Archive for Bruce Bennett

An Odyssey in Bits: Keir Dullea and Gone Tomorrow

Posted in FILM, MUSIC, Science, Television with tags , , , , , , , , , , , , , , , , , , , , on February 19, 2019 by dcairns

Thanks to the acid wit of Noel Coward for the title. Noel co-starred with Dullea (happily still very much here today) in Otto Preminger’s BUNNY LAKE IS MISSING.

2001’s second superimposed caption appears: it’s not altogether certain that THE DAWN OF MAN has finished (it was apparently in play all through the orbital and lunar ballet) but at any rate the JUPiTER MISSION has begun.What was strange to me, this time around, was how fast this section of the film seems to go by, when you watch it in isolation. The pace of the shots may be slowish, but the narrative is super-economical.1. The Discovery sails past us.

(Various spaceship designs were considered with various propulsion systems, but the final look chosen is less about scientific practicality and more about style. The bony colouring adds to the Discovery’s resemblance to a giant skull and spinal cord. Also a little like a spermatozoa. So it also makes me think of the miniature Spike-creatures in ERASERHEAD.) 2. We cut to inside Kubrick’s giant hamster wheel. Here’s Gary Lockwood jogging, in a whole series is striking shots, including an up-butt angle as startling as the one George Sidney devotes to Ann-Margret in VIVA LAS VEGAS. Bruce Bennett’s citation of TRAPEZE as an influence gets backed up here — not only for the earlier use of the Blue Danube, but for turning the image sideways so it can fill the WS frame. It’s true that Kubrick lingers over these images, but they’re well worth it. My problem with EYES WIDE SHUT was its, to my mind erronious, supposition that Tom Cruise walking down a street or into an apartment was worthy of the same following-too-close attention.

(How does the craft generate its gravity? It’s not rotating in the exterior shots. Is there actually a big rotating wheel inside it for the living space? Seems to be the case. Wild.) 3. & 4. Then we get a couple of video bits — Lockwood’s taped message from home, and the BBC interview with the crew and HAL, which infodumps all the necessary exposition on us in a reasonable engaging and natural way.

Bowman and Poole have i-Pads so they can watch TV as they down their space-chow (from plastic pallettes packed with nutritional coloured pastes. Yummy).5. And then HAL is glitching right away — his mental breakdown is really just as speedy as Jack Torrence’s in THE SHINING. It’s when he says, “Just a moment. Just a moment.” Computers shouldn’t repeat themselves. It feels wrong. Later, he will repeat himself A LOT, so I know I’m right.

Dullea and Lockwood are beautifully blank. GL said they looked at reports on what astronauts were like, and their inexpressive performances reflect the demands that those fired into space should NOT be hysterical, hand-flapping types of furious fist-wavers. Ryan Gosling’s unemotive Neil Armstrong in FIRST MAN makes this a big story point, whereas Kubrick and Clarke and the cast just take it for granted. The fact that HAL is more appealing and warm is certainly no accident — Kubrick liked machines. Unfortunately, the story he’s telling requires HAL to turn homicidal, so this is far from the “alternative Frankenstein myth” he hoped to achieve with A.I., proving to us that our machines might be our heirs, our best hope of leaving something of ourselves behind.HAL trounces Poole at chess.

Clarke thought it a shame that the film didn’t make clear the reason for HAL’s malfunction: mission control had instructed him to withhold the true purpose of the voyage, in effect to lie, which was against his programming. (To lie is already to err.) When he tries to sound out Dullea’s Dave Bowman about the mission parameters, he’s probably looking for a chance to open up and get things off his metallic chest. Bowman brushes him off, and so he has to kill all the damn humans who are clearly going to screw this thing up. Again, his motivation connects him with Jack Torrence’s rant about “MY responsibilities to my employers,” though he expresses himself with a less hysterical tone.

I read somewhere that all Kubrick films are about somebody being entrusted with administering a system, and then screwing it up due to “human error.” Which sounds sort of right, but then you need to get out the old shoehorn to make it fit LOLITA (how not to be a step-parent) and THE SHINING (how not to look after a hotel: a sort of Fawlty Towers with axe murders) and EYES WIDE SHUT continues to be an outlier (the system failing to be administered is what, adultery?). But anyway, mission control has screwed up royally, somewhere in between the Clavius freak-out signal and this sequence, and now our eerily calm astronauts are going to pay the price. 6. The first EVA scene, though we’re our Extra Vehicular Activity is taking place in another, smaller vehicle. Contemporary critics harped on about the heavy breathing here, as if it were a showy and clumsy stylistic touch, rather than a logical solution to the problem of What can you hear in space? Kubrick alternates bold silences with music and subjective space-suit sound, all of which are great choices.

(William Friedkin on the excellent The Movies That Made Me podcast complained of Kubrick’s extreme low angle shot in THE SHINING when Jack talks to the food locker door. “Who’s POV is that meant to be?” But it’s another logical solution: how to shoot a man talking to a door and see all of his face rather than a profile. If you just do very logical things, like a machine would do them, maybe you will develop a striking personal style, because everyone has their own logic. And that’s why there’s so much trouble in this world.)7. HAL can read lips.

(Just like in real life, as soon as somebody goes a bit wrong mentally, everyone else starts tiptoeing around and lying and humouring them and unintentionally but very effectively escalating their paranoia…)

Though his eyeball was a fisheye lens earlier, and I think he even asks Dave to hold his drawings closer, but now he has a zoom and can follow a conversation in which his two pals are plotting to murder him. Which confirms him in his decision to off them first, which presumably he was going to do anyway since why else is he tricking them into cutting off communication with Earth and going E.V.A.?

And at this point, Kubrick goes audaciously to an intermission, and so shall I.Incidentally, 2001: A SPACE ODYSSEY stars the Marquis de Sade; Sir George; Sam Slade; Emanuel Shadrack; Lord Beaverbrook; Off-camera voice of Jesus; Scrimshaw’s henchman; Commander Ed Straker and Hank Mikado.

Imagine you somehow find yourself watching a sixties Canadian TV play and the off-camera voice of Jesus rings out and it’s instantly, chillingly recognizable as the dulcet tones of HAL-9000.

Also, you should see the 1957 version of OEDIPUS REX directed by Tyron Guthrie and Abraham Polonsky, in which among the voices issuing from behind Greek tragic masks are those of Douglas Rain and William Shatner. Sophocles has never seemed so interstellar!

Deliberately Buried

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on January 22, 2019 by dcairns

Guest Shadowplayer Bruce Bennett contributes a piece which ties in neatly with my ongoing exploration of 2001: A SPACE ODYSSEY. Many thanks to Mike Clelland for connecting us up, and to Bruce for letting me run this. Any questions can be raised in the comments section. Over to you, Bruce ~

During a visit with Film Comment magazine’s editor Nic Rapold last spring I proposed an article that would document what was, in my opinion, a largely overlooked shadow of influence that a handful of prior films cast on Kubrick’s 2001: A Space Odyssey. I offered to put together a proposal outlining some of the films and ideas and connections I wanted to get into and a month or two later I finally got around to whipping up a pdf on the topic(s) and sent it along. We talked about it a bit but I got busy with other stuff, Nic had a dozen other writers to shepherd, and ultimately 2001’s Golden Anniversary year ended with neither me writing nor Film Comment publishing the piece I had in mind. Here, then, is the thing I sent Nic – not an outline nor an article nor, god help us, a listicle – just some frame grabs (and one downloaded image from the WWW) and notes intended to give the reader an idea of what I was onto and cue me in further discussions and woolgathering. If nothing else, I guess, it’s a proven example of how not to pitch Film Comment…? Enjoy.

2001: A Magpie Odyssey

In the not too distant future, a spacecraft shuttles a space agency PHD bearing details of a secret mission to an orbital space station.

  “Conquest of Space” Byron Haskin – 1955

Talking points: The strange case of George Pal’s espoused distaste for 2001 (per Frayling) having nothing to do with his own film having been apparently co-opted in 2001’s creation. A short history of Conquest’s star-crossed production, resulting not-for-the-faint-of-sensibility grotesquerie & a love sonnet to Hal Pereria’s Paramount art dept.

*

Objects liberated from gravity float, fly and couple across a spinning 2.35 frame in a weightless ballet set to Strauss’ Blue Danube Waltz.

    “Trapeze” Carol Reed – 1956

Talking points: The long arm of aesthetic influence that Krasker & Reed’s collaboration extended to filmmakers of SK’s generation. Ditto Krasker and Anthony Mann’s films…?

*

Onboard an orbiting space station, space travelers exchange somewhat tangled sentiments with loved ones home on Earth via videophone.

“Conquest Of Space”

*

Upon arrival, an unctuously bland bureaucratic space agency PHD shocks subordinates with secret mission orders.

  “Conquest Of Space”

Talking points: Compare, contrast the exquisite blandness of William Sylvester’s Dr. Floyd (perhaps, and this is a difficult to value to assign, the single most remarkable performance from 2001’s North American ex-pat cast) vs. William Hopper’s Dr. Fenton. Some further discussion of Conquest’s uniquely off-putting qualities being as challenging, in their way, as 2001’s were…

*

Zero gravity enables a spacecraft crewmember’s wall walk.

  “The Quatermass Xxperiment” Feature version – Val Guest – 1955

Talking points: Why, in all the untold hours of interviews and DVD commentaries he’s done, including a 200+ page published memoir, did Val Guest himself never make this connection?

*

Puzzled scientists and officials descend a ramp into an ongoing excavation of an extra-terrestrial artifact that’s been buried for eons.

  “Quatermass and the Pit” BBC TV version – Rudolph Cartier – 1958

“Quatermass and the Pit” Feature version – Roy Ward Baker – 1967

Talking points: The curious case of production of the ’67 Pit taking place more or less at the same time and in the same studio as 2001, with some crew crossover.

*

The exposed, now energized extraterrestrial artifact ominously and noisily awakens.

  “Quatermass and the Pit” (1967 feature version)

Talking points: Nigel Kneale’s close proximity to Arthur Clarke original short story, The Sentinel.

*

Tasked with repairing his space craft’s antenna mid-flight, an unsuspecting astronaut dies, his lifeless body cast into the void of space.

      “Conquest Of Space”

*

The most committed member of an interplanetary space expedition goes insane and threatens the lives of his comrades.

“Conquest of Space”

*

A seeker’s journey crosses a threshold into an alien yet abjectly familiar white environment that’s outside time, space and logic.

 

  “The Ladies Man” – Jerry Lewis – 1961

Talking points: Hal Pereira Superstar redux. Jerry’s anecdote about turd polishing…?

Bruce Bennett