Archive for Bride of Frankenstein

Bride of the American Werewolf

Posted in FILM, Mythology with tags , , , , , , , , , on April 20, 2018 by dcairns

We’re going to see BRIDE OF FRANKENSTEIN at Filmhouse today, introduced by John Landis.

Landis has a nice ongoing relationship with Edinburgh — he was retrospected by Edinburgh International Film Festival, he shot parts of BURKE AND HARE here (here hare here) and now he’s a guest of Dead By Dawn, our long-running horror fest.

My connection to the BRIDE OF FRANKENSTEIN, always intense (though I never saw it as a little kid — took me years), is even more meaningful now, since I recently completed an epic video essay for the forthcoming Masters of Cinema release of THE OLD DARK HOUSE. So I can call myself a Whaler with the best of them.

The confluence of Landis and BRIDE makes me want to pitch a sequel to his maybe-best film — Anthony Waller’s AMERICAN WEREWOLF IN PARIS is best forgotten, which is fine, because it has been. BRIDE OF AN AMERICAN WEREWOLF IN LONDON would star Jenny Agutter, who provided the romantic interest in the first film. It would turn out that lycanthropy is also a sexually transmitted condition. I mean, who’s to say she didn’t get bitten by her boyfriend during their sexytimefun in the original movie? There’s definitely something oral going on.

vlcsnap-2018-04-20-11h38m08s170

(Big cunnilingus scene in KENTUCKY FRIED MOVIE too. Obviously a Landis favourite. Maybe that’s why he wears a beard, so he always feels like he’s… Should I ask him? Probably best not.)

Anyway, werewolf Agutter, that’s the pitch. We can work the details out later.

This prospective encounter feels very timely, since my friend Stephen Murphy, a brilliant make-up artist, just met Rick Baker, creator of Landis’s werewolf (and so much more) at the Monsterpalooza convention (yes, this a thing). Stephen was made up as a zombie Rick Baker at the time. I can’t compete with that.

 

Advertisements

Tea-time

Posted in FILM with tags , , , , , , , , on February 24, 2018 by dcairns

Researches for a current project led me to look for all the images I could get from Universal’s horror cycle of the thirties. And one thing I found was… lots of tea breaks.

Director James Whale was English, and insisted on proper tea breaks: elevenses, and high tea (I’m Scottish, so I don’t know what those are, but they’re some kind of tea-break). The Americans weren’t invited, noted Gloria Stuart.

  

Are Colin Clive and Valerie Hobson in character, pretending to have tea, or out of character, actually having tea?

Pretty sure THIS isn’t a scene from either FRANKENSTEIN or BRIDE.

No tea actually visible in this one, but I infer its presence close by. Una O’Connor needs her pick-me-up.

 

Yes! Ernest Thesiger was a keen painter as well as a needlepoint enthusiast.

This is the famous one —   

Home Service

Posted in FILM, literature with tags , , , , , , , , , , , , , , on October 24, 2017 by dcairns

Huge gratitude to Talking Pictures TV for screening ENCHANTMENT (1948), which I don’t think I’d ever heard of, directed by Irving Reis, who was merely a name to me. It’s been a while since I discovered a 40s Hollywood film that was a revelation to me.

It’s based on a Rumer Godden novel — one might think her an extraordinarily fortunate author in her adaptations, except I don’t think she liked any of them, certainly not BLACK NARCISSUS, which maybe affirms some part of the auteur theory by transmogrifying wholly into a Powell & Pressburger joint. Though it’s certainly possible to like both book and film. But Rumer didn’t, is my point.

It’s also a Goldwyn production, and stuffed full of his favourite talent — not Danny Kaye and Virginia Mayo, you understand, but David Niven (DODSWORTH, WUTHERING HEIGHTS), Teresa Wright (THE LITTLE FOXES, THE BEST YEARS OF OUR LIVES) and Leo g. Carroll (WUTHERING HEIGHTS again), the whole being shot by Gregg Toland (most of the above). It’s basically a William Wyler movie without Wyler, which might be useful in assessing his contribution to the films he made for Goldwyn, except I’d rather just rave about this one.

Oh, and the cast also includes Evelyn Keyes, who is delightful, and Farley Granger, almost equally so only in a moustache. I’m not always anti-whiskers — David Niven doesn’t seem complete without his lip-caterpillar, for instance, but the more hair you put on Farley’s face, the less of Farley’s face you see, and that has to be counted as a loss.

For some reason the Blitz seems a time of romance, which is crazy — bombs falling from the sky onto human habitations are not romantic — but there it is. I’ve been reading Connie Willis, who suffers from the same inappropriate yearning for tumbling ordinance. This movie is framed by the war, but glides from thence into flashbacks going back to Victorian times.

Niven is barely recognizable (save for that lightbulb cranium) in the contemporary sections, wrapped in a rather convincing make-up and giving a thoroughly convincing performance of old age. His voice is completely unrecognizable, save for a few moments when his distinctive way with a line creeps through.

     

The leaping about in time is accomplished with a lot of adventuresome skill, some of which may be accredited to Toland, who after all had CITIZEN KANE to his credit. And so we get temporal shifts delivered with lighting changes (before Death of a Salesman) , and one extraordinary bit where the camera pans out of flashback into present tense in a single unbroken shot, the kind of thing very rarely seen in the forties — THE LIFE AND DEATH OF COLONEL BLIMP is the best-known example. And a lovely moment where we a scene fades out except for a character’s hand, which lingers momentarily like the Cheshire Cat’s grin or the blind hermit’s cross in BRIDE OF FRANKENSTEIN, then dissolves to another image of a hand, and irises out in a new scene. That trick turns up in HE WHO GETS SLAPPED, but practically nowhere else in screen history.

Evocative effects-work for the Blitz scenes.

Also, for fans of eccentric forties storytelling (David Bordwell), it’s narrated by a house. That would have been enough to make me love it, but there’s so much more.

What other Reis ought I to see? I’ll be all over THE BACHELOR AND THE BOBBYSOXER, of course, but are there other gems?