Archive for Charles Gray

Reach for the Moon

Posted in Comics, FILM, Politics, Science with tags , , , , , , , , , , , , on June 5, 2018 by dcairns

I haven’t been impressed by Basil Dearden’s comedies, though I like some of his dramas a lot. THE GREEN MAN seemed very disappointing for a black comedy with Alistair Sim, but admittedly Dearden was fired from that one so maybe it wasn’t his fault. His Benny Hill vehicle, WHO DONE IT? is really lame, but then Benny Hill didn’t have a star personality, was more a man of a thousand chubby faces, so he never made sense as a comic leading man.

And I’d heard that MAN IN THE MOON was REALLY bad, but of course that just made me curious. It’s co-written with Bryan Forbes, and another Dearden-Forbes collab, THE LEAGUE OF GENTLEMEN, is terrific, and very nearly a pure comedy itself. The star is Kenneth More, who can be effective in the right part — he certainly doesn’t ruin GENEVIEVE — so it seemed worth a go.

And yes, it’s curious… a strong supporting cast includes Shirley Anne Field, who keeps taking her clothes off, and does a great comedy voice; Michael Hordern; Norman Bird, John Glyn-Jones. Charles Gray plays an astronaut, and gets all the most eye-popping scenes.

I do tend to find More fairly charmless, and in this respect he’s quite well cast here, playing a saloon-bar bore who makes an easy living as a guinea pig in studies of the common cold: he seems to be immune, and puts his astonishing health down to a carefree attitude. This unusual profession allows us to meet him dozing in a bed in the middle of a field (part of an experiment) and the scene gets more dreamlike when Field crosses the field in full evening dress. Throughout this somewhat unsatisfactory film, we do get arresting images like this.

The story goes thus: bluff, hearty chump More is recruited by the British space program, NARSTI, to serve as a disposable space guinea pig, fired secretly at the moon to establish whether the going is safe for the specially trained, celebrated super-astronauts, led by Charles Gray (quite funny casting, this). The weirdest moment is when ground control use an isolation tank to brainwash Gray, who has become very hostile to More, resenting the fact that the untrained lout is going to be first on Luna. The brainwashing is a roaring success and Blofeld Gray emerges from the tank aglow with adoration for the baffled More. Well, first he seems sinister and inhuman, a clockwork orange, then he’s hyperanimated and childish with his schoolboy crush.

Dearden and Forbes seem to accept that the men from NARSTI — it’s not clear if they’re a state operation of a commercial one — are horrible, ruthless and would brainwash without a second thought, but they don’t seem to want to make a big satirical point of it — which marks them out as cynical but conservative, a bit like the Boultings.

At first, the casting of Gray as a hearty, athletic astronaut seems to make little sense, but in fact they know what they’re doing…

Unusually for a comedy, the tech and science approximate the real thing. Depressing that British cinema could only conceive of this subject in either farcical or monster-movie terms. This one would double-feature nicely with THE FIRST MAN INTO SPACE. But at least that cheesy B-movie seems to be sincere about something or other — the existential horror of man’s aloneness in the universe, I think. Death and decay. MAN IN THE MOON needs to find something to be serious about, to be an effective comedy.

Also, there are shots in it so nice, in a dramatic, pulp sci-fi way, that it makes you wish they’d made a wholly unironic film of Dan Dare, Pilot of the Future.

   

“Doctor? I’ve been searching for you… Everything seems strange and dark… I couldn’t find you! … Under this stuff, I feel like I’m suffering from some terrible disease… like I got no blood in my veins… I have no memory… Only an instinct to stay alive…until I found you… I’ve been groping my way through a maze of fear and doubt…”

The title, alas, is a cheat — More is blasted to Australia, not the moon, a fact he only realises when he encounters a tin of Heinz beans and a kangaroo.

 

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The Sunday Intertitle: Wolfdunnit?

Posted in Fashion, FILM, literature, Mythology, Television with tags , , , , , , , , , , , , , , , , , , , , , , , on June 3, 2018 by dcairns

Today, for the Hammer & AMicus Blogathon, I’m looking at THE BEAST MUST DIE. No, not this one —

I haven’t seen the 1952 version of Nicholas Blake’s novel, but I have read the novel. Blake was the pen-name of Poet Laureate Cecil Day-Lewis, father of Daniel, who moonlighted as a crime novelist. This his only book to have been adapted for the cinema, but his The Smiler With the Knife NEARLY became Orson Welles’ first film.

Not this one either ~

Claude Chabrol’s version of the same book is pretty good. Going by the cast list of the Argentinian version, it shares with Chabrol the unusual feature of eliminating the character of the detective. Blake/Day-Lewis created such a compelling pair of opposing characters in this story that his usual toff detective, Nigel Strangeways, just gets in the way. And in Smiler, he’s almost completely sidelined, his adventurous wife taking centre stage (Welles hoped to cast Lucille Ball, with himself as homegrown fascist villain).

But no, Amicus head Milton Subotsky chose to adapt a short story by Star Trek writer James Blish and give it Blake’s title (a biblical quotation) — but it’s STILL a country house detective story, with a slight twist. There will be spoilers ahead.

Taking this challenge seriously, I’m basically live-blogging this so you can see if I’m able to ID the skin-changer. Who’s hairy on the inside at this weekend party?

In my experience, seventies werewolves tend to wear plaid shirts, like lumberjacks (perhaps harking back to WOLFBLOOD, the silent movie combining lycanthropy and lumberjacking which I wrote about here. The first lumberthrope movie? So I’ll be watching this one waiting for someone to turn up in an ugly shirt, My money’s on Michael Gambon as the cast member likeliest to display hideous fashion sense. But I am aware of a complicating factor: the movie was also released, in an attempt to cash in on the blacksploitation craze, as BLACK WEREWOLF, which would seem to narrow the choices down to Calvin Lockhart and Marlene Clark. And is, quite frankly, a terrible title for a whodunnit.

We begin with a freeze-fame of our werewolf — ALSO a terrible spoiler — and the insinuating tones of Valentine Dyall, purring a redundant VO which is also spelled out in superimposed titles.

Helicopter shot over what looks like Scottish heather, but may in fact be the grounds of Shepperton, and Calvin Coolidge Lockhart is being hunted by a private army and a helicopter, through a wood wired for sound by Anton Diffring who sits aloof in a control room with a video wall.

This movie is THE OSTERMAN WEEKEND avant la lettre, isn’t it? Which is to say, Ten Little Indians with a video wall. I wonder if Robert Ludlum saw it and thought, “Needs a better title!”

The cast contains Dumbledore II, Ernst Stavros Blofeld (again), Ganja Meda, Irving Amadeus, the Grand Moff Tarkin and Reinhard Heydrich, so it’s quite a house party.

Two cast members lack iconic signature roles — but Ciaran Madden would reunite with Dumbledore Michael Gambon in 1992 when she played Mm. Maigret to his titular sleuth, and Tom Chadbon has a memorable bit part in JUGGERNAUT (“I’d spent it, hadn’t I?”) though of course I find all the bit parts memorable in that one.

Chadbon, whose voice here fluctuates between early Malcolm McDowell and anorak on the bus man, is an absolute joy in his puffy shirts.

The dialogue is a hoot — “One of our guests is a werewolf: I know it,” intones Lockhart. “Then why did you INVITE them?” asks his wife, quite reasonably. What adds to the strangeness is that most of the cast are either playing the wrong nationality — Anton Diffring is being Polish, Peter Cushing German — or are dubbed — Marlene Clark has been revoiced by Scottish jazz singer and actress Annie Ross, who performed the same service for Britt Ekland in THE WICKER MAN — or just have naturally amusing voices, like Chadbon and Gray (whose voice we’re used to hearing come out of Jack Hawkins’ mouth).

Anton sips his Bailey’s and gazes at his video wall like a kind of Thomas Jerome Teuton.

Director Paul Annett was an experienced second unit man for TV, shooting the location action sequences on film for British shows that would revert to video as soon as the characters moved indoors. For his sins, he does provide an endless car chase between Lockhart and Gambon that saps my will to live whenever I try to watch this movie. Maybe that’s why I don’t remember who the werewolf is — the car chase always defeats me. Well, this time, I’m as obsessed as Lockhart to get to the bottom of this, lacking only the attractive high cheekbones (with Lockhart and Cushing and Diffring and even Gray, this film sports perhaps the finest assemblage of cheekbones ever captured on celluloid — a thespic Himalayan range of facial promontories).

“Lost in time… and lost in space… and meaning…”

When the movie isn’t doing helicopter chases and such, Annett and ace cameraman Jack Hildyard (BRIDGE ON THE RIVER KWAI) manage a lot of stylish and dynamic shooting, prone to zoom abuse, it’s true, but it’s 1973 after all… it’s fair to say the movie does resemble a glossy TV thriller of the period (e.g. The Persuaders) more than a horror movie. Well Subotsky liked monsters but not gore or sex or violence or anything too disturbing…

Much of the film consists of Lockhart and Diffring spying on the guest bedrooms, searching for signs of incipient werewolfism in the invitees. As Anton watches Chadbon strip to the waist, he muses, “Lots of men have hair on their chests,” projecting the suave confidence of a man who knows whereof he speaks. “And on the backs of their hands?” objects Lockhart, as if this were the unlikeliest thing on earth. He’s never met Len Deighton.

The eyes, quite apart from being the windows of the soul, are the tasty bit.

After the first killing — offscreen, but leaving a gory aftermath — we see all their guests in their PJs — Charles Gray sports a vivid paisley dressing gown, and Gambon once again goes for a subtle but distinct check. The rules of fashion dictate he MUST be the wolfman in their midst!

But at dinner, he wears a brown velvet smoking jacket and a shirt with a collar of startling wingspan. Not a check in sight.

Gambon is definitely soft on werewolves, though — his first act as Dumbledore was to hire a lycan schoolmaster.

I bloody hate day for night photography, personally.

Like THE DEVIL RIDES OUT, this movie shares cast members with the almighty INCENSE FOR THE DAMNED, two of them this time (Lockhart & Cushing).

The Sunday Intertitle this week is from The Werewolf Break, where Valentine Dyall — The Man in Black — returns on the soundtrack to invite us to guess who the shaggy killer is.

 

It’s twenty past werewolf.

And in fact the ending pulls off quite a few cunning twists — I wasn’t emotionally engaged enough to really care who’s wolfie, but the reversals and revelations pile on top of one another turn it into quite a nice conclusion. Here comes the spoilers — first hairy hand is spotted on Marlene Clark, so that her hubbie has to administer the silver bullet, and then it turns out she’s been cross-infected by a golden retriever who’d been gored by the ORIGINAL werewolf —

— an Alsatian in a woolly waistcoat, finally revealed as —

 
 

BLOODY MICHAEL GAMBON! I KNEW IT!

This has been an entry in the Hammer Amicus Blogathon run by Cinematic Catharsis and  Real Weegie Midget Reviews.

We’re gonna need a bigger goat

Posted in FILM, literature, Mythology with tags , , , , , , , , , , , , , on June 1, 2018 by dcairns

A blogathon! How NICE! The main page is here.

Fiona first saw THE DEVIL RIDES OUT — “From the classic novel by Dennis Wheatley — on TV, while high on magic mushrooms, an experience she does not recommend. When the Duc de Richleau commands “Don’t look at his eyes!” she became entranced, hypnotised, staring at the eyes and trying to work out what was so special about them. “He’s right! They’re TERRIBLE!” she concluded, and never took mushrooms again. The other main effect of the shrooms was that nothing about the story seemed comprehensible, which might be a good thing — Dennis Wheatley’s novels are pretty basic and stodgy in terms of story, character, prose and dialogue. A dash of psychoactive substance might be just what they need.

Mind you, Hammer’s other Wheatley adaptation of 1968, THE LOST CONTINENT, based on the novel Uncharted Seas, caused my friend Danny to think he WAS on drugs, even though he wasn’t. It is completely bananas, and Wheatley’s peculiar Sargasso Sea fantasy is adapted by Hammer boss’s son Michael Carreras, who couldn’t write, didn’t know one end of a story from another, had no concept of structure… (I hate producers who give themselves writing gigs nobody else would ever hire them for.)

DEVIL is adapted by Richard Matheson, an altogether more skilled writer — and ACTUAL writer — who had recently been writing Poe films for Corman. Hammer didn’t have a terribly proactive approach to scooping up outside talent — they should have jumped at Barbara Steele, lured over Vincent Price, recruited Michael Reeves, and acquired better writers than Jimmy Sangster. When they did hire J.G. Ballard, they spelled his name wrong. But they did well to pick up Matheson, and the ever-reliable Terence Fisher.

Though maybe a more eccentric director would have worked here, for the film’s slightly psychedelic sequences. Fisher can be rather stolid, prosaic, and so can some of his actors here. In fact, Fisher does marvelous work here with scenes of waiting and suggestion, but is let down badly by the special effects and make-up and, to a lesser extent, the fight arrangements.

BUT — like Fiona, I knew this film from TV and VHS and seeing it again in the right aspect ratio and a sharper image really made it come alive.

Here’s a limerick — I should have saved it for Limerwrecks, where my doggerel usually appears, but I didn’t think of it.

The Devil Rides Out — best beware

He revels without any care

At midnight black masses

He fiddles with lassies

Disheveled and sprouting with hair.

Despite it being 1968, these are the only bare breasts displayed.

Onto the film! Christopher Lee was very keen on this one, and happy to be playing a hero — a sort of Sherlock Holmes of the supernatural, another of Hammer’s rather harsh authority figures — they idea seems to be, we’re supposed to find Van Helsing and De Richleau unsympathetic, cold and scary, but still prefer them to the licentious evil of the netherworld, which can only be safely enjoyed in movies.

In postmodern terms, the film stars Saruman, Ernst Stavro Blofeld, Captain Miles Gloriosus and Prime Minister Jim Hacker.

It’s a very linear, this-follows-that kind of narrative — when the characters branch off in separate directions, we typically stay with only one set, eschewing intercutting. Lee’s Richleau meets up with friend Rex Van Ryn (Leon Greene, but dubbed by Patrick Allen) and they set off to investigate why their friend Simon (Patrick Mower) has dropped out of circulation. Stopping by at Simon’s newly-acquired big country house, they find a gathering — supposedly an “astronomical society” — “My God!” exclaims Greene, using Allen’s voice — apparently it’s the presence of black and asian people in their native garb that shocks him so.

Lee quickly deduces that Mower has fallen into the hands of satanists, just as he would in INCENSE FOR THE DAMNED. Mower is a pushover: anything in a ceremonial robe. In this case, the cult leader is one Mocata, played with fruity relish by Charles Gray, aka The Criminologist from ROCKY HORROR. Also drawn into the madness is young Tanith, Nike Arrighi, who seems dubbed but isn’t. Maybe she had to loop her lines to match Greene/Allen’s post-synched dialogue. (Incidentally, I can’t see why Green had to be dubbed: his voice and delivery was fine in other films — he was an opera singer, in fact.)

Later on, Nike Arrighi’s voice will issue from another character’s mouth, making this a film ABOUT dubbing…

What follows is a fairly relentless series of set-pieces: two hypnotisings, some psychic attacks and summonings, a black mass (starring the Goat of Mendes) and assorted conjurations. The simpler these are, the better they tend to work. The black guy who materialises in the middle of a room, staring and grinning, is scary because he doesn’t move (also: don’t look at his eyes) ~

The Angel of Death, however, is pretty disappointing, with his horse with bat-wings pasted on. Fisher tries to make the thing dramatic by having the horse rear up in close-up, and then some idiot looped the film to make the action repeat. Slow-motion and long-shot and losing the stupid wings would have worked a lot better. Just exploit the uncanny/surreal set-up of a horse indoors: you lose that by going in close. A shame, because the whole magic circle bit was atmospheric, with the camera edging round the chalk outline, causing candles to float through frame. And Lee is marvelously authoritative.

Christopher Neame, in charge of the second unit, reports in his memoir that the Angel of Death’s horse’s wings had a tendency to fall off whenever it reared up. I think the Great God (or Devil) of Cinema was trying to tell him something.

But the melodrama of Lee’s exposition and Gray’s bully-boy sneering is so effective that the main objection to the story — that Richleau has an amulet of incantation for every occasion, and so real menace is absent, a lack disguised by Richleau simply not telling us what he’s got planned — doesn’t occur to one, or didn’t occur to me, until after the film is over. At which point it’s too late to jump into the screen and cry, “Hang on! This is a stitch-up!” The magic spell has already been performed. Time and space have been altered.

Lost in time… and lost in space… and meaning…