Archive for EXORCIST III

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Posted in FILM, Theatre with tags , , , , , , , , , , , , , , , , , , , , , , , , , on January 21, 2022 by dcairns

Fiona wanted to do a direct comparison between Joel Coen’s and Roman Polanski’s THE TRAGEDY OF MACBETH, so we ran the Criterion Blu of the latter, and my opinion of it rose considerably. (The picture upgrade on that disc, over the DVD my frame-grabs are from, is massive: Gilbert Taylor, who had previously shot REPULSION, was one of Polanski’s finest collaborators.)

The Coen film is a rather compelling blend of film and theatre — everything it does with its visual approach seems to me just right, building on Olivier’s Shakespeare films and Welles and Kurosawa. It does take some textual hints from Polanski and Tynan’s adaptation, building on the idea of Ross as a schemer and traitor to both sides, something not specified in Shakespeare but which makes sense and allows him to grow from a Basil Exposition kind of attendant lord into a proper dimensional character.

Polanski does something very literal, very blunt — he decides to make Dark Age Scotland as visceral and real as he can. Olivier had considered doing this for HENRY V but worried that the audience would say, “Okay, so that’s a tree and that’s a house and that’s a horse… why is everyone talking so funny?” Polanski’s Horrible Histories visualisation begs that question very urgently indeed, and also creates unnecessary problems out of the asides and soliloquies. Can Macbeth talk to the camera/audience, and if not, what does he do instead.

In fact, we see in ALFIE that an actor can do asides in an otherwise naturalistic film, and it’s a device I’d like to see tried more. (It would have been an absolutely natural thing to try in A CLOCKWORK ORANGE, frinstance) Polanski has Jon Finch sometimes do quite long internal monologues, making faces to try to match his dubbed-on thoughts, something I never find satisfying or engaging. More successful, because more playful, are the segues from this device into spoken monologue, the character talking to himself like John McClane in DIE HARD (another besieged warrior with marital troubles). Polanski is always keen to credit Olivier as an influence, so I suspect this is borrowed from the similar tricks in HAMLET. But why Polanski didn’t consider using some of that film’s stripped-down theatricality I don’t know. I guess he’s just more of a realist, and not a man of the theatre like Sir Larry.

But rewatching a film is great for seeing past the things that bother you on a first viewing. Polanski’s whole aesthetic may be sort of counter-productive to doing Shakespeare, but he goes at it very enthusiastically indeed, and if the grit and sharpness are an odd fit for the iambic pentameters, they’re surprisingly close to the sharp focus of outright hallucination — Polanski seems to be using his 60s experience of LSD to give us freak-out visions that render Macbeth’s experiences, particularly with the witches, horrifyingly up-close and alarming.

And the casting of young actors, which was absurdly controversial at the time, seems like a no-brainer now. Older actors have more experience of both life and acting and can often do more than the photogenic youngsters. But what they can’t do is BE YOUNG. I think a middle-aged Macbeth could work if you play him as desperately grabbing what seems like his last chance at success, but the whole question of his wanting an heir becomes academic, an anaemic character motivation, if he has a menopausal wife.

I found myself liking Jon Finch’s performance, bad wig aside, more than before. He’s a star who should have been huge, but his biggest roles, this and FRENZY, didn’t do him the most justice, I always felt. His perf in THE FINAL PROGRAMME, on the other hand, MY GOD that is a star turn. But now I think I was too harsh on his Macbeth: there didn’t seem a single point where he didn’t have exactly the right take on the text.

Francesca Annis is also terrific: she seems readily able to seduce Macbeth into his crimes, as opposed to Frances McDormand’s Lady M who essentially bullies her husband forward. The text tells us she has nursed a baby but has no children now, but there seems no reason why she couldn’t be expected to have more kids and so Macbeth can realistically desire to see his children inherit the throne from him.

Annis looks not much like Sharon Tate but I found myself reminded of her a good deal, maybe because I recently saw Tate standing on a castle tower in EYE OF THE DEVIL.

What everyone used to talk about is the violence, which there is a lot of. It’s very matter-of-fact. The men barely react to someone being hanged or bludgeoned to death in front of them, and for the women and kids there’s always bear-baiting. The play is certainly full of mayhem but Shakespeare’s attitude to it is probably a little different — in Shakespearean tragedy, the normal order of things typically goes awry, and you get fathers against sons, eye-gougings, and so on. At the end, typically order is restored and everyone left alive is happy. A bit sad about all the mayhem but happy it’s over. Shakespeare’s politics are roughly speaking conservative — well, he had a monarch to please. Macbeth seems to have been intended to appeal to King James, who was a big believer in witches — a bunch of women in Scotland had just been tortured and killed for supposedly cursing him. Fortunately, there’s a lot more to Shakespeare than his politics.

Well, Polanski seems to see the order of things as continuous violence and chaos, which, given his life experiences is understandable (everyone thinks of the Manson killings here, but the Holocaust is at least as important, and though RP has denied that the film was his direct response to his wife’s death, he’s admitted that the behaviour of Macbeth’s henchman when entering the Macduff family home was based on that of an SS officer he witnessed in occupied Poland. So Duncan’s reign is unspeakably violent and horrible, Macbeth’s is maybe slightly worse, then he’s killed and it looks like the witches are going to recruit another patsy so the cycle of carnage can continue. Joel Coen steals that idea outright for his new film. It’s very modern and very unshakespearean, but like I say, Shakespeare’s politics are kind of his least appealing aspect.

(The biggest exception may be KING LEAR, where the few survivors are so shattered by what they’ve been through (The biggest exception may be KING LEAR, where the few survivors are so shattered by what they’ve been through and seen, none of them have the heart to really take stock of the situation, which seems somehow apocalyptic.)

I’ve written elsewhere about how Polanski films have a tendency to arc back to their own beginnings, swallowing their tails — from TWO MEN AND A WARDROBE through REPULSION, CUL DE SAC, FEARLESS VAMPIRE KILLERS, PIRATES. Even if they don’t literally end in the spot they began at, or near it, often the ending is a call-back in some way — CHINATOWN begins with its main title, and ends in Chinatown. It’s a rather despairing vision of the world, where we always end up back where we started only substantially the worse for wear.

Polanski and his co-adaptor, Kenneth Tynan, have not only moved Macbeth’s decapitation from discretely offstage to graphically onscreen, an almost essential change which nearly every filmmaker has followed, varying only in their explicitness, he’s chopped all the summing-up by the survivors which reassures the play’s audience that the line of kings will now continue in a legitimate way. Most other movie adaptations follow the same pattern, based on a reading of the play’s TRUE subject as Macbeth himself, not the crown of Scotland. When he’s dead, it’s mostly over.

One of Polanski’s most brilliant and alarming touches is the aftermath of Finch’s lopping, with his head whooshing about on the end of a pike, and handheld shots that COULD be his point of view, as if consciousness has not quite fled and he has a chance to take in, in a wobbly sort of way, the scene of his death.

At times, the film’s visual ideas clash with the playscript — when the witches say “Hover through the fog and filthy air, before they exeunt, it’s pretty clear Shakespeare’s suggesting they’re flying, as witches are said to do. Here, they just say it, and don’t even waddle off: it seems to be just something witches like saying. (The Coen film has no broomsticks, but strongly implies that the witch/es can turn into crows.) And the fights are terrifically staged by the great Bill Hobbs, but I don’t quite get why Banquo’s injuries should be so different from what the murderers’ describe in their report to Macbeth. Interestingly, when he sees visions of Banquo, some of them accurately show the axe in the back which he has no way of knowing about. But witchcraft can do that.

Deft little additions make Lady M’s swift descent into madness almost TOO gradual. I chatted with Angela Allen, the film’s script supervisor, who spoke somewhat sceptically about Polanski’s temper tantrums and karate chops (he’d had lessons from Bruce Lee and could snap great beams with the edge of his little hand), and while she was full of praise for Annis, she felt Finch knew the performance he WANTED to give, but perhaps couldn’t quite reach. But he’s physical, brooding, handsome, and he can speak the verse. And he probably gets over more of the character’s slow corruption than the other big movie Macs. “Macbeth is a play about the slow decay of the moral sense,” says Ltnt Kinderman in EXORCIST III. But he practically starts off with regicide, regarded as the worst crime possible in Shakespeare’s day. Say rather it’s about guilt, which destroys Lady Macbeth’s sanity and turns her husband, progressively, into a monster. Because one way of dealing with guilt is to deny it, to keep doing the stuff that makes you feel guilty, trying to prove that there’s nothing wrong with it. It’s not a GOOD way of dealing with it, but it’s quite popular.

Polanski faithfully stages the spectre at the banquet just as the text suggests (Macbeth doesn’t sit because there’s somebody in his chair, but nobody else can see this person…), only adding some weird special effects so that the ghost is differently horrible each time we see it. And our view of it is tied to Macbeth’s — it’s only seen in his POV shots.

(Important to keep things straight — Banquo’s ghost is a manifestation of Macbeth’s guilt, which he’s not emotionally smart enough to process. In the Coen film, the ghost is associated with crows, and this with the witches. This is quite, QUITE wrong.)

Best of all, perhaps, is the witches’ sabbat, a Goyaesque bad trip. The mirrors within mirrors, a giddy fast-motion rush of shots spliced together with artful opticals, perfectly visualises Macbeth’s cry of “Will the line stretch out to the crack of doom?”

I’m glad I got over my feeling that Polanski went at this the wrong way. I still think he did, but he went at it so aggressively he basically made it work.

THE TRAGEDY OF MACBETH stars Jerry Cornelius; Lady Jessica; Judge John Deed; The Bloody Barron; Keats; Adolph Bolm; King Vishtaspa; Engywook; Mr. Tupper; Book Person: Machiavelli’s ‘The Prince’ (uncredited); and Robin Hood Junior.

Red Herrings

Posted in FILM, literature with tags , , , , , , , on April 27, 2020 by dcairns

Dalton Trumbo is the main writer on THE LONE WOLF STRIKES, and you can tell. At the start of the tale, Michael Lanyard, AKA the Lone Wolf, as inhabited by Warren the starving lion William, having previously given up a life of crime for a life of adventure, has given up a life of adventure for a life aquatic, breeding fish in his Manhattan apartment. It makes a nice image, the stacks of fish tanks filling half the view, the picture window opening onto distant skyscrapers — all glassy grids, you see.

We remember of course that Laurence Olivier has a whole speech about oysters in SPARTACUS, Trumbo’s most famous screen credit, so obviously the man was a keen piscatorian and liked to get his hobby up there on the big screen. He liked to write in the bath, also, like a fish, or Waldo Lydecker or Jean-Paul Marat. The plot of this one is about stolen pearls, so the oceanic note is continued neatly.

Eric Blore gets to say: “I couldn’t help myself, sir. Miss Jordan’s a regular VAMpire, sir, she fairly WORMED it out of me!”

Also: “I LOATHE fish!!!” and “OOOH! I’ve spilled the beans!

It’s not so ridiculous, having a detective story where the shamus is more concerned with scallops than sleuthing. CHINATOWN features a discursion on fish at the Abalone Club, Detective Kinderman in EXORCIST III delivers a monologue on carp held over from the original movie on account of its extreme length and irrelevance, and Raymond Chandler began but did not finish a novel, The Big Swim Bladder, in which Philip Marlowe is distracted from a vicious blackmail-and-homicide case by the undulations of a particularly appetising halibut.

The film tries to winkle comedy out of WW being harried by his client, a slightly spoiled heiress, but as she’s the bereaved daughter of a recent murderee, it’s hard to take her being the butt of a joke.

Interesting that guys like Trumbo, Waldo Salt, and various of the Hollywood Ten mainly made a living with this kind of cheery pablum, but racked up reps for high seriousness during their years of unemployment. Still, the dialogue has a zing, and certainly plays to the stars’ well-established personae. “Why Mr. Lanyard, you’re simply…” “Terrific? Of course I am.”

Sidney Salkow, the Tarkovsky of the flat two-shot, once more directs with his customary… attendance? None of his shots match, is what I’m saying.

THE LONE WOLF STRIKES stars Julius Caesar; Mr. Toad; Phyllis Fowler; Mr. Fenty; Lois Clarke; Professor Schmutz; Bob Wayne / ‘Copperhead’; Walt Spoon; Morony; Crowd Member; and Man in Talking Pictures Demonstration (uncredited).

“It’s only when you’re immersed in your fish that you disappoint ME, sir.”

Quote of the Day: On self-shaking bed.

Posted in FILM, Mythology with tags , , , , on February 4, 2008 by dcairns

oh Richard how could you? 

‘Peter, an archeological research participant shivers finding out a strange medallion in a mysterious cave. It forms into a beautiful girl but an evil Haggia. He gets hold of Sherry’s body and in a wild and animalistic way starts lovegame with her in a rough manner. Sherry realises it was wonderful as he had never made love to her like that. He starts killing, resulting with the involvement of the police. The Bishop’s help was sought after to perform the right of Exorcism. Haggia, naked on self-shaking bed, laughing horribly, shouting insults and curses, tries to kill the Monk who at last manages to tie up the damned soul. He takes the crucifix, presses and pours into the mouth of the being resulting in the vomiting of a filthy and horrible liquid.’

A FILM YOU WILL NEVER FORGET

I swear to G*dard, these are the actual sleeve notes from an old VHS of EXORCIST III, in reality an Italian knock-off entitled UN URLO NELLE TENEBRE, and no relation to the real EXORCIST III made some years later by William Peter Blatty (which is rather good).

“Sounds great, honey, let’s rent THAT!”

So, if you don’t speak English real good and you have no idea how to write… why not get a job writing video blurbs?

Hysteria aside — this was a sad note for Richard Conte to end on. Aging actors, please be more careful! Remember the wise advice of John Carradine to his sons: “Never do anything you wouldn’t be caught dead doing.”