Archive for Belinda Lee

Lipstick on your Killer

Posted in FILM, Painting with tags , , , , , , , , , , , , , , , , , , on July 15, 2022 by dcairns

IL ROSSETTO (THE LIPSTICK, 1960) is Damiano Damiani’s first film as director. While Elio Petri’s debut, L’ASSASSINO, seems like a near-remake of Joseph Losey’s BLIND DATE, DD seems to have chosen as his model another British picture, J. Lee Thompson’s TIGER BAY. But he’s changed things more.

His lead is teenager Laura Vivaldi, who has a precocious crush on handsome Pierre Brice. He’s much older and only shows an interest in her when it turns out she can put him at the scene of a recent murder. Now he starts doting on her, while working out what he has to do to keep her quiet…

Vivaldi is great — maybe not the thespian genius Hayley Mills was as a kid, but very affecting and credible. Her mom is played by Bella Darvi, so we know there’s going to be trouble there. Brice’s REAL girlfriend is Georgia Moll, miscast by Mankiewicz as a Vietnamese character in THE QUIET AMERICAN (why didn’t somebody point JLM to Dany Carrel?). And the police inspector who starts honing in on Brice, using young Vivaldi as a wedge to crack him, is Pietro Germi, who did quite a bit of acting alongside his celebrated directing career.

Germi is one of the film’s most interesting creations — structurally, he’s Columbo-like (enter late, slowly take over), but less sympathetic. Damiani is not, I think, enamoured of the cops. Germi has a picture of his own daughter on his desk. He’s very kindly toward Vivaldi and he believes her story. It turns out she’s just the age his own daughter would have been.

When a more cynical cop undermines Germi’s faith in his star witness — and the thing that does it is the fact that she’s known to have experimented with lipstick — the hussy! — he turns against her. Things get very dark indeed, and social critique almost takes over from detective drama. It’s a perfect balance, actually.

Two possible criticisms — the movie could make a great advertisment for suicide attempting as a means to resolve adolescent troubles, which could seem irresponsible — and the resolution of the mother-daughter plot is not too satisfying since Darvi plays the mom’s bad qualities much more convincingly than the good ones — she’s been wrapped up in her own soap opera affairs as a married man’s mistress, and doesn’t seem to earn her happy ending. But really these issues don’t seem as troublesome as they ought to be.

Damiani’s direction is assured and simple, sustaining his beautifully crafted melodrama.

I also took a look at GODDESS OF LOVE (1958), in the wonder of Ferraniacolor and Totalscope — an unusual peplum-thing scripted by Damiani. He did a bunch of these for veteran director Victor Tourjansky, but this one departs from the usual playbook. There are no bulging biceps, and despite some marching armies in the second act, the film is mostly intimate, and genuinely interested in its love story, structured around the sculpting of the Aphrodite of Knidos.

You learn absolutely nothing important or accurate about this significant work of art except that it was chiselled by a bloke called Praxiteles (Massimo Girotti), but Damiani’s feminist side is apparent — Belinda Lee, a voluptuous lass from Devon, is tyrannized from all sides because of her beauty — it’s like THE RED SHOES, only clunky on every level. Praxiteles wants her as model (but secretly is smitten), a wounded Macedonian he shelters (Lithuanian sideboard Jacques Sernas, Il Divo in LA DOLCE VITA) is in simply manly love with her, and the entire Greek army lusts after her for the way she knocks the shape out of a tunic.

Damiani is guilty of some bad radio writing — “Let’s run away from here through this door!” but his story is actually compelling. Tourjansky, once a wild stylist in France in the 20s, has settled into his “mature” period — asleep at the wheel. You don’t need to watch it. But it’s interesting to see DD already mastering story and making something a little more interesting than it needs to be.

Ealing Hands

Posted in FILM with tags , , , , , , , , , , on December 17, 2018 by dcairns

When I think of it, there are a surprisingly large number of Ealing films I haven’t seen. Now that I’m interested in Pat Jackson (Miss Jackson if you’re nasty), my attention focussed on THE GENTLE TOUCH (aka THE FEMININE TOUCH), a typical Ealing group dynamic movie about student nurses. Of course, an Ealing take on this subject is quite a bit from, say, a Roger Corman one, but it’s not exactly devoid of “shocking” material, from suicide to questioning the cruelty of God to some frank talk about virginity and colostomy bags.

And all in luminous Technicolor! It’s a surprising choice of subject to show off the process, but Paul Beeson’s work is radiant, excelling in a sunset scene where the golden light and blue shadows recall Leon Shamroy’s Hollywood work.

Best-known ministering angel is probably flame-haired Adrienne Corri, a Scot cast as an Irishwoman on account of all that red hair. She plays it with her strongest Scottish accent and a couple of notes of stage Irish. But she’s fun! Belinda Lee is the soft-spoken lead, good actor but written insipid; Diana Wynyard is the Matron and she’s AWESOME — good in the original GASLIGHT, but better here, and Mandy Miller from MANDY is a child patient with a dicky heart. Delphi Lawrence marries a doctor (“I thought he was a confirmed bachelor!”) and is automatically fired because nurses aren’t allowed to marry in 1956, apparently (!).

Very glad I saw it. Some of the compositions in group shots are stunning, and there are some snappy montages, but otherwise we don’t see Jackson’s more bold and imaginative choices, which I suspect he only resorted to when working on nonsense he thought was beneath him. Too bad, that.

But hey, Technicolor! 

Jackson did another medical drama, WHITE CORRIDORS, which I’m curious about, and I also want to see his early documentary/quasi-documentary stuff (some with Humphrey Jennings).