Archive for Betrayed

Not the Sunday Intertitle

Posted in FILM with tags , , , , , , , , , , , on September 15, 2019 by dcairns
From Z: “Any resemblance to real events or persons living or dead is not accidental. It is DELIBERATE.”

No intertitles in Costa-Gavras’ films, that I’ve been able to find. Plenty of writing on the screen, though.

Since the stories he tells are often based on true ones, or set in real historical situations, the use of text is sort of genre-appropriate. Although I don’t think we can really argue that it’s a technique taken from documentary — the history of fiction films starting with a superimposed crawl stating the time and place and what’s happening politically is a very long one — it’s true that this approach literally turns the film into a document for the duration of the text.

C-G can begin a film with a scene-setting graphic, as in UN HOMME DE TROP ~

Since this is a Harry Saltzman production, this MIGHT be the work of an uncredited Maurice Binder. I do hope so!

He can use a superimposed date to get over a jump in time, as in L’AVEAU, which cheekily identifies its first flash-forward as a hallucination, then treats the later ones as real ~

I like C-G’s experimental side. The relentlessly brutal L’AVEAU might be unwatchable without this ludic spirit.

The movie ends with Czech graffiti, subtitled. Does that constitute a kind of intertitle?

“LENIN WAKE UP THEY HAVE ALL GONE MAD”

In C-G’s endings we sometimes learn about what happened after the events of the movie itself. Z has perhaps the best example of this ever, and it helps that the explanation of the title has been held back until the very end (spoiler alert, I guess) ~

It’s just a list of things banned by the Greek generals, culminating in the letter Z, which was forbidden because it could be used to say “He still lives.”

Where a Hollywood true story might tend to reassure us that the story we’ve just watched resulted in wrongs being righted (I’m generalising massively here), C-G tends to tell darker stories and he wants to send his audience out angry or determined, not reassured.

From SECTION SPECIALE — devastating in context.

I’m not usually crazy about the textual “future re-cap” ending. It can signify a failure on the scenarist’s part to effectively condense the true story into a cinematic narrative. And I usually find it a colossal cheat when it’s used in fiction films. I don’t like it in AMERICAN GRAFFITI *at all*. ANIMAL HOUSE, directed by C-G’s pal John Landis (who put C-G in three of his films as an actor, a record for this director-casting maniac) is OK because it’s parodying the form and the jokes are pretty good. MAGDALENE SISTERS is just confusing because the characters aren’t real, but they’re based on real stories… so are the hackneyed captions telling us about real people or fictional ones? It’s supposed to be devastating, but I found it irritating because I’m a pedant and a bad person, I suppose.

AMEN. (note the full stop) is a dicier example. It has two protagnists. One was a real person, Kurt Gerstein, a Nazi whistle-blower who tried to warn the world about the Holocaust while being deeply involved in it (it’s a fascinating and terrible story), the other is a compound character signifying various people in the Catholic Church who did various things to get the Pope to act (unsuccessfully). The film solves this conundrum by summing up Gerstein’s post-movie fate and remaining silent about the quasi-fictional Jesuit.

I would say that just as I slightly prefer Costa-Gavras’ more playful and quirky early work, where the nouvelle vague tricks in no way take away from the seriousness — in fact, they point it up — I prefer the use of text early on, because it has a similar wit. Playing with the docudrama conventions rather than subscribing wholeheartedly. Likewise, the two freeze-frames in UN HOMME DE TROP, capturing the moment of death for two characters, are much more striking than the standard-issue freeze endings of MUSIC BOX and BETRAYED, even though the latter, with the action actually juddering to a halt, is rather haunting ~

The American Problem

Posted in FILM with tags , , , , , , , , , , , , on September 14, 2019 by dcairns

The following contains spoilers for Joe Eszterhas’s Number One Plot.

I remember thinking THE MUSIC BOX was OK, but now I’ve watched it again and it’s kind of not.

I think Costa-Gavras thought he could make intelligent political films in the US (post-producing them in France to maintain some distance) but maybe he was wrong. The most pernicious form of censorship, suggested Alexander Mackendrick, is self-censorship.

The screenwriter is Joe Eszterhas but I vividly remember that at the time most of us were not on to him. He had written FLASHDANCE (which I’ve never seen — the Wikipedia plot synopsis, however, is HILARIOUS, just a bunch of random incidents separated by dithering — I’ve been working on editing together old movie serial recaps, and this seems like one of those) and JAGGED EDGE and Costa-Gavras’ BETRAYED.

The big obvious joke with J.E. is that he always writes the same movie. Well, JAGGED EDGE (his signature work, it even shares his initials) is the exact same story as BETRAYED, THE MUSIC BOX and BASIC INSTINCT and I assume JADE. Someone is involved with someone else who may be a monster spoiler alert they totally are.

Though it was fashionable to say that JAGGED E. “kept you guessing to the very end,” I did notice, aged eighteen, that I was not guessing at all at the end. It was obvious to me that if Jeff Bridges wasn’t the killer, they would have to do a lot of tiresome explanation, SUSPICION-style, and also it wouldn’t be as dramatic. Still, let’s give J.E. (the man and the film) credit for doing a version of SUSPICION with the right, and less obviously commercial, ending.

Then he just does it again and again. In MUSIC BOX, for the first time the villain is a father, not a lover, and the crimes are historic. I recall the friend I saw it with back in 1989 saying, “The moment I saw that guy I knew he was guilty, but I was still sucked in.” Which is true. You do need to know how it’s going to turn out.

Flatly, is the answer. The very strong premise of a daughter defending her father on war crimes charges, complicated by the fact that the communist government of Hungary might be framing him because he’s a vocal anti-commie, seems like a good set-up, and it is, but they have no ending up their sleeve other than “Surprise! He’s guilty!” And since we’re not surprised, that’s not very gripping. They know they can’t trump up some kind of fight over a hunting knife and kill the guy. So they’ve got nothing.

I do like how Armin M-S’s credit appears over an animatronic likeness of him.

This being a J.E. script, all the men are inappropriately sweary or sexual, something that is more obvious to us post-SHOWGIRLS (written on the FLASHDANCE random-shit-and-dithering model) but was always a feature of Dirty Joe’s writing (JAGGED EDGE, Peter Coyote: “The guy’s got a rap sheet as long as my dick!”)

Costa-Gavras’ direction is smooth, there are some good-ish shots, but nothing breaks out of the Oscar-bait conventions of the script. When Jessica Lange walks by the Danube in search of inspiration, there are some shots of rippling water, but no cinematic poetry to lift us out of the merely photographic and suggest the emotional process the screenwriter has failed to write.

Freeze-frame ending. Ugh.

Fiona’s main observations: “This script is LEADEN,” and “That’s a really ugly dressing gown.”

Lange refuses the case because she’s too emotionally involved (mythic structure #101) then changes her mind after examining her knees in a mirror. She seems about to go full Sharon Stone. I have no idea what’s going on in this scene.

I like C-G, normally, because he weaves political considerations into rivetting stories, seamlessly, and because he is one of the best storytellers with the camera we have — he doesn’t get enough credit for his dynamic visual language. But it just feels like he has nothing to work with here. It’s like trying to sculpt soup.

And yes, Armin Mueller-Stahl is good, if a bit one-note (everyone is one-note, it’s an Eszterhas script).

Armin Mueller-Stahl’s Oscar campaign.

The best thing Joe Eszterhas wrote, a horrifying, craven piece of unintentional black comedy, is his letter to Mel Gibson. You will scream.

MUSIC BOX stars Dwan; Thronfolger; Hammett; Lyndon B. Johnson; Samuel; and Henry Portrait.