Archive for Christopher Lee

State of Andress

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , , on May 27, 2013 by dcairns

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Fiona and I had both had the same experience of the Hammer film SHE — as kids, we’d caught the ending on TV and been horribly fascinated by it. Watching as adults, we had relatively meagre hopes for the movie, but it proved to be solid fun. It grips from the beginning, loses its way slightly in the desert, and arrives at its climax amid plenty of drama. Roy Ashton’s makeup effects are predictably crude, but the (spoiler alert) accelerated aging of Ursula Andress’s Ayesha still has some power to disturb, especially when Andress is replaced by a genuine old lady in heavy prosthetics — the hunched posture would be impossible for an actor to mimic.

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We were watching because of the Peter Cushing Centenary Blogathon hosted by Frankensteinia: The Frankenstein Blog. Cushing is typically fine in this, and it’s nice to see him in heroic mode, but it’s not one of his most memorable roles. He forms part of a trio of heroes a bit like the lads in GUNGA DIN, with John Richardson from ONE MILLION YEARS BC as the purportedly handsome one (Cushing is striking, which is better than being handsome) and Bernard Cribbins as the token working-class comedy relief.  Cribbins, his head a knob of gristle, ears like jug handles protruding either side, is played more grotesque than usual, I feel. He’s one of the neglected figures of British cinema (still going strong today) with roles in FRENZY, several of the CARRY ON series, and supporting roles to Peter Sellers. He also co-starred with Cushing in the awkwardly titled DALEKS’ INVASION EARTH: 2150 AD before returning to Doctor Who on TV in recent years.

Cushing’s hero was Olivier, and he aspired to his idol’s crisp delivery and athleticism — you can really see it in the climaxes of CURSE OF FRANKENSTEIN and DRACULA, and in his Sherlock Holmes. “We admired the precision of his movements within the frame,” said Martin Scorsese, though I take leave to doubt how many of the future filmmakers teenage pals were appreciating Cushing’s use of his body as a compositional element in those 42nd Street grindhouses of the early sixties.

Cushing’s best scene in SHE, delightfully, is played opposite Christopher Lee, as the high priest of this lost tribe of Egypt (who are all curiously white). The film, true to H. Rider Haggard’s source novel, displays a number of retrograde attitudes, with the black natives a primitive bunch easily dominated by the pale pseudo-Egyptians (though the black uprising at the end is viewed more or less with favour!), but Cushing’s scene is amusingly sexist, as he tries to understand why Lee and his cohorts allow themselves to be dictated to by a mere woman. “You are many, and men, whereas she is alone, and a woman.” He reckons without the power of Andress’s frosty stare.

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Ah, Andress. She dominates the proceedings, not by means of acting, but by an admirable refusal to contemplate anything resembling a performance. She simply impresses. Director Robert Day lets it go at that, happy to move things around her as briskly as possible, while reveling in Les Bowie’s cheap-as-chips (but charming) special effects. Andress is also dubbed, by Nikki Van der Zyl, who not only revoiced her in DR NO, but replaced Raquel Welch’s too-American cave-speak in ONE MILLION YEARS BC — meaning that in both of his most famous roles, John Richardson found himself acting with Van der Zyl.

The movie made me admire Haggard, whom I’ve never read, more than previously. If this film is even remotely accurate to the book, Haggard’s original clearly not only inspired L’Atlantide, that much-filmed piece of Saharan exotica, but also bits of Kipling’s The Man Who Would Be King. Not bad going. The film’s weakest point is probably the use of Roman soldier costumes for its Egyptians. Not quite clear what the thinking was there.

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The adventure yarn is a genre Hammer dabbled in, but didn’t really pursue with the doggedness of their horror cycle. I suspect the reticence was budget-driven. A shame — the hallucinatory mess that is THE LOST CONTINENT is probably Michael Carreras’ finest achievement, and SHE is one of their most entertaining non-horror flicks.

sherlock

Things Roddy said during Dracula Has Risen From the Grave.

Posted in FILM, Science, Television with tags , , , , , , , , , , , , , , , , , , on December 26, 2012 by dcairns

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A specific example of the limits of conceptual knowledge in WMS is from a reported instance of a 21-year-old woman with WMS (Verbal IQ of 69) who was literate and read several books on her favorite topic: Vampires. When this subject was asked what a vampire is, she responded reasonably and clearly that a vampire is ‘‘a man who climbs into ladies’ bedrooms at night and sinks his teeth into their necks.’’ When asked why vampires do that, she thought for a bit, and then said, ‘‘Vampires must have an inordinate fondness for necks’’ (Johnson & Carey, 1998).

Fiona’s brother Roddy is Christmassing with us again, which means we’re watching lots of his favourite horror movies. Roddy has Williams Syndrome, like the woman quoted above, and oddly enough he likes vampires too. (Williams people are often musical, and often seem to have passionate interests, bordering on obsession: Roddy’s love of cranes and digging machinery is very typical of the condition.)

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“I wouldn’t like to meet him on a dark night. Wonder what would happen if I did?”

Roddy says this once during every screening of a Christopher Lee DRACULA film. Lee is his favourite vampire, and we’re pretty sure the attraction is the sexual fascination Lee’s Count is able to exert over every blonde he encounters. Roddy does not exert this fascination, but would probably like to. Wouldn’t we all?

“What’s that he’s doing? Is that a coffin or something? Another victim? Oh my God.”

Roddy himself watches quite hypnotized, becoming antsy and talkative only when the suspense builds. But the boring scenes with Barry Andrews keep him hooked too, since it’s always possible that something more vampiric may happen at any moment.

This movie has a fair bit of tedium, but director Freddie Francis contrives some lurid and Bavaesque colour effects, which seep in whenever Lee is around. Unfortunately, nothing but verbiage seeps in when Barry Andrews and Rupert Davies are around.

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“Is it her he’s looking for? Look! He’s rubbing his face on her face. Oh! He’s a vampire and he bit her.”

“Uh-oh, there he is. What’s happening? Uh oh. Here you go.”

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People with Williams consistently interpret faces as being friendlier than the rest of us.

“He’s smiling, look.”

“Ah-oh, here we go. He got caught – run!”

Here, Roddy seems to be unsure who he’s rooting for, shouting helpful advice to Dracula as well as to the heroes. But he knows pretty well who the goodies and baddies are. The character of the unnamed priest (Ewan Hooper) who gets enslaved by Drac is a puzzle, though. Characters who behave inconsistently are troubling.

“Uh-oh. This is the best bit.” Hooper smashes Rupert Davies on the head. “Hit the wrong man!”

I try to explain to Roddy that no, he hit the man he was aiming at, but he doesn’t understand Hooper’s two-faced Renfield persona. People with Williams Syndrome are extremely sociable and tend to think the world is their friend, until proven otherwise.

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Also, since the spread of cognitive abilities in people with this condition is quite varied, I suspect Roddy has a rather uncertain “theory of mind.” I can explain the concept of theory of mind with a test ~

If you say to a child under three, “A little boy has some sweeties, and he hides them under a bowl, but when he’s away his mummy moves them and puts them under a cup. When the boy comes back, where will he look for his sweeties.” Younger children always say “Under the cup,” because that’s where the sweeties ARE, and they can’t grasp the fact that the boy has different knowledge from them. That’s theory of mind.

When we watched ABBOT AND COSTELLO MEET FRANKENSTEIN, Roddy became frustrated by the character of the policeman, who didn’t know that Lon Chaney was the Wolfman. I tried to explain that the policeman didn’t know that fact, but no matter how I tried to express it, Roddy thought I was claiming that Lon Chaney wasn’t the Wolfman. “I’m sure Lon Chaney is the Wolfman,” he muttered, repeatedly.

“What’s going to happen now? Uh-oh, here comes guess who. Uh oh, he’s got a hold of him now.”

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“He’s not very pleased, is he?”

Tests have shown that Williams people are very attentive to faces, when watching TV or otherwise. This close concentration seems to be connected to a difficulty in interpreting the meaning behind facial expressions. Because the condition involves high levels of sociability, Williams people concentrate very hard on the faces, trying their best to make out what the expressions mean. Concordantly, Williams people aren’t much interested in cartoons. Roddy loves slapstick stuff where people without learning difficulties fall down or bump their heads, thus losing their supposed sense of superiority, but cartoons aren’t interesting, presumably because the faces don’t have enough detail of expression.

Roddy’s generally very good at recognizing people’s faces — that seems to involve a different part of the brain. He did think the CGI Jim Carrey in A CHRISTMAS CAROL was “that man from that programme with the horse” — Wilfred Brambell in Steptoe and Son (but what other real human being ever looked like that?), and he did think Veronica Carlson in this films was a presenter from 70s children’s show How, but that’s not so unreasonable: Jenny Hanley’s appearances in SCARS OF DRACULA did not prevent her co-presenting Magpie on Children’s telly in the seventies.

“For example, adolescents and adults with WMS have difficulty differentiating not alive into the conceptual categories of dead, inanimate, unreal, or nonexistent.” The Neurocognitive Profile of Williams Syndrome: A Complex Pattern of Strengths and Weaknesses, Ursula Bellugi, Liz Lichtenberger, Wendy Jones, and Zona Lai, Marie St. George

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“I ken what he’s going to do — I ken what happens!”

Roddy sort of believes in Dracula, and sort of believes in Santa Claus. It’s quite hard to work out how much he believes, though. I think it might be similar to the belief in God a lot of people must have — they would be astonished at any example of divine intervention (of course there are no doubt many people who would accept a miracle as wholly appropriate to their understanding of the world — I suppose…) Roddy doesn’t expect to meet Dracula on a dark night, and he knows that Christopher Lee is an actor. Or at least he accepts that these things are widely acknowledged to be the case. He believes Castle Dracula is a real place and won’t take in any information about special effects that contradicts the evidence of his own eyes. (To be fair, Yvette Mimieux believed the iron sphinx in THE TIME MACHINE was a real structure, and hoped to visit it one day, and she’s in the film.)

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“Watch out! There he goes! Eyes start watering.”

White Russian, Red Face

Posted in FILM, Politics with tags , , , , , , , , , , , , , , , on November 3, 2012 by dcairns

For my birthday I had a bunch of people round and we drank white Russians (vodka + kahlua + milk) and watched HORROR EXPRESS, a movie I’ve always been indecently fond of.

Screenwriters Julian Zimet and Arnaud d’Usseau (who later co-wrote the mighty PSYCHOMANIA) look to have been blacklistees, hired by producer Bernard Gordon, who definitely was barred from working in Hollywood. They cobble together an amusing QUATERMASS-type yarn set on the Trans-Siberian Express, chuffing across the tundra from Peking to Moscow, bearing Christopher Lee, Peter Cushing, an amok neanderthal specimen, and a Rasputin wannabe (prolific giallo star Alberto de Mendoza).

I’d always heard that the movie was made to exploit the availability of a model train from NICHOLAS AND ALEXANDRA, a perfectly decent reason for making a film… guest David Wingrove felt some of the train footage looked familiar from DOC ZHIVAGO… online I find references to the train model and set both being recycled from Gordon’s previous production, PANCHO VILLA, aka VENDETTA. That film starred Telly Savalas, who turns up here as a cossack. That alone is a reason to love the film.

Note the unusual way of holding a cigarillo — Savalas was one of the screen’s great smokers until he gave it all up for lollipops. The Savalas career includes a notable Spanish Period, with LISA AND THE DEVIL (the film where he discovered lollipops, on the recommendation of director Mario Bava, as a way to quit smoking) and the immortal A TOWN CALLED BASTARD, which co-star Dudley Sutton described to me as “the crookedest film I was ever in.” Dudley also had some story about Telly being “out of his face on LSD the whole time.”

That rogue caveman soon busts out of his crate — we started a drinking game to swill back a white russian every time he escaped his box — this was soon replaced by a game to drink whenever a supporting player turned up with white, featureless eyeballs. It turns out the hominid is infested by an alien intelligence, trapped in the ice millennia ago. This being can drain the minds of those it comes in contact with, absorbing their knowledge and leaving their brains as smooth and featureless as a baby’s bottom, or Jeffrey Hunter’s face.

It can also transfer from host to host, making it hard to catch and subdue. Rival scientists Cushing and Lee set out to trap it, but the Rasputin-alike pledges his allegiance, as a kind of beardy Renfield character, offering up his own brain for draining. The entity snootily declines, stating that the monk has no knowledge worth filching. Instead he eventually uses Raspy as his new host body, before the authorities shunt the train down a siding leading conveniently to the precipice of obliteration. John Cacavas’ haunting (well, it haunted twelve-year-old me) theme tune resounds from the miniature wreckage, a spaghetti western whistle associated with the monster, implying that the beast lives on, perhaps having transferred its vast intellect to the film’s optical soundtrack…

The movie also seems to imply that this alien, if it made it to Moscow, might have started the Revolution — communism is a virus from outer space! A strange phenomenon that filmmakers too left-wing for Hollywood should find themselves reconstructing Tsarist Russia in Franco’s Spain. If we can swallow that, why should the scene where an image of the Earth seen from space is found imprinted on the caveman’s retina give us any trouble?

Buy: Horror Express (Blu-ray / DVD Combo)

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