Archive for Blind Date

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.

Joseph Losey really likes mirrors

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , , on February 1, 2022 by dcairns

Reflections of all kinds, in fact. Here are some from TIME WITHOUT PITY:

They become so pervasive that ordinary shots of people in doorways start to seem like full-length mirrors, in which the characters are startled to see not their own faces, but those of perturbed strangers.

But BLIND DATE aka CHANCE MEETING is maybe even mirrorier.

The late Hardy Kruger is fascinated by his own face, as well he might be. There’s an oval mirror that looks forward to THE SERVANT’s famous convex job.

Oddly, we’d just watched Elio Petri’s L’ASSASSINO, which is practically the same movie. It even has the same female star, Micheline Presle, as its murder victim (or is she?). The preening hero in that one is Marcello Mastroianni, and he’s likewise harried by a persistent detective determined to establish his guilt in a murder case. BLIND DATE and TIME WITHOUT PITY have a lot in common too, both hinging on innocent men wrongly accused, murdered mistresses, with a background of weird art and loud records, but they’re not as strikingly alike as BD and L’A. Petri MUST have seen the Losey.

Losey and Petri do relate in a lot of ways — both made pop art comicbook thrillers in the sixties (MODESTY BLAISE and THE TENTH VICTIM) — but more significantly, both are addicted to sinuous camera movements in artfully designed spaces. And mirrors!

L’ASSASSINO is also fascinating because it has soft-spoken raincoated proto-Columbo Salvo Randone instead of Stanley Baker’s belligerent bull. The slow, gentle persecution of the smug creep plays exactly like a Columbo except there’s a different narrative structure — flashbacks, and a crime kept ambiguous until the end — as in BLIND DATE. I guess this cat-and-mouse jazz all dates back to Crime and Punishment. Clouzot gave us TWO proto-Columbos in QUAIS DES ORFEVRES and LES DIABOLIQUES. The same year Columbo made its first TV appearance, William Peter Blatty wrote a gently bumbling inspector with a mind like a steel trap in The Exorcist, and had to change him a bit for the film so he wouldn’t seem like a Peter Falk knock-off. But this proto-Columbo has a particularly good name.

His name is Palumbo.

‘There are stories of coincidence and chance, of intersections and strange things told, and which is which and who only knows? And we generally say, “Well, if that was in a movie, I wouldn’t believe it.”‘ ~ Ricky Jay, MAGNOLIA.


Posted in FILM with tags , , , , , on July 25, 2008 by dcairns

BLIND DATE with Bruce Willis and Kim Basinger. No, wait, that’s wrong. Surely that’s wrong.

My new article on J-Lo, by which I mean Joseph Losey, is up at Moving Image Source. It’s meant to accompany this complete retrospective, but in a fit of madness, I based it all around one scene in his late ’50s potboiler BLIND DATE, starring Hardy Krüger and Stanley Baker.

And J-Ro, by which I mean movie colossus Jonathan Rosenbaum, was nice enough to add a helpful semi-correction to my last piece there, the Clarkicle. (They wouldn’t let me call it the Clarkicle, though. Not that I actually asked, but they wouldn’t let me.)

And my previous Losey-themed bit of waffle is still HERE.

I wonder how many more links I can cram into one post without setting the Internet on fire?

Anyhow, THIS ONE is the new Losey article.