Archive for Au Secours!

Old Haunts

Posted in FILM with tags , , , , , , on October 6, 2011 by dcairns

A  pre-Halloween haunted houseful in this week’s edition of The Forgotten. I’ve written about this one before here.

AU SECOURS! is available as an extra on the DVD of Abel Gance’s LUCREZIA BORGIA, along with the film with the greatest title ever, LA FOLIE DU DOCTEUR TUBE (THE MADNESS OF DR TUBE).

Buy — Lucrezia Borgia

Intertitle of the Week: Subway

Posted in FILM with tags , , , , , , , on August 30, 2009 by dcairns


An oddly anachronistic intertitle from Max Linder’s THE THREE MUST-GET-THERES, which, as its title strongly hints, is a somewhat lame Fairbanks spoof. But there are compensations — Linder himself is never less than appealing, and there are some grotesque images. In fact, the whole thing is weirdly unpleasant.


Bull Montana as the Cardinal, every bit as disturbing as a Francis Bacon screaming pope. Wasn’t Montana an ape-man in the silent LOST WORLD or something? The name stuck in my head from an old issue of Famous Monsters of Filmland (I owned two issues as a lad).


What’s odd here is the faithfulness to Dumas’ basic plot (or the first half of it, anyway), which sits uncomfortably with the anachronisms and anything-goes farce. I’m a big fan of AU SECOURS!, his Abel Gance-directed haunted house romp, but I’ve only seen extracts from his earlier French work. Must get better acquainted with it.

Film Directors With Their Shirts Off #6

Posted in FILM with tags , , , , , , , , , , , , , on January 6, 2009 by dcairns


Benjamin Christensen in HAXAN gives himself the ultimate directorial walk-on, knocking Hitchcock into a cocked hat. (Was this another Paul suggestion? Somebody suggested it. Thanks, somebody!)

Well, I can now say I’ve sort ofseen Benjamin Christensen’s SEVEN FOOTPRINTS TO SATAN, thus taking me one footprint closer to having seen all the films depicted in Denis Gifford’s big green horror movie book. I say “sort of” because the version I watched, seemingly the only one available for love or money, had Italian intertitles, which were so badly cropped that even if I’d paused it and sprinted to Babelfish every time one appeared, I’d have been struggling to make sense of things.


BUT! I’m not sure I want to make sense of things. Essentially a Scooby-Doo fake haunted house movie with more than a little in common with Max Linder and Abel Gance’s AU SECOURS!, Christensen’s 7F2S, as I’m now going to call it as if it were a damned summer blockbuster, is much more interesting for its weird-ass imagery than for the narrative underpinning it. As Creighton Hale and Thelma Todd make their panicky way through a mansion full of grotesques, gargoyles and gorillas, with friend indistinguishable from foe, things take on the ambiance of a David Lynch jaunt through the Black Lodge.


As with Paul Leni’s THE CAT AND THE CANARY, the camera style and production design far outstrip the story in sophistication, which is why I felt I was possibly getting an enhanced experience by not having a clue what it was all about most of the time. The ending was fairly clear, though, and confirmed the essential corniness of the concept.

The music on the disc was perfectly OK, but on a whim I muted it and put on my old vinyl Franz Waxman compilation. As is normal with these makeshift film scores, the tunes sometimes sunk up with the action perfectly, and sometimes were gloriously awry, as with a tender love theme playing along with an ape rampage sequence, but that all helped the discombobulated feeling the film seemed to aspire to. And when Waxman’s BRIDE OF FRANKENSTEIN suite came on, things really kicked in.


Waxman is the best.