Archive for Death to Smoochie

Apocalypse of an Angel

Posted in FILM with tags , , , , , on October 2, 2018 by dcairns

THE HORN BLOWS AT MIDNIGHT is a 1945 comedy-fantasy which became a punchline in its own right when star Jack Benny took to joking about how terrible it was. Decades later, Jon Stewart would revitalise this self-deprecatory schtick by ruefully trashing his own work in DEATH TO SMOOCHIE. But, in fact, neither film is terrible — at worst, they’re unsuccessful but interesting.

THBAN fits snugly into the ’40s fantasy cycle involving the afterlife, which seems to have been some kind of reaction to the mass-slaughter of WWII. Though the Heaven in this film is relatively inactive as a destination for the dead — the traffic is all the other way, with various angels descending to Earth to trigger the planet’s destruction. But, just like in the simultaneously made A MATTER OF LIFE AND DEATH, Heaven is portrayed as a vast bureaucracy. This is all a dream, of course, not even an ambiguous one like AMOLAD — the whole movie is a dream wrapped inside a slender framing structure in which nothing really happens.

But setting aside the frame, the main story is an odd one in which we are supposed to root for Jack Benny to destroy our planet. Mind you, what the film shows of New York would seem to support such a plan — the place comes across as a stinking vespiary writhing with brats, crooks, sneaks and rich creeps. With the mild-mannered Benny getting scammed and pushed around by just about everyone he meets, it’s easy to root for him to bring about the End of Days.

We get two pseudo-Harold Lloyd skyscraper dangling routines, both inserted to build further suspense as Benny tries to kill us all. We’re supposed to feel suspense (and laugh) both about whether he’ll plunge to his death on the sidewalk and whether he’ll sound the final trump and destroy the world.

It’s all fairly manic — like a kind of Thorne Smith story on PCP — the music score never lets up, and we even get the Loony Tunes theme tune at a carnival — and fairly funny. There are also some SPECTACULAR special effects. The skyscraper stuff is inventive, with lots of miniatures, dolls and rear projection, but I’m a purist about these things and the only trickery I’ll accept in these scenes is the perspectival illusions achieved by Harold Lloyd building sets on real rooftops. But the fake cityscapes are nice,

It’s the afterlife stuff that really impresses. I saw this recently excerpted in Joe Dante’s THE MOVIE ORGY and it blew my mind. The vast celestial orchestra looks at first like it might be a patchwork made up of different bits of live-action footage, duped and conjoined to turn one big crowd into a VAST one. But then the camera soars over the heavenly throng and I couldn’t work out HOW this was being done.

Seeing it again in sharper definition at least some of the technique was revealed — Fiona spotted it first. though the front rows appear to be real, a considerable crowd, the angels further back are cut-outs. It’s beautiful, like a 3D moving Sgt. Peppers album cover.

The whole strange thing is directed by Raoul Walsh, and it’s quite far from the kind of film he’s celebrated for most, but his career does contain a lot of really odd outliers.

When you gaze into THE HORN BLOWS AT MIDNIGHT, THE HORN BLOWS AT MIDNIGHT gazes also into you.

The film has an unusually distinguished cast, featuring Joseph Tura, Louisa van der Luyden, Mme. Hellene de Bursac, Albert Van Cleve, Hillary Ames, Scattergood Baines, ‘Teddy Roosevelt” Brewster, J. Pinkerton Snooperton, Mrs. Gloria Teasdale, Loyal Muke, Mrs. Bundy the celebrated ornithologist and Mr. ‘Moose’ Malloy.

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In the beginning…

Posted in FILM with tags , , , , , , , on January 1, 2011 by dcairns

Fred Allen introduces IT’S IN THE BAG in his best pre-post-modern style.

Fred didn’t really make it to the UK — our loss, clearly. We did get Jack Benny, but only through his movies and live appearances, and the fame those brought him didn’t last much longer than their first release. It’s ironic, since one of his favourite jokes, trundled out again during his cameo in IT’S IN THE BAG (Rudy Vallee, Don Ameche and William Bendix also guest), is that his movies are terrible. Which isn’t true, as Lubitsch and Walsh fans can testify.

JB: “Twelve members for a Jack Benny fan club? Are you being too exclusive? Do you keep out the riff-raff?”

FA: “If we kept out the riff-raff we’d only have three members.”

JB: “What about my movies?”

FA: “Ah, even the riff-raff don’t go to see those.”

JB: “Have you tried giving away dishes?”

FA: “Yes, they threw them at the screen.”

JB: “Have you tried not giving away dishes?”

FA: “Yes. They bring their own dishes and throw them at the screen.”

(Benny’s jokes at the expense of his Walsh movie, THE HORN BLOWS AT MIDNIGHT — and what a great title that is! — are echoed today by Jon Stewart’s dismissive references to his own efforts in DEATH TO SMOOCHIE — which is, itself, not an uninteresting movie.)

Anyhow, IT’S IN THE BAG is just about as entertaining as this opening suggests. Gags which break the third wall are used sparingly, so the film does have a little bit of reality left to disrupt. In general, no joke is too corny or too laborious to be included, but some of the worst ones are some of the best. Alma Reville, power behind the Hitchcock throne, co-wrote, which is fascinating: I don’t exactly know what to make of it, but it’s fascinating.

Here’s an earlier Fred short, just because.