Anyhoo, back to the plot. As Dad Morgan says, “I was a little confused before but now I’m just bewildered.” You see Morgan, although he enthusiastically unveils fake mediums who make money from other people’s grief, hasn’t entirely given up belief in the supernatural. (Unlike Houdini, who one school of thought says was murdered by angry Spiritualists.) There’s still a tiny spark of belief in him, which is kind of fascinating and suggests he’s come up against forces he hasn’t been able to explain away with the pure logic he excels in.

Addendum – Morgan’s tiny spark of belief is more to do with the studio system than anything else. I’m reliably informed (by David) that it would have been quite impossible at the time to have an atheist hero.

output_vlff9d

You would never tell from watching it that this would be the great Tod Browning’s last film. It’s made with assurance, energy and invention. What happened? Well, as many directors do, he found himself trapped as a ‘horror’ director, when in fact he wanted to step away and do something with more social significance. His greatest dream was to film They Shoot Horses, Don’t They?, something eventually realized by Sydney Pollack in 1969. But the studios would not relent. In the early forties he’s quoted as saying, “When I quit. I quit. I wouldn’t cross the street now to see a movie.”

I’d cross the street to see this one, not just because it’s the swan song by a unique Hollywood figure whose name still lives on with genre fans all over the world, but because it’s a slick, fun entertainment. There’s no sign of the real disillusionment Browning must have been feeling, and that’s something miraculous in itself.

vlcsnap-2016-12-07-23h42m16s22

The ending presents us with a mystery. Someone rings the doorbell at Miracles For Sale, setting off a chain of silly, magical events in which Dad Morgan will get trapped in a trick, but we never get to see who the visitor is and they seem to have gone away by the time Morgan, his dad and Judy show up. Could the doorbell have been pressed by The Grim Reaper, (Time Person Of The Year 2016, NOT Donald Trump as has just been announced, although the difference may be academic) sounding the death knell for Browning’s career? We will never know.

The 2016 Jonathan Creek Christmas Special is on BBC1 at 9pm on Wednesday 28th December, but try to give yourselves a glimpse of the original. Unfortunately this little gem doesn’t seem to be available anywhere commercially. Maybe you could do that hoodoo that you do so well, and it will appear mysteriously in a locked room.

To play us out, here is the late, great David Bowie’s homage to Browning and Chaney in Diamond Dogs.

With your silicone hump and your ten-inch stump.
Dressed like a priest you was.
Tod Browning’s freak you was.

Elephants, at your age

Posted in FILM, MUSIC with tags , , , , , , , , , , on August 22, 2016 by dcairns

vlcsnap-2016-08-21-22h56m09s163

Continuing our journey through the films of the Marx Bros, while ignoring, as much as possible, the Marx Bros.

AT THE CIRCUS is rather good — I have historically undervalued it. It seems to be somehow slightly less memorable than A NIGHT AT THE OPERA and A DAY AT THE RACES, the first two MGM Marx vehicles, without being any weaker in entertainment terms. There are some very good quips, the slapstick (to which Buster Keaton contributed his gag-writing skills) is often hilarious, Groucho gets one splendid number (Lydia the Tattooed Lady) and a couple of terrific set-piece scenes.

As the movie opens, we have the usual agonizing Wait for Groucho, during which romantic pseudo-leads Kenny Baker and Florence Rice make googly eyes and sing a dull song. As is standard, she is slightly more appealing than him. Kenny Baker lacks his famous namesake’s charisma and novelty size, but he has a squeaky Mickey Mouse voice which some might enjoy, I guess.

vlcsnap-2016-08-21-22h54m11s479

Then there’s the usual gruff businessman villain, a Scooby Doo stock figure without charisma, but James Burke does have some really good moments when he’s being attacked by a gorilla in the climax.

About that gorilla — Fiona pointed out that MGM are drawing upon their earlier hit(s), THE UNHOLY THREE. They don’t have a female impersonator hawking mute parrots, but they have a “midget” and a strongman and a mighty jungle beast.

Jerry Maren/Marenghi plays Little Professor Atom (watch his best scene here), looking like a ten-year-old boy if it were not for his dapper pencil mustache. The same year he would join the Lollipop Guild as a munchkin in THE WIZARD OF OZ. The scene in his room, with miniature furniture (Antic Hay!) and endless cigars emerging from Chico’s vest is one of the film’s highlights. One of those great scenes where Chico’s stupidity assumes almost diabolical proportions.

Jerry is still alive! Well, he was only 19 in 1939.

vlcsnap-2016-08-21-22h53m52s366

Goliath the strongman is Nat Pendleton, one of Shadowplay‘s favourite heavies, typecast as surly ruffian types. Here he’s initially unrecognizable in a Harpoesque wig and twirly moustache — he at least looks more like a strongman than that sagging hambone in FREAKS. (Sad to see none of the FREAKS ensemble turning up here — Koo Koo would have fitted right into a Marx Bros pic. But there is an appearance by a seal who looks a little like Prince Randian.) Pendleton’s brand of grating menace makes him an ideal Marxian antagonist: Chico and Harpo get another standout scene as they attempt to search his room while he’s sleeping in it. This heavy is a heavy sleeper. This one fizzles out at the very end, but not before building to ridiculous excess.

vlcsnap-2016-08-21-23h04m18s600

Gibraltar the ape is another Shadowplay fave, make-up artist and part-time gorilla impersonator Charles Gemora, last seen gluing eyelids to Marlon Brando a few days back. Gibraltar makes the climax of the film the triumph it is (along with Fritz Feld’s irascible conductor, complete with pointy beard for Groucho to mock). He seems not so much dangerous as high-spirited, having a rare old time terrifying people on the flying trapeze, behaving not so much like a jungle beast as like a short Philipino makeup artist who’s just put on a gorilla costume and is having the time of his life.

vlcsnap-2016-08-21-23h10m41s484

Rounding out the team of baddies is vamp Peerless Pauline, played by husky-voiced Eve Arden, who has a nice human fly act with Groucho, walking on the ceiling. In the MGM films, Groucho’s horndoggery is dialled down, so he can only flirt with vamps and with Margaret Dumont. Somehow he’s always had a Spider Sense that allows him to detect who the leading lady, so he can restrain his wolfishness when she’s around. (LOVE HAPPY, dismal as it is, at least allows him to resume his moth-eaten lechery with Marilyn Monroe as letch-magnet.)

vlcsnap-2016-08-21-22h56m56s825

In shameless and senseless emulation of A DAY AT THE RACES, this movie also features a big production number where a lot of black people appear from nowhere to put on a show. But I quite like the Swingali number — director Edward Buzzell throws in some Dutch tilts for added vigour. The lyric “Is he man or maestro?” harkens back to DUCK SOUP. And he’s more resourceful at filming harp solos, which makes the Harpo interlude about 8% less dull than usual.

vlcsnap-2016-08-21-23h09m43s251

Then there’s Dumont, an essential part of the team — more important than the discarded Zeppo, it seems. Giant crane shot at her party — Rosalind Russell supposedly said you can’t do comedy on big sets but Mags makes a chump out of her here. Amidst all the cruelty, it seems a shame that, after her Mrs. Dewksbury has shed her pretensions and settled down to enjoy the big top entertainment (there’s more damn SINGING in this circus than I recall being usual under the big top), she still has to be fired out of a cannon and swung on the trapeze in her bloomers. Overkill! She’s already loosened up. How loose do you want her?

Great image of the orchestra drifting out to sea makes the film’s ending even better — maybe the best Marxian fadeout?

vlcsnap-2016-08-21-23h09m54s464

What happens after that fadeout? First violin leads a mutiny against the conductor while the brass section resorts to cannibalism?