Archive for Cinematheque Francais

French Farce

Posted in FILM, MUSIC, Painting, Radio, Television with tags , , , , , , , , , , , , , , , , , , , , , on November 25, 2014 by dcairns

DSC_0136

Things done –

Pere Lachaise Cemetery – people kept asking me if I knew where Jim Morrison was, but I was avoiding him. Also Edith Piaf. The only famous person I met was Ticky Holgado, whose terrifying sepulchre, depicted above, evokes the awe and horror of death better than any of the more tasteful tombs.

Charcuterie. With two ex-students: one is working as a nanny and being bitten all over by small children while pursuing her documentary career, the other was attending a fantastique film fest (but they weren’t showing LET US PREY so I’m safe).

DSC_0114

Coffee at the Hotel du Nord, from the film of the same name, avec Phoebe Green, who sometimes appears in these pages as La Faustin, and who was our translator on NATAN. You can’t get a view of the hotel through the bridge as Marcel Carne manages in his film — having rebuilt the whole neighbourhood in the studio he could shuffle things around, lose a few trees, and arrange things to the camera’s advantage.

Lunch at the Cinematheque – boeuf bourgignon where I bought many postcards, also some awesome KING KONG flipbooks. It’s quite something to have Kong waving his arms about in the palm of your hand.

There’s a lovely Truffaut exhibition on just now, with letters and photos and other souvenirs – not the Jeanne Moreau letters, she’s sitting on those – and it was a chance to nod sadly at the image of Marie Dubois, one of our recent departures for realms unknown. Truffaut ought to feature in the Late Movies Blogathon, come to think of it – I have a soft spot for VIVEMENT DIMANCHE! And THE GREEN ROOM is one of the most apt late films of all.

DSC_0008

Truffaut’s boyhood notebook — LE CORBEAU, he recorded later, was the first film he saw twice. But what caught my eye, of course, was the Pathe-Natan LE MISERABLES, which must have been on its post-war re-release, hopefully with the Jewish names restored to the credits which were removed under the Nazis.

St. Sulpice, a large church featuring some impenetrably dark works by Delacroix.

Many many bookshops, where my inability to read French prevented me from making many an extravagant purchase, like the giant book of stereoscopic images of diabolical tableaux – little dioramas with miniature imps and demons frozen in the act of cavorting with pitchforks and other accoutrements — co-authored by Brian May of Queen. The kind of book one SHOULD own. But I couldn’t walk away from the little pamphlet by Samson Raphaelson, his memoir of working with Lubitsch. It was only four euros, and reading the first few sentences I was pleased to discover that my schoolboy French did not leave me wholly in the dark. Actually, I need to modify the expression “schoolboy French” lest I be seen to traduce the educational system. Some qualifier like “concussed schoolboy French” or “sleeping schoolboy French” gives you a better idea.

Now, since I need to see a movie, obviously, and I need a movie I have a chance of understanding, preferably, I have been drawn to the Cinema Desperado, whose Romy Schneider season is featuring WHAT’S NEW PUSSYCAT. I’ve never actually seen the whole thing. TV versions were always pan-and-scanned and just TOO SMALL to allow Richard Williams’ elaborate titles to be enjoyed… the documentary series Hollywood UK more or less accused this film of ruining British cinema, since it led to the excesses of CASINO ROYALE and the belief that throwing enough gaily coloured, fashionable shit at the screen would be enough to attract and keep an audience. And I have a complex, mostly abusive relationship with the works of Clive Donner, though it’s never been entirely clear whether it’s abusing me or I’m abusing it. Here goes nothing…

(Typed at 17:41 in a café with no internet.)

DSC_0054

Later – well that was highly enjoyable. Can’t remember the last 35mm projection I saw – probably THE BOFORS GUN at EIFF. The cinema belongs to Jean-Pierre Mocky and shows all his films, a different one every day.

whatsnew3

The film is a hot mess, as expected, but there are very funny, silly bits, and some clever bits too. The editing is all over the place – continuity is appalling, but that is sometimes evidence of a cutter following the rhythms, or creating them, and saying the hell with making stuff match. But there are clear signs of whole sequences having been moved about on a whim (probably that of increasingly erratic producer Charles K. Feldman), characters show up out of the blue (not Ursula Andress, who does so literally, as a deliberate gag, but people like the bomb-throwing anarchist, who the script must have intended to set up earlier as Paula Prentiss’s boyfriend), and Paula Prentiss’s early scenes appear to have been set upon with a meat cleaver – the conversations have been hacked into nonsensical soundbites, set-ups for gags that never come or punchlines to gags never set up.

Fortunately, Peter O’Toole is usually able to find his way through a scene if it’s allowed to proceed in sequence, dragging co-stars behind him, and Peter Sellers augments the best lines of Woody Allen’s script with nonsense of his own (therapist Fritz Fassbender curses upon soaking his thighs with petrol: “Geschplund!” A straight Goon Show quote if ever there was one).

whatsnew1

It’s a shame about the messiness because feckless dithering in the control room is the last thing a tight farce needs, and there’s some evidence that Allen had constructed such a farce. The idea is a sound one – a shameless philanderer decides to get married and be faithful, and suddenly he’s besieged by beautiful women. Capucine’s nymphomaniac Mrs. LeFevre is possibly the funniest actor in the film, despite not getting any actual jokes. She just has beautiful timing and emphasis, and makes the other actors funnier in turn (Sellers: “You look ravishing in zat whistle”). The colossal beach whore from EIGHT AND A HALF, dressed as a Valkyrie, is also good value.

The whole cast gets assembled for a climax at a country hotel, with a rampant Andress in dropping into O’Toole’s lap from the heavens (“I yam a paris-chew-diss!”), stripping off her aviatrix jumpsuit to reveal a seductress jumpsuit underneath, then ditching that too. Oddly, despite the crummy continuity, Andress running through the hotel in her undies always has her undies disarrayed the same way from shot to shot, left butt cheek bulging out.

Disappointingly, after scene after scene of stunningly beautiful, chic Parisian sets by Richard Sylbert, the hotel is mostly a dowdy location, and rather than giving us a satisfactory conclusion there’s mere chaos, and O’Toole getting nagged by his new bride at the fade-out. Still, as she accuses him of looking at another woman (Francoise Hardy!), O’Toole enunciates acidly: “I *had* to look at her, she was *speaking* to me. I Turned in the Direction of the Sound.”

whats-new-pussycat-francoise-hardy-4

Arse Gratia Artis

Posted in FILM, MUSIC, Painting with tags , , , , , on February 28, 2012 by dcairns

An enticing exhibition, but alas it had ended before we hit the Cinematheque.

The fascination of the scatalogical… actually, the word is a misnomer, because there’s no logic in it…

Shameful to admit, but two of the greatest pleasures of the Cinematheque Francaise were a couple of gratuitous arse gags.

One came in the form of an anamorphic illusion. A painting of distorted shapes on a disc is surmounted by a shiny metal column. Reflected in the concave surface of the column, the distorted painting magically undistorts itself to reveal —

No, not a pretty snowflake as in the above example, but a naked man bending over and examining his arse in a mirror — what he sees is not the reassuring sight of his parted buttocks and hairy anus, but a memento mori, a grinning deathshead! Let that be a warning to you.

I can picture Henri Langlois chuckling over this after picking it up in an antique shop. Then taking it home and trying the mirror trick himself.

The other bottom-related event was a silent short called ERREUR DU PORT, starring a fellow named Dranem. Here’s Dranem in an early sound experiment —

But he’s not quite so charming in ERREUR DE PORT. The film begins with him in a train station (obvious backdrop), asking a guard for directions. Dranem is clad in bumpkin attire including huge, spongy clogs, which seem to give him some difficulty.

The guard gestures towards a sign marked WATER CLOSET. Dranem nods and heads over, but enters the nearby telephone kiosk instead.

Cut to inside the booth. Dranem, ignorant hick that he is, doesn’t realize this isn’t a toilet, and approaches the telephone counter, lowering his trousers and squatting on it. Cue grotesque gurning facial expressions as he exerts himself fully in the act of evacuation.

Cut to the station again. A smartly dressed gent is waiting for his turn in the phone booth. He taps his foot — how impatient he is! Dranem emerges, miming immense satisfaction and relief at the is successful conclusion of his business. He staggers off, nearly going over on his ankle in a wince-inducing stumble as his sponge clogs give way beneath him. The impatient man hurries into the phone booth…

To emerge, choking, eyes rolling in horror, a handkerchief clasped to his face. He exits, wafting a hand under his nose in urgent pantomime of disgust. THE END.

The director of this affair was Ferdinand Zecca, top helmer at Pathe Freres — here’s a more pleasant creation from the Great Man to serve as a kind of palate cleanser —