Archive for Casanova

A DD-Notice Situation

Posted in FILM, literature, Television with tags , , , , , , , , , , , , , , , on September 16, 2017 by dcairns

We watched LIFEFORCE recently, to get me in the mood for my trip to London. With Fiona protesting that she’d rather watch THE TEXAS CHAINSAW MASSACRE or any of the, you know, GOOD Tobe Hooper films. Because the man had just died, and was this really the way he’d want to be remembered? But then, I bet he’d want to be remembered as more than JUST the director of TTCM.

I also read some good defences of the (arguably indefensible) film and that, coupled with the fact that, you know, the man had just died, made me sort of afraid to write about it, because I couldn’t really bring myself to say that the film is “good” — but at the same time, we had a hell of a good time watching it, so there’s that.

How do we parse this distinction between “good” and “a good time”? Are movies like women in ‘forties films? At any rate, much of what is hilarious and delightful in LIFEFORCE *could* be deliberate, which should lift the movie clean out of the “so bad it’s good” category. What makes my head go all Linda Blair is a feeling that even IF the ridiculous choices ARE purely intentional, they still seem crazy and impossible to defend on any normal grounds.What do I mean? Well, the story, adapted from Colin Wilson’s novel The Space Vampires by Dan O’Bannon and Don Jakoby (INVADERS FROM MARS) deals with a naked space lady (Mathilda May) sucking the energy out of London’s masculine population. I think the idea of a monster movie where the monster is a naked girlie is kind of hilarious — as if they asked the question, What are teenage boys REALLY scared of? I think they could even have gotten away with the nude, but not a really busty nude. The film looks glorious — Alan Hume’s lovely lurid colours in anamorphic widescreen — but the shot of the menacing shadow of tits on the wall should arguably have been vetoed. Except no, because it’s perfectly in tune with the film’s demented tone. Hell, it exemplifies it.

(Colin Wilson was England’s top existentialist angry young man for a fortnight in the fifties — I don’t know what led him to write a Quatermass knock-off. I first encountered him during research for a Jack the Ripper project — he was a prominent ripperologist — but, as I discovered in my reading — he really didn’t know very much about the case, and much of what he claimed to know was wrong.)

Hard to explain the odd effect of the dialogue: apart from Steve Railsback, it’s a lovely cast of Brits, speaking in a pastiche of Britishness that seems at least ten years out of date. V FOR VENDETTA has a similarly timewarped quality, highly gigglesome. I don’t imagine it sounds so comical to Americans, because it’s not THAT off. It’s a good pastiche of Hammer horror dialogue, or maybe a tough crime drama with Stanley Baker.That cast — Frank Finlay is playing it quiet, well aware how close to looking ridiculous he is. He only loses it when he has to shout over a radio link, and his Shakespearean enunciation makes the whole thing rather Toast of London. Peter Firth is superb — full-on restrained camp. That thing when restraint becomes in itself a form of ham. And then there’s good old Michael Gothard, yielding sweatily to the temptations of the flesh just as he did in THE FOUR MUSKETEERS and THE DEVILS and…And Patrick Stewart! As if the second question they asked was What else will freak out teenage boys? and their answer was Homosexual Panic. Possessed by the naked space babe, Patrick turns on his sexual magnetism, and Railsback just can’t resist leaning in for a kiss. Hilarious to watch Firth and Aubrey “PR Deltoid” Morris dashing in to manfully prevent this same-sex violation of the norm, and then the room going poltergeistically haywire as the thwarted sex drive runs amok. (“CAN YOU IMAGINE how much fun Patrick Stewart would be having with a scene like that?” asked my host in London when I described it.)There’s more, so much more. The film is much less interested in its male vampires, but one of them does get to say to Firth, “It’ll be much less terrifying if you just come to me.” Whoops and cheers.

There’s lots of impressive animatronic zombie-work, all cut SLIGHTLY too loose, spoiling the illusion, and lots of fun QUATERMASS AND THE PIT panic on the streets, and as I say, the film looks great. In fact, my host in London was taught at the NFTS by Alan Hume. “He called everyone darling, regardless of sex.” He was clearly the man for LIFEFORCE.And Frank Finlay’s finale is terrific — the film’s one genuinely great scene for which you don’t have to make apologies or suspend disbelief or try to wedge yourself into a previously unimagined tone encompassing camp and B-movie thickear, the knowing and the unknowing. A scene that would hold its own in a real Nigel Kneale script. And FFinlay, having held back so long, makes a perfectly judged decision to have fun with it, as he expires in a welter of bladder effects. Stirring stuff.

(This is arguably as inappropriate an homage to the late Mr. Finlay as it is to Hooper, but I watched him in Dennis Potter’s Casanova too so I’m covered on that score.)

So why can’t I give the film total respect? It does seem to know what it’s doing. I feel like a humourless critic at a Ken Russell film, recognising that he’s displaying a comedic attitude but unable to grant him permission because the precise timbre of his wit seems unacceptable. I love Ken Russell, I *can* accept his bizarre tonal combinations and jokes that seem designed not to get laughs but just to buffet the sensibilities. Maybe LIFEFORCE isn’t serious enough to get away with it? Maybe I should just bloody well RELAX? “It’ll be much less terrifying if you just come to me.”

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The Sunday Intertitle: The World’s Greatest Lover

Posted in FILM with tags , , , on June 10, 2012 by dcairns

Theory — to make sure Ivan Mosjoukine registers as a convincing Great Lover in Alexandre Volkoff’s 1927 CASANOVA, he’s surrounded by male grotesques — notably an early appearance by Michel Simon (right). I always assumed Simon perfected his  “look” in the boxing ring, but however far back you go, the spectacular kisser seems just as alcesian (moose-like) . Age and weight added “character” to it later, but this was surely redundant — Simon was already a flesh-cartoon drunkenly doodled by God on a beer mat, then foolishly allowed out into the world before sobriety could intervene. A boozy decision we can all be grateful for.

In one scene, Casanova startles an angry creditor and the bailiffs (above) by inflating himself to colossal size (something not nearly enough characters do in films). While the bulbous Mardi Gras Casanova that results is indeed alarming, it’s hard to see how it could startle Simon, who after all must face himself in the mirror to shave every day.

Mosjoukine DOES impress, though I’ve never been partial to periwigs myself. Actually, his very first appearance is a neat trick, as two white wigs fill the screen, creating an indistinct sort of woolly cloud, then they part as Casanova’s female servants stop fussing with him, revealing Mosjoukine in all his glory.

Another good bit of storytelling — a servant brings a message for the Great Lover, and stops an old Venetian gent to ask directions. The senior citizen cups his ear —

— yells the boy. The old guy is still baffled, shaking his head — but every shutter in every window opens and a woman appears at each, pointing the way.

The Vox Project

Posted in FILM, Television with tags , , , , , , , , , , , , , , , , , on February 9, 2010 by dcairns

Presenting, a new and exciting, if somewhat mythical, Shadowplay Project.

For a while I was fascinated by Marina Vlady in CHIMES AT MIDNIGHT. Well, actually I still am. But when I saw La Vlady in Godard’s TWO OR THREE THINGS I KNOW ABOUT HER, something seemed different. The voice, of course. Welles was happy to use Jeanne Moreau’s own hoarse, sexy tones for her characterisation of Doll Tearsheet (with the logic that, since the British were always fighting the French, and armies have camp followers, there would be a lot of French tottie knocking around Merrie England) but Vlady plays the lady wife of Henry Hotspur, and had to sound plummily English.

So, somebody else provided the voice, and for once Welles couldn’t do it himself (I imagine he’s responsible for Fernando Rey’s and possibly Walter Chiari’s dubbing in this film). The question that vexes me is, who?

The throaty vibrato has a slight air of Fenella Fielding about it, and this is lent weight by the fact that we know Fielding has done a spot of revoicing in her time: she dubbed Anita Pallenberg as the Black Queen in BARBARELLA. But this voice isn’t quite AS extreme. I’m thinking Joan Greenwood, who perhaps is more Shakespearian.

But I don’t know! And it frustrates me.

Nor do I know for sure if that’s the voice of TV comedy legend Richard Briers issuing from beneath the mustache of Jean-Pierre Cassel in Richard Lester’s THE THREE MUSKETEERS. It sure sounds like him (and Briers had worked with Raquel Welch in FATHOM) but it could conceivably be Ian Carmichael. But neither one has any certain connection with Lester. (NB — the IMDb confirms Briers as the voice artist responsible.) Nonetheless, I am morally certain that’s Michael Hordern providing vocals for the captain of the musketeers, played externally by Georges Wilson.

Lester’s films are full of overdubs — the Greek chorus narrating THE KNACK… AND HOW TO GET IT certainly seems to include Dandy Nichols, who appears briefly, and Arthur Lowe, who doesn’t. Both would later perform in THE BED SITTING ROOM.

Fellini’s English language movies contain similar mysteries: in CASANOVA that’s certainly Robert Stephen’s uniquely fluctuating fruitiness emanating from the aristo who hosts a shagging contest in his court. Which makes me suspect that at least one of the crystal-sharp lady’s voices in the film stems from his significant other, THE ROCKY HORROR PICTURE SHOW’s Patricia Quinn. Several of them sound like her.

Film history is full of anonymous voices whispering slyly from the lips of faces famous and infamous and unfamous. And the few people who know the truth aren’t getting any younger. So, without any resources or any free time to devote to the problem, I’m nevertheless launching the Vox Project. All I want is for anyone who knows anything about famous dubs to let me know so I can put it on the record. It would be particularly interesting to hear from people in the industry with direct knowledge of this. Let’s not let this important and sexy information disappear from history.

Spread the word!