Archive for Christopher Fry

The Unchosen One

Posted in FILM, literature, MUSIC, Mythology with tags , , , , , , , , , , , , , , , on May 27, 2021 by dcairns

I picked up BARABBAS on DVD from a charity shop along with KING OF KINGS, £1 each, and was amazed at how good it was. I mean, this is Richard Fleischer’s widescreen period and I was pretty disappointed by 20,000 LEAGUES UNDER THE SEA. But Fleischer was good at widescreen and 3D and stuff, at least sometimes. I don’t quite know how to account for his patchiness.

But BARABBAS is based on an acclaimed novel by Pär Lagerkvist and adapted by Christopher Fry (The Lady’s Not for Burning) with an uncredited assist by Nigel Balchin (The Small Back Room). It has De Laurentiis’ millions behind it — but used with a winning combination of intelligence and taste and sheer vulgarity. When we first see the Coliseum, for instance, it’s a massive great set, with real extras in every row, not foosball figures rising and falling in rows, and the area is packed with brawling gladiators, some of them little people, with elephants, a tiger pit, flaming waters — absolutely crazy excess. And that’s basically just an establishing shot, though it’s about twenty shots.

This is one of those BEN-HUR jobs, biblical maginalia — take a character who’s around at the time of Christ and follow his wacky misadventures. Here it’s the thief who was spared crucifixion, played by Anthony Quinn in a boldly sullen, bovine manner — remarkable to have such an epic built around such an uningratiating figure. He’s surrounded by a good, eclectic cast that includes Katy Jurado, Silvana Mangano, Ernest Borgnine, Arthur Kennedy. Strongest impressions are made by Jack Palance as a sadistic gladiator — terrifying! — Harry Andrews, once described by Richard Burton as the world’s greatest wearer of costumes — and Michael Gwynn, building on his REVENGE OF FRANKENSTEIN experience by playing an eerie Lazarus.

(I bought the Burton diaries, btw. He also OUTS Harry A., thus rocking my world. NEVER would have guessed that.)

They shot a genuine solar eclipse for the crucifixion, but the jaw-dropping set pieces and beautiful compositions and lighting by Aldo Tonti (NIGHTS OF CABIRIA) make that a mere sideshow. Look at this shot (below) — the figures seem like hanging garlands dropping from the central hub, and the different skin tones of the various faces give it a floral look too.

Here we see the guy making the crown of thorns — unsung artisan of torture — and he pricks his finger making it. I said it was vulgar. They want to make you feel the sharpness of the thorns because we’re so used to the image we’re numb to it, but it’s pretty cheap. Still, I prefer it to the Mel Gibson solution which would just be to show graphic penetrative skin-ripping detail in close-up. And where would a biblical epic be without at least a bit of trivialising vulgarity?

It’s all amplified hugely by Mario Nascimbene’s score — his favourite trick is to sit down on the low notes of his piano in some reverberant cavern, creating an awesome slam. Sometimes we don’t even get the slam, just the dead echo of its passing. Spooky.

Barabbas has an encounter with the early Christians in Rome’s catacombs — it has a phantasmal quality that reminds me of Philip K Dick’s hallucinatory musings — “The Empire Never Ended” — anything taking place that far back in time should give us temporal vertigo, but so few movies pull it off — SATYRICON does, and so do bits of this.

Just when I thought I couldn’t like the film any more, for what it is, along comes the ANSWER TO A MYSTERY — beautiful depth-composed tracking shots of mass crucifixion — as used as stock footage with a lava overlay by Ken Russell in ALTERED STATES. I told you I really really wanted to know where that stuff came from. I wouldn’t go so far as to say I can die happy — I just had my second Covid jab and I want to get the benefit — but I’m absurdly pleased to have sorted that out.

Animal Magic

Posted in FILM, literature, Mythology with tags , , , , , , , , , , , , on May 19, 2015 by dcairns

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I had the great pleasure of meeting Michael Fitzgerald in Telluride the other year. An impressive gentleman, he numbers among his achievements exec producing two late John Huston movies, WISE BLOOD and UNDER THE VOLCANO. I asked him about the Great Man, and he was VOCIFEROUS, and extremely convincing in his passion, as he stated UNCATEGORICALLY that Huston was indeed a great man and that anybody who had anything bad to say about him was doubtless an untalented ingrate. However, I have also asked novelist and screenwriter Alan Sharp about Huston, having been promised that the results would be entertaining… but Sharp seemed already tired of the subject and merely said that Huston was a nasty man and a sadist. Both witnesses seemed credible and were in a position to know. Fortunately, I’m not called upon to come up with the definitive verdict on this legendary filmmaker and can content myself with the platitude that Huston was doubtless large, contained multitudes etc.

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His autobiography, An Open Book, I can give a thumbs up to, however. Dipping into it again as an accompaniment to a viewing of THE BIBLE… IN THE BEGINNING was extremely informative and fun. First, the movie —

Dino de Laurentiis’ demented inspiration to make The Film of the Book notwithstanding (they managed only a few opening bits of Genesis), I’d always found this a dull film, but it rewards a sympathetic re-viewing. It’s all flawed, and many of the flaws do result in a kind of tedium, but you can see why the decisions seemed reasonable at the time. Huston, essentially an atheist, was drawn in by the language of the King James Bible, and handed himself the job of narrating the movie, effectively becoming the Voice of God. Getting Christopher Fry to write all the dialogue in a comparable style results in lines that are hard to speak naturalistically. George C. Scott solves this by talking very slowly, giving his character, Abraham, time to come up with all this great material. Unfortunately, all the lesser actors in the previous chapters have spoken slowly too, wearing down our capacity to appreciate another ponderous prophet. The only actor in the whole film who talks rapidly is Huston himself, not as God but as Noah.

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Huston pours a full bucket of milk into a gaping hippo then pats it on the nose — insanely dangerous.

When Charlie Chaplin, Orson Welles and Alec Guinness all passed on playing Noah, Huston realised that as he’d been practicing with the menagerie assembled for the ark scenes, he might as well take the part himself, and would have stolen the show if the raven, the elephant and the hippo weren’t on hand to steal it from him. Tossing off his lines with casual disregard, he invents a new kind of biblical acting that could have rescued the movie if only he’d passed the tip on to somebody else. As he once told Sean Connery about his character in THE MAN WHO WOULD BE KING, “He can talk fast: he’s an honest man.” (Connery has said that his usual error is to talk TOO fast, resulting in Hitchcock requesting “a few more dog’s feet,” by which he meant “pawses.”)

The animal action here is extraordinary, and went largely unremarked, since, as Huston writes, everybody knows the animals went in two by two so they aren’t amazed to see it happen before their eyes.

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As entertaining as the stuff about THE BIBLE is in An Open Book, the whole chapter about Huston’s charmed relationship with the animal kingdom tops it. His pet monkey, the Monk, gets some very sweet anecdotes (riding about New York on the back of a Pekingese). The only animal Huston expresses doubts about is the parrot. Realising that his grandmother’s parrot loved women but hated men (parrots seem to bond with the opposite sex), the young Huston once attired himself in a wig, full drag and face powder, doused himself in perfume, and approached the sacred perch, addressing it in an assumed falsetto.

“The parrot’s feathers fluffed out. I put my hand in the cage and the parrot cooed. Suddenly it cocked its head, looked me right in the eye, and then proceeded to dismantle my finger.”

OK, Fitzgerald’s right on this one: he dragged up to seduce a parrot, he’s a great man.