Archive for Edward Zwick

Blind Tuesday: Seeing-Eye Cat

Posted in FILM with tags , , , , , , , , , , , on September 11, 2012 by dcairns

Somebody is killing fashion models in Amsterdam — ever wondered why models are paid so highly? Because they’re always getting murdered.

Rejected from Forgotten Gialli, CRIMES OF THE BLACK CAT winds up in Blind Tuesday (our occasional feature on blind-person-in-jeopardy thrillers), just because it’s made me rather cross. At the core of the film is a rather darling conceit, a killer using a black cat as assassin, its claws coated with deadly curare. The delightful absurdity of this idea — ever tried getting a cat to do anything? what happens when kitty washes her paws? and also, just WHY? — is rather stifled by the wrapping around of the entire plot and all the set-pieces from 23 PACES TO BAKER STREET.

Stealing is inevitable, and largely to be encouraged, in the arts, but there are times when it is to be condemned. The shot-for-shot lifting of the love scene from DON’T LOOK NOW in ABOUT LAST NIGHT… is one of them (why remind the audience, so forcibly, that Demi Moore is not Julie Christie and Rob Lowe is not Donald Sutherland [or vice versa] or that Edward Zwick does not even share a species with Nic Roeg?). This is another.

The rule is that stealing is good when it makes things better, but that holds it to a high standard — the artwork must be better than it would have been without the theft, but also better than it would have been with something original of an adequate standard. Ideally, the theft should be the kind whereby, if the viewer recognizes the source, pleasure is increased (“How clever!”) rather than spoiled (“What a blatant swipe!”)…

In the case of CRIMES OF THE BLACK CAT, it’s to be condemned because it’s lazy and unimaginative, and because it doesn’t help the film, it actually constrains it. The effect is to break the thing in two, so that Anthony Steffen (rather good and sepulchral as the sightless hero) and his investigations seem to occupy a whole other movie from the bout of silly killings.

The big adaptation is to make the hero not a playwright who uses a tape recorder to practice his dialogue, but a film composer (who can’t see the film — how does THAT work?). This allows for a giallo-within-the-giallo, which is par for the course in this compulsively self-reflective genre. Graphic close-ups of breast-slicing in this embedded movie are far more horrible than anything in the main body of the narrative, until the ending, when director Sergio Pastore goes all vicious again, and we can guess that the killer is a woman. You see, whenever the killer does something truly nasty and misogynistic, you can be fairly sure he’ll turn out to be a woman (dishonorable exception: IGUANA WITH A TONGUE OF FIRE, where he’s gay) . It’s a kind of alibi instinct, to deflect the filmmaker’s own guilt.*

This is, on the whole, the kind of giallo that makes me not like the genre. It’s a field which triumphs when it unlocks its imagination, and there’s something deeply tedious about all these black-gloved killers. I think that’s the true explanation for the decline of Dario Argento: he’s become bored by his own tropes, and God forbid that he should ever examine them critically for signs and meaning. Mario Bava, God love him, wasn’t inclined to introspection either, but he felt compelled to explore every genre on offer, even those like the sexy-type-film which he instinctively disliked. It’s because he didn’t view himself as an artist that he experimented so much, making him kind of (but only kind of) the Keaton to Argento’s Chaplin.

Hey, another strange thing. The woman with the killer cat operates out of a pet shop called, according to its sign, UNDULATER. Why would a pet shop be called UNDULATER? And if you ran a pet shop called UNDULATER, wouldn’t that cause a fair bit of confusion (especially in Amsterdam)?**

*The other bit of giallo cowardice: if the killer is a priest, he will soon be unmasked or unfrocked as a bogus priest. Most of these movies are deeply conservative at heart.

**Stop press: W Krikken suggests,via Twitter, that the setting is Copenhagen. I think that is correct. Still, makes the possibilities for misconstruing UNDULATOR even richer, if anything.

In other news: Limerwreckage — Carradine rhymes again!