Archive for Edward G Robinson

The Moves

Posted in FILM with tags , , , , , on September 20, 2017 by dcairns

Fiona was feeling low, so we put on SOME LIKE IT HOT, and by the end, she was feeling pretty good.

I’m glad I haven’t been asked to write professionally about this one, as it strikes me as hard to say anything that’s both new and useful about this particular masterpiece of comedy. It doesn’t seem to be exhaustible as a viewing experience though — if you watch it with a friend, each of you will probably only remember half the funny lines, so there will still be a lot of laughter. And, as with a good Preston Sturges, if you’ve “used up” the best jokes by overexposure to them, you’ll start to find even the spaces in between funny.

This time Fiona was particularly enjoying the character’s movements, which I can only suggest in still images.

 

I gained a fresh appreciation of Pat O’Brien’s contribution. Fiona tells me George Raft LOVED sending himself up. But why couldn’t they get Edward G. Robinson? They even cast his “Hollywood bad boy” son, Junior. You’d think that would have helped…

Advertisements

Bad Cinephile

Posted in FILM, MUSIC with tags , , , , , , , , , , , , , , , , , , , , on June 27, 2017 by dcairns

I did get a lot watched on Monday at Il Cinema Ritrovato.

On Sunday there had been a discussion about whether to try the 1917 CALIGULA, since it partially overlapped a later screening I wanted to see, and a friend who shall remain nameless suggested just watching a bit. “You don’t need to see how it turns out,” he suggested. To another friend who had an overlap at the opposite end, he suggested, “You don’t need to see the beginning. What are you going to miss? The horse? You won’t miss the horse.” “Are you suggesting,” I asked, “that we treat CALIGULA like an installation?” But that is sort of what Monday felt like.

(In the event, CALIGULA was sold out to enthusiastic orgiasts before we got back from lunch.)

The day began with two by William K. Howard and one by Tod Browning, at the Cinema Jolly, which meant I could just take my seat and soak up three pre-code super-productions in as many hours. THE TRIAL OF VIVIENNE WARE was zippy (Lilian Bond, in her plummiest accent: “I’m going to show him how a warm momma gets hot!” Zasu Pitts: “I like horses, in a nice way of course.”), with rapid-fire patter and frequent whip pans, used to transport us across town, across a room, of back into flashback and out again. TRANSATLANTIC combined swank melodrama and crime with spectacular sets and camera moves. OUTSIDE THE LAW, the second film Tod Browning made under that title, had a strong story but, being a 1930 Browning, lacked pace. “Tod the Plod,” Andrew Moor Charlie Cockey called him. But it did have the bottomless man illusion, and a guest freak in the form of John George from TRAIL OF THE OCTOPUS, in the role of Humpy the hunchback. I’m a John George completist so this made me happy. This is likely also the first film in which Edward G. Robinson says “See?” a lot, as a threat.

Then I went to THE TECHNICAL REFERENCE COLLECTION SHOW after lunch — we saw Technicolor reels from BREAKFAST AT TIFFANY’S, THE JUNGLE BOOK, ROSEMARY’S BABY, THE GOOD THE BAD AND THE UGLY… quite a range. HERCULES AND THE SLAVE GIRLS featured the line “This day is dedicated to Uranus.” Reg Park didn’t look as pleased as you might hope. Each reel ended JUST as we were getting snared by the narrative, so it was a frustrating as well as beautiful experience.

But these extracts set me off on a regrettable pattern of incompletion. I went to a programme of Russian fragments and saw the surviving reel of KULISY EKRANI (BEHIND THE SCREEN) from 1917, which stars Ivan Mosjoukine, Russia’s top film star, in the challenging role of Ivan Mosjoukine, Russia’s top film star. But the fictional version has lost an arm. It was good to see a younger Ivan, though he looked older than in KEAN. Other than that, I couldn’t tell much.

I’ve been seeing the Helmut Kautner films religiously because Olaf Moller told me to, and he’s bigger than me. But the Mosjoukine fragment made me late for EPILOG – DAS GEHEIMNIS DER ORPLID and it was standing room only at the back. I stayed through the early subjective camera stuff, then the soft-titles disappeared just as Fritz Kortner showed up. I slipped away quietly —

— and into KEAN, where I wanted to see the new restorations tinting and toning, which was indeed lovely. But three hours of Mosjoukine seemed rather ambitious after five and a half hours in the dark, so I slipped silently off to TWO MONKS, the biggest challenge to wakefulness yet.

This early thirties Mexican melodrama has stunning sets, interesting camera moves and cutting, beautiful lighting and some Gothic horror hallucinations which are very striking, but it’s also slow to develop and tells a slightly dull story TWICE. So I did nod off a bit and found myself dreaming more exciting plot developments, which sadly were knocked out of my head by the real story when I awoke.

Then I dined with Neil McGlone and his lovely wife Justine, and hit the Piazza Maggiore, which proved to be ram-packed — no seats, so I sat on the warm stone and saw the prelude to Gance’s LA ROUE with Arthur Honegger’s newly discovered orchestral score played live for the first time in, what, ninety years? That was something. But it was another fragment. And I was too tired to watch more than ten mins of BATTLESHIP POTEMKIN afterwards.

A day in pieces. Leaving me feeling the same way, but happy.

Unfriendlied

Posted in FILM, Politics, Television with tags , , , , , , , , , , , , , , on February 23, 2016 by dcairns

vlcsnap-2016-02-23-08h38m41s133

TRUMBO breaks new ground, as a dramatic film about the blacklist, by featuring an actual communist as its hero. When Irwin Winkler was preparing GUILTY BY SUSPICION, he worked with Abraham Polonsky as screenwriter for a spell, but the partnership broke up over AP’s insistence that the protagonist had to be a communist and Winkler’s insistence that he couldn’t be. Prior to TRUMBO, only the BBC TV film Fellow Traveller had the guts to take an actual leftie as lead.

Put it this way — do you prove that the blacklist was an injustice by demonstrating that some people who were not communists got blacklisted? Would you be proving that the law against murder is wrong by making a film about an innocent man wrongly accused of murder?

vlcsnap-2016-02-23-08h38m59s50

So director Jay Roach and writer John McNamara are to be congratulated for not making the million-dollar mistake, especially in a time when right-wing pundits in America have been attempting to restore McCarthy and HUAC to favour. They do offer excuses for those who were tempted by the Party — perhaps a stronger, simpler defense would be the one used in THE PEOPLE VS LARRY FLYNT — we don’t like what these people do, but in a free society they have a right to do it.

The film has been greeted by quite a lot of grumbling, not for its politics, but for its quality. I would group it along with movies like KINSEY and THE NOTORIOUS BETTY PAGE (though it doesn’t rely on musical montages to popular, on-the-nose hits, thankfully) — a biopic which struggles to craft a solid dramatic story out of its subject, or to find a satisfying cinematic style.

vlcsnap-2016-02-23-08h39m11s172

A film on this subject cries out to be a film of ideas, since a writer’s life usually entails little action, certainly when he’s at work. To McNamara’s credit, he includes useful discussions illustrating the slippery moral slope one embarks on when trying to cooperate with HUAC, to the extent that Edward G. Robinson, chosen as main example of the friendly witness/traitor, can still seem somewhat sympathetic — he made the wrong choice, is all.

What’s rather lacking is strong emotional, dramatic scenes. Trumbo’s HUAC testimony is rather rushed through, which is unfortunate since it’s one of the rare occasions where he comes up against his enemies. Instead we have many, many short scenes in which he argues with friends, notably Louis CK, excellent in the role of a combination of various members of the Hollywood 10. Balking at crowding the screen with nameless pinkos, the screenplay is probably wise to conflate a few of them, but by name-dropping Dmytryk and other offscreen personae to no particular effect, and making the point repeatedly that there are ten of these guys whom we never get to see, the film is guilty of failing to have its cake and failing to eat it. There’s a feeling the real drama is happening elsewhere.

vlcsnap-2016-02-23-08h37m12s253

vlcsnap-2016-02-23-08h37m13s13

As director, Roach is… OK. He was on surer ground with the AUSTIN POWERS films. He makes a terrible misstep in beginning Trumbo’s HUAC testimony as a newsreel, hauling us a way from what should be the most dramatic moment yet and putting the thing into the past tense before it’s happened, and the genuinely moving moment when Trumbo sees his name on the credits of SPARTACUS after years of enforced anonymity gets a flashy reflection shot it really doesn’t need.

That should be a simple moment for letting the actors act, which Roach is otherwise quite happy to do — whatever the consequences. Bryan Cranston’s mannered perf may reflect Trumbo’s real personality, but it still feels forced, especially, as Fiona pointed out, when Louis CK and Diane Lane are being completely natural opposite him. I wonder if what was needed was a more naturally flamboyant personality, or at least a character actor with certain built-in quirks, so that the eccentricity would seem innate rather than assumed. I love Bryan Cranston, and I worry that he’s painted into a bit of a corner — any TV show he does is bound to be compared unfavourable with Breaking Bad, which means he’s pushed into movies at just the time when the smart talent i heading the other way. And movies haven’t found the best use for his talents.

(Actually, if he took part in an ensemble piece like the magnificent American Crime Story, I don’t think there would be any negative comparisons with BB.)

vlcsnap-2016-02-23-08h39m24s45

This movie also features some odd lookalikes and sortalookalikes and lookunalikes. The Edward G Robinson surrogate, Michael Stuhlbarg, bears zero resemblance to the man he’s playing, except when turning up with a beard in old age, when it’s rather too late. Perhaps wisely, he doesn’t try to sound like Robinson either. Dean O’Gorman seems to be putting all his efforts into sounding slightly like Kirk Douglas, which doesn’t help him sound like a human being or give a performance, and he still fails to call the star to mind with the force of a Frank Gorshin TV impersonation. Berliner Christian Berkel makes a good fist of the Viennese Otto Preminger, though my Facebook friend Matthew Wilder thinks the role should have been his. What that says about Matthew I leave to your own judgement.