Archive for Claude Chabrol

Strangeways

Posted in FILM with tags , , , , , , , , , , , , , on January 25, 2016 by dcairns

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Finally reading The Smiler with the Knife, written by Nicholas Blake (who was really the poet Cecil Day-Lewis, father of Daniel) in 1939, immediately optioned by RKO and briefly developed by Orson Welles as his Hollywood debut, after THE HEART OF DARKNESS fell through and before CITIZEN KANE came through. It’s an item in Welles bios that always intrigued me.

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Years ago I read Blake’s The Beast Must Die, which has no relation to the Amicus werewolf whodunnit (spoiler: the werewolf dunnit), but which was decently filmed by Chabrol as QUE LA BETE MEURE in 1969, and as LA BESTIA DEBE MORIR in 1952 by my man Roman Vinoly Barreto. The best bit of the book is a lengthy confession written by a man plotting the murder of the motorist who drunkenly killed his child. Then Blake’s posh private eye, Nigel Strangeways comes along and solves it, and the story devolves into a conventional country house kind of thriller, sitting uncomfortably with the raw emotion of the killer POV sequence. Chabrol certainly noticed that, and excised Strangeways from his movie altogether. I haven’t been able to see the Barreto, but he may have done the same, or maybe he just changed the names. Has Nigel Strangeways ever made it to the screen?

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Poor Nigel is largely absent from The Smiler with the Knife too, with his wife Georgia, intrepid explorer, taking centre stage, going underground to unmask a fascist plot to take over Britain — the aristocratic leader of the secret society falls in love with her and she has to betray and outwit him. Events rapidly overtook the novel with the outbreak of war, but Welles planned to relocate the story to America, with the villain a Howard Hughes type. Ironic, since Hughes would end up owning RKO.

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Welles also included, according to Joseph McBride’s Whatever Happened to Orson Welles?, a Hearst-like newspaper baron called W.N. Howells — now, presumably Welles had in mind for himself the big bad guy role, whose character has quite a bit in common with his eventual role in THE STRANGER (secret fascist hiding in plain view, in love with a woman who does not share his sinister sympathies), but “W.N. Howells” sounds so much like a misheard “Orson Welles” that it’s hard to believe he wasn’t already sizing up the part for himself.

Blake/Day-Lewis makes his main villain a romantic millionaire figure, toying humorously with the affections of countless women but falling dangerously in love with Georgia. He also ends up blinded in a fire she starts, anticipating Welles role as Rochester in JANE AYRE EYRE. His styling as an “attractive brute” type may have been a stretch for Orson, but no doubt appealed, and one aspect of his description, his “oddly lumbering, bear-like gait,” fits Welles, no twinkletoes, to a tee.

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Nobody seems to have produced a really detailed synopsis of Welles’ adaptation, and it’s not published or available to read online, but I recall (correctly, I hope) that Welles wanted Lucille Ball for the lead. This would have changed Georgia’s character considerably, and a good thing too — Blake/Day-Lewis has to work hard to even begin to make plausible her role as an undercover agent when she’s well-known as the daughter-in-law of a Scotland Yard commissioner whose job is to expose the conspirators. I imagine Welles making her much more of a regular working girl, perhaps anticipating her role in the delightful 1947 thriller LURED (Douglas Sirk), in which she plays a taxi dancer going undercover to snare a serial killer.

The latter part of the book is a very Hitchcockian chase thriller, in the 39 STEPS mode. Welles had some kind of inherent antipathy to Hitchcock, co-existing with an attraction to often similar material (but what attracted him about it was obviously quite different). It would have been fascinating to see what he’d make of this.

Oh well, we’ll just have to make do with CITIZEN KANE.

Piss and Vinegar

Posted in FILM, literature, Politics, Television with tags , , , , , , , , , , , , , , , , , , , , on January 13, 2015 by dcairns

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For some reason, even for a confused liberal like me, it’s often extremely satisfying to see a policeman protagonist smacking suspects around and GETTING ANSWERS. It’s something that seems to just work in drama, and it can even be amusing, which speaks to something dark and stupid in human nature. Also, maybe it’s pleasing because it acknowledges something we believe goes on, but which isn’t always admitted in reassuring fictions. Still, after the recent massacre in Paris, there was something satisfying about watching both of Claude Chabrol’s Inspector Lavardin films (POULET AU VINAIGRE and INSPECTEUR LAVARDIN), in which glinty, flinty Jean Poiret plays Dominique Roulet’s quirky copper (likes his eggs just so), beating up witnesses, letting killers off on a whim, stitching up those who may not be precisely guilty as charged.

“Life is absurd,” is Lavardin’s philosophy, and the films are charming and entertaining because of not despite their ethical shock factor — it’s liberating to see a character who cares nothing for the accepted rules of his profession and operates entirely according to his own sensibility. The disturbing undercurrent is the certainty that these methods ARE used, and are not so whimsically funny in real life.

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Lavardin is like Kurosawa’s Sanjuro character from YOJIMBO and SANJURO, upsetting the accepted codes of his genre and being so popular doing it that an immediate sequel becomes necessary. While Kurosawa boldly cast the same actor, Tetsuya Nakadai, as Toshiro Mifune’s opponents in both films, killing him off each time, and Sergio Leone repeated this trope with Gian Maria Volonte in A FISTFUL OF DOLLARS and FOR A FEW DOLLARS MORE (even though FAFDM has nothing in common with SANJURO except that it’s a sequel to a version of YOJIMBO), Chabrol was not quite so shameless: he waited until Lavardin got his own TV show (Les Dossiers Secret de l’Inspecteur Lavardin) to recast ex-wife Stephane Audran.

The first film enjoys a slow, convoluted set-up, one of those things where one worries that the various dastardly characters, their dysfunctional relationships and covert schemes will never fully become clear, or that one won’t be clever or French enough to understand them. Lavardin enters quite late in the action, because the deaths don’t start until midway. It’s a familiar structure from movies like GREEN FOR DANGER or FARGO or the TV show Columbo or its antecedent, QUAI DES ORFEVRES. Whereas FARGO and Columbo show the elaborate set-up to a crime, concealing nothing, and QUAI DES ORFEVRES pretends to but keeps something up its sleeve, Lavardin’s first case echoes Inspector Cockrill’s (Launder & Gilliat wanted to star Alastair Sim in a whole series of Cockrill adventures after GREEN FOR DANGER, based on Christianna Brand’s delightful whodunnits, but the star refused to repeat himself) — we see and hear plenty, but not enough to fully understand the key elements. Then Lavardin comes along and not only catches up with us in record time despite everyone lying their heads off, he supercedes our understanding and cracks the case (and a few heads).

Enjoyable as this is (with a surprising number of plot elements from PSYCHO — crazy mother in cellar, car winched from ravine), the sequel is even better, starting as it does with a corpse on a beach (the word “PORC” etched on his chubby back). This means Lavardin is on the scene in an instant, and we discover the intricacies of the case through his beady, skeptical, humorous but reptilian eyes.

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I’ve heard it suggested that Chabrol came to despise mankind or at least his characters, but this does not quite seem to me to be true. There’s a bit of Clouzot’s wry affection (seeing mankind at its worst but rather liking it anyway) and there’s also the Coen defense, that these are genre exercises and the people AREN’T REAL. The filmmakers want their rats to not only run a maze, but an obstacle course. It’s all in fun, except when it’s not.

I’ve not quite decided if Chabrol’s latter-day authorial cynicism amounts to full-scale misanthropy. He seems too jocular for that. But if you want to see traditional detective stories reinvigorated by a change of attitude in the central character, Lavardin’s your man.

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To get both films you have to buy two box sets, it seems. But hey, that means more Chabrol.

The Claude Chabrol Collection – Vol. 2 [DVD]

In desperation, the pun “Poulet au Vinaigre” which means Chicken with Vinegar but also “vinegary policeman” has been substituted with the title COP AU VIN, which is easier for Brits to understand except it doesn’t really mean anything.

The Essential Claude Chabrol Vol. 1 (3 disc box set) [DVD]

Rated X-mas

Posted in FILM with tags , , , , on December 16, 2011 by dcairns

If you’re like Shadowplay, you’ve probably got all your Christmas cards and shopping worked out, oh, months in advance. But in case you haven’t, here are some card designs for the cinephiles in your life. Simply cut the images from your monitor using a pair of round-ended scissors. Get an adult to help you if you’re uncertain.

Last year’s designs can be seen here and here.

Gift suggestions —

Touch of Evil Blu-ray

The Devils (pre-order)

Harakiri (dual format)

The Bed Sitting Room (dual format)