Archive for Excalibur

Grail Enquiries

Posted in Fashion, FILM, literature, Mythology with tags , , , , , , , , , , on March 29, 2019 by dcairns

My line on EXCALIBUR has long been that John Boorman decided, boldly but perhaps unwisely, to make an Arthurian epic as if MONTY PYTHON AND THE HOLY GRAIL had never happened.

I came up with a new line today while showing clips to a student who’s embarking on a mythic fantasy short: it’s like Boorman maybe DID know there was such a thing as The Ridiculous, but bet that he could break on through it to the other side. But possibly there’s nothing on the other side of The Ridiculous except more Ridiculous, going on forever, getting ever more ridiculous.

Hopping through the film for frame-grabs though, my God it’s beautiful. Though the muddy bits are the most Pythonesque, and the glossy bits are kind of sixties-hippy-meets-disco, so it’s all silly all the time, maybe it plays better in episodes, or even moments, than as a whole.

Remember Hawks’ “I don’t know how a pharaoh talks”? Remember also that Fritz Lang was offered the chance to remake DIE NIBELUNGEN at the end of his career, and turned it down on the basis that the dialogue would be impossible. EXCALIBUR would make a great silent movie.

I had just watched Daniel Aronofsky’s NOAH, which has some nice fake time-lapses but otherwise was not entertainingly bad as I’d hoped, but kind of depressingly bad, and I’d also shown clips from Polanski’s MACBETH, and the thing all three films have in common is really mannered performances. EXCALIBUR looked particularly ropey, except for Nicol Williamson who has the benefit of a sly wit. You can’t not think of LORD OF THE RINGS (which Boorman had wanted to make), and my feeling is what makes that movie/series watchable in spite of all the excesses (which are its ARCHITECTURE), is it has lots of interesting actors who can step outside the clichés of the Epic Style. Peter Jackson has always liked big, ALL-CAPS, cartoony performances, but there are understatement specialists and eccentrics dotted all through LOTR and yet there’s also an acceptable house style that keeps things just unified enough.

But one can’t help but dream of what a Boorman LOTR would be like. Like a Jodorowsky DUNE or a Ken Russell CLOCKWORK ORANGE.

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Film Directors with Their Shirts Off: #165 John Boorman

Posted in FILM, literature, Television with tags , , , , , , , on September 12, 2018 by dcairns

The latest in our occasional series on underdressed film directors. Because YOU demanded it! A fully nude John Boorman, appearing in his daughter’s documentary, ME AND MY DAD. Well, he got her to disrobe for EXCALIBUR, so it only seems fair for him to return the favour.

I was initially a bit frustrated with this film. Katrine Boorman starts out knowing nothing about filmmaking, it seems, not even how to set up a tripod straight. The entertainment comes from grumpy Dad’s irritation at her amateurishness, and his inability to stop directing his director. Also, she’s one of those people whose words don’t actually make any sense, but you know what they mean. So, as a storyteller she has a double handicap, but she certainly has access. And some great characters, with her mother, Boorman’s German ex-wife, high on that list. She’s a very sympathetic interviewee, solo, but then a family gathering is staged and the dynamics get really weird… It turns into a mini-version of FESTEN.

But, to my surprise, as the film went on I got over my own pedantic objections and warmed to Katrine’s approach. Her very inexperience works as a brilliant provocation to bring out all her dad’s worst qualities. Though he gets more and more likable too. You wouldn’t always know the man had a very strong sense of humour from his films — EXCALIBUR, in particular, seems to have no notion that any of this sex-in-plate-armour stuff could be perceived as comical. And then there’s ZARDOZ, which is only funny when it’s trying to be serious, and as for  EXORCIST II: THE HERETIC…

(But POINT BLANK still contains some trace of original author Donald Westlake’s sensibility, which finds amusement in everything — his Richard Stark books just conceal the comic plotting with hardboiled deadpan. Curiously, many of the movie’s most Westlakian aspects owe nothing to the source novel. But I think the screenplay, and Boorman’s approach, somehow picked up a little of Westlake’s literary DNA. Plus, I just watched Boorman’s THE GENERAL, which is maybe TOO funny. More on that soon.)

Boorman’s a pretty funny guy, Why haven’t I read his autobio?