Archive for Braveheart

Sad News

Posted in FILM, Uncategorized with tags , , on October 23, 2018 by dcairns

I just caught up with the terrible news that Caroline Nelson has died in a car crash. She was the wife of my friend, actor Sandy Nelson, star of Stephen Murphy’s BURKE AND HARE: THE MUSICAL which I scripted. The rest of you have probably seen him in the movies: he played Mel Gibson’s brother in BRAVEHEART.

A fundraiser has been set up to help him: he has two kids to look after by himself now. Except he won’t be by himself, the outpouring of love and support from all his friends will keep coming, I believe.

Here’s the link. Please help if you’re able. As you can see, it’s been a very successful campaign, but that’s because it’s a good cause.


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Muckrakers

Posted in FILM with tags , , , , , , , , , , , on September 7, 2016 by dcairns

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I always had slight doubts about the authenticity of my South Korean DVD or Zulawski’s LA FIDELITE, but when I finally got around to playing it and the label promptly shredded off of disc 1, I began to think it might not be wholly legit. The muddy transfer and the odd ratio of 14:9 — not anyone’s standard frame, anywhere, since the sixties — seems to further suggest that I may have been sold a pup.

The film itself is fairly terrific, and I should invest in an upgrade. Zulawski’s partner, Sophie Marceau, with whom he had already made three films (which I still have to look forward to), stars in an adaptation/update of Madame La Fayette’s 1678 novel La Princesse de Cleves. I must admit I’d underrated her, having only seen her in Tavernier’s DARTAGNAN’S DAUGHTER and the Bond film THE WORLD IS NOT ENOUGH. Oh, and bloody BRAVEHEART. None of which are her best work, it seems. I hate BRAVEHEART, in which her main purpose, like that of most female leads in action films, is to alibi the lead’s heterosexuality (but see here for a problematizing fact-check at around 3:50). On D’ARTAGNAN’S DAUGHTER she was responsible for getting octogenarian maestro Riccardo Freda fired from his last chance of directing a film, which rather makes me despise her. Later, giving her opinion about the film, she said that there was too much about Philippe Noiret and the other musketeers and not enough about her. Needless to say, I found her cold-blooded bitch character in THE WORLD IS NOT ENOUGH quite convincing.

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But in fact, whatever she may be like in real life (and I have no actual way of knowing), she can be a tremendously sympathetic and intelligent and compelling presence onscreen, as LA FIDELITE shows — she humanizes the extremes of Zulawski’s cinema in a way no other actor I’ve seen can do. In fact it’s the husband character in the film (Pascale Greggory) who goes in for more of the director’s favoured mannerisms, flailing, spasming and twitching, though he does this less often and less frenetically than, say, the stars of POSSESSION. In fact, in many ways he has the feminine role, stuck in the role of “good spouse,” largely passive and pensive — he even writes a message on a mirror in eyeliner (it’s a lengthy quotation, so lipstick wouldn’t have worked).

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As so often with historical material dragged kicking and screaming into the modern age (the twenty-first century, just), there are some awkward plot hurdles where society today may not offer exact analogues for the source’s action. Here, Zulawski contrives a subplot about illegal organ-trading which doesn’t seem to even try for plausibility — a shot of bootleg eyeballs shows a fuming tray with eyes, complete with eyelids and dainty eyelashes — periodic bursts of John Woo-style slomo machine-gun action interrupt the relatively naturalistic moments of emotional turbulence with surprising frequency. Relocating the plot from the world of aristocrats to the world of a modern press tycoon works neatly, though, and the film does remind you how detestable the tabloid press is. Hilariously, the saturnine tycoon is called Rupert Mac Roi.

Marceau emotes movingly, and indulges in vigorous sex scenes with Greggory while yearning for loutish-yet-sensitive Guillaume Canet. She’s also convincing as a photographer and artist. Edith Scob blows a raspberry. She didn’t do that in EYES WITHOUT A FACE — her mask would have blasted off.

Edinburgh, 1828…

Posted in FILM, literature, MUSIC with tags , , , , , , , , , , , , , , , , on September 30, 2008 by dcairns

Thanks to actor Ricky Callan for posting this one of YeTube (the Scottish YouTube).

I really wanted the credit “book and lyrics” on this one but somehow didn’t get it. Makeup FX supremo Stephen (SLEUTH) Murphy conceived the idea for a musical about Edinburgh’s best-loved mass-murderers (they didn’t really rob graves, they found it easier to manufacture their own corpses) and I volunteered to write it with alacrity.

The first voice you hear is that of Ronnie Corbett, the little Nazi in the original CASINO ROYALE, who lives outside Edinburgh. I’m afraid we wrote a less vulgar version of the script in order to secure his services, which he gave out of the goodness of his heart. Once we’d recorded his VO we stuck all the swearing back in.

Ricky Callan plays William Hare, with Sandy Nelson (Mel Gibson’s brother in BRAVEHEART!) as William Burke. Stephen Murphy directed, handled most of the producing, oversaw the special makeup requirements, and wrote the score.

It’s all shot on location except for Burke and Hare’s rooming house, a little set built in Edinburgh College of Art’s boxy wee TV studio. And the front door of same, which is a miniature (as becomes clear when it’s destroyed — we shot the destruction in slow motion but not slow enough).

Apart from my writing services, I appear as an extra in the hanging scene (far left at 7:57, wearing a wig and pulling a funny face) and did a fair bit of editing on it. Editing dance is tough, especially when you have no coverage (not incompetence, just a limited budget) and everything must be cut to the music, and the choreography is differently timed from one shot to the next.

Another problem was a camera malfunction during the hanging scene — the sound had no firm synchronisation with the picture. So I synched (or “sunk”, as we say) the middle of each shot. As the shot starts, it’s slightly out-of-whack, but just as the audience starts to notice, it goes back into step with the image. Then it starts to drift out, but just as the audience becomes aware of it, we cut to the next shot. Genius.

That was a strange day. Pretty much the start of the shoot, the biggest scene (building a gallows outside St Giles Cathedral on Edinburgh’s High Street, with buses going by in the back of out-takes) and as we set up the news came in of the school shooting in Dunblane. Some anonymous asshole member of the public saw fit to castigate us for our bad taste in filming a death scene on this terrible day,as if we’d planned the events to coincide.

Other locations: the graveyard at the start (I thought it was important to show B&H failing as resurrectionists, even though there’s no evidence they ever tried it, but most people associate them with grave-robbing) is Greyfriar’s Churchyard, resting place of William Topaz McGonagall (the world’s worst poet) and the famous Greyfriar’s Bobby. It can also be seen right at the start of Robert Wise and Val Lewton’s THE BODY SNATCHER, in a travelogue shot swiftly followed by a studio mock-up.

The dark alleyway is Advocate’s Close, I think. While scouting all the narrow side-streets off the Royal Mile, we found the more spacious close that serves as our main street scene. It had very few modern features to hide, and was a cul-de-sac which we could completely take over.

Stephen and Mhairi, his producer, managed to get some fairly posh place to serve as Dr. Knox’s house, and a disused bar which could easily be rendered 19th century — in fact, since the modern fixtures had been stripped out, that’s basically what it was.

Morag McKinnon, director of forthcoming feature ROUNDING UP DONKEYS, cameos as Bess the prossie. As soon as she heard there was a character of that name, she wanted to play it. I seem to recall writing a series of completely foul couplets before settling on the relatively innocuous ones used. It was worth it to make people laugh. Stephen wanted to have naked corpses on slabs, to “enhance the production values,” so Morag was induced to denude. Both Stephen and I regretted it in the end, since the combination of nudity, death, and rude humour maybe touches on the uncomfortable.

Here’s one of my pal Simon Fraser’s drawings for the end creds, which deserves to be enjoyed at fuller resolution than YeTube can supply:

Simon is a successful comic book artist and illustrator of high-class lesbian pornography.

And here’s the actual death-mask of William Burke:

Whatever you think of our little playlet, (sharp-eyed observers may spot swipes from homages to Robert Louis Stevenson’s The Body Snatcher and Dylan Thomas’s The Doctor and the Devils) I can assure you that our version really is one of the most historically accurate accounts of the B&H affair, with only the omission of the killers’ wives, and the precise circumstances of their arrest, being somewhat at odds with exact verisimilitude.

Oh, and the singing.