Archive for Ernest Thesiger

Maids and Monsters

Posted in FILM, Politics with tags , , , , , , , on April 21, 2018 by dcairns

Ernest Thesiger’s Dr. Pretorius (OS) tempts Boris Karloff’s monster with a bottle of House of Lords Scotch Whisky in THE BRIDE OF FRANKENSTEIN. I mean, why waste good gin? I guess the publicity slogan for that beverage would have to be “Gets you drunk as a lord.” Although I actually like the House of Lords this week because they’re fucking with Brexit. The Brexiteers are outraged, a lot of people belatedly noticing that we have this antiquated branch of government and it isn’t democratic. Well, I guess that’s it’s purpose, to be undemocratic, to stop democracy propelling us off cliffs. I rather doubt it’s the best way of doing this, but the paralysis it produces, as with America’s three-branch system, CAN be a cause for gratitude sometimes.

Other things noticed in BRIDE: the movie is famously disrespectful to its original, recasting Elizabeth from an American blonde to a brunette English teenager, and dropping the stupid old Baron with the unsightly thing on his neck without explanation. Actor Frederick Kerr had died in the interim from causes unconnected with his unsightly neck-thing, and Pretorius congratulates Henry on having inherited the title, but the absence goes otherwise unremarked. One of my students suggested that at the end of the first film, where he’s drinking a toast to the house of Frankenstein, and all the maids are giggling — they’ve poisoned his champagne.

 

All the pretty, giggling maids have disappeared by the sequel too — replaced by screeching harridan Una O’Connor. Looks like Elizabeth has taken over running the household already…

 

But, despite playing fast and loose with what we would call “series continuity,” the sequel has one delicious call-back I hadn’t noticed before: once the monster learns to speak, his first words to his creator are a very emphatic “SIT – DOWN!” with a downward wave of the hands. Well, in FRANKENSTEIN, the first words we hear Henry speak to his creation are “Come in,” but the second are “Sit down,” with the exact same gesture. The monster is very purposely letting Henry know that the giant tar-spreader’s shoe is on the other foot now.

Another big-screen discovery: the monster’s decision to let Henry live at the end comes out of left field, a change of character seemingly unmotivated by anything. But it was not always thus: as Henry runs off into the night with Elizabeth, he can still be seen in the exploding lab, a startling feat of bilocation ~

(Pretorius and the Bride are on the right in white, the monster is scarcely visible between the two electrical towers, but Henry is vividly pressed against a wall screen left, about to be crushed along with everyone else by the falling roof.)

Henry is one lucky fellow — reanimated after a fatal fall in the first film, re-re-animated under slightly different circumstances in the second, and then saved from exploding by a last-minute reshoot. Universal appear to have been convinced their audience wanted Frankenstein to live. I’m not sure they were right (and I’m sure the crowd would have cheered if Karloff had found time to throttle Una O’Connor). Possibly a third film was already anticipated, for which a mad scientist would be required. Sadly, Colin Clive would have passed away by the time that happened, leaving his character to die as his father had done, vanishing between films, through a crack in the continuity.

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Tea-time

Posted in FILM with tags , , , , , , , , on February 24, 2018 by dcairns

Researches for a current project led me to look for all the images I could get from Universal’s horror cycle of the thirties. And one thing I found was… lots of tea breaks.

Director James Whale was English, and insisted on proper tea breaks: elevenses, and high tea (I’m Scottish, so I don’t know what those are, but they’re some kind of tea-break). The Americans weren’t invited, noted Gloria Stuart.

  

Are Colin Clive and Valerie Hobson in character, pretending to have tea, or out of character, actually having tea?

Pretty sure THIS isn’t a scene from either FRANKENSTEIN or BRIDE.

No tea actually visible in this one, but I infer its presence close by. Una O’Connor needs her pick-me-up.

 

Yes! Ernest Thesiger was a keen painter as well as a needlepoint enthusiast.

This is the famous one —   

Let the eagle soar

Posted in FILM with tags , , , , , on January 14, 2009 by dcairns

obergurgl

A svelte Hitch shooting THE MOUNTAIN EAGLE on location in Obergurgl.

As we trek through the year and through the oeuvre of Alfred, Lord Hitchcock, this ought to be the week where I view and write about his second feature, THE MOUNTAIN EAGLE, but wouldn’t you know, someone’s only gone and lost it. (An even earlier Hitchcock, seemingly his first work as director, an unfinished short with the appealing but ill-fated title of NUMBER THIRTEEN, also appears to be lost. Since it’s the only collaboration between Hitchcock and the almighty Ernest Thesiger, it’s loss is a tragic one indeed. The idea of Ernest acting for Alfred fills my mind with champagne bubbles of joy [which can be fatal].)

Since there may well be nobody alive who has seen and remembered the missing MOUNTAIN EAGLE, I was faced with two possibilities — I could research the project, tracing production stills, screenplay and continuity notes, read up on the history of the project* and find out what Hitchcock had to say about it to Truffaut — or I could go to sleep and dream the entire film, on the basis that it’s still, you know, out there somewhere, perhaps detectable by the unconscious mind. You can probably guess what I decided to do.

Since Fiona remembers her dreams much more often than I seem to, I invited her to join the project, reminding her at each bedtime to try and dream THE MOUNTAIN EAGLE. After four nights, all I had was a vague image of bland 90s “folk” singer Tanita Tikaram, which seemed unlikely to connect to the missing Hitch.

But Fiona has succeeded where I failed!

Saturday being a non-work day for us both, we were attempting to sleep in, when at 7.30a.m. I was awakened by a piercing scream. Once I had gotten over the initial shock and racing heartbeat associated with such awakenings, I ascertained that Fiona was awake — barely — unharmed — and the victim of one of her intermittent night terrors. Brilliant — obviously the Master of Suspense had been at work.

Here is the plot of THE MOUNTAIN EAGLE, as dreamed by Fiona.

“At the beginning, I dreamed that I flew to America on my own.”

“I thought that maybe I had been hypnotized and sent on a mission. Then I came back.”

“We were in a school.”

“There was a man who was trying to get a bag from me. He said it was the bag I had taken to America. “

“He had either hypnotised me or drugged me, using a bottle of perfume. There was a strange device on the top of it.”

“He said, ‘If you scream I’ll kill you.'”

“But I thought, ‘I have a better chance if I scream.'”

Then she woke up, as did I.

I have just read the plot synopsis of THE MOUNTAIN EAGLE ~

Truffaut: “The story is about a store manager who is after an innocent young schoolteacher. She takes refuge in the mountains. under the protection of a recluse, whom she eventually marries. Is that right?”

Hitchcock: “I’m afraid it is!”

Fiona didn’t know any of this, so I think her dream is pretty convincing (although perhaps contaminated by other films from the master’s canon). The dream does not in every respect coincide with the plot contained in the historical record — but records can be wrong!

*For one thing, it starred Nita “tits-out” Naldi, whose very long fingernails Hitch recalled with a suppressed shudder.