Archive for Fedor Ozep

Sniff

Posted in FILM with tags , , , , , , on March 11, 2013 by dcairns

amokperfume

I got nuthin’! Well, not quite nuthin’. I got a cold. Which tends to make me nostalgic for my sense of smell, so is that why I’m featuring a vintage perfume ad?

Not quite. I was googling the keywords “amok” and “1933”, just to see what the poster for Fedor Ozep’s Pathe-Natan release AMOK looked like, and I came across this ad for a fragrance by Bourjois. A movie tie-in, or just a cash-in? I suspect the former, the perfumier being a bit too high-class for unauthorized bandwagon-jumping. But the movie’s orientalist aesthetic, plus the coincidence or name, place and year, certainly convince me there’s a deliberate connection.

Amok_1934

BLACK NARCISSUS springs to mind, but that’s a movie based on a book named after a perfume. For the opposite route, one really needs to consider Alain Delon’s personal scent, Samourai

Or there’s always THIS —

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Amok Time

Posted in FILM with tags , , , , , , on March 23, 2012 by dcairns

Couldn’t resist posting another clip from Fedor Ozep’s AMOK. You can read the article and see the other clip here.

This one features the insane ethnic musical number — opening crane shot swooping from on high into a single, probably indirectly inspired by INTOLERANCE, which the Hollywood musical had not yet turned into a mannerism. It also features the bold intercutting of Inkijinsky the Amok’s death throes with the arrival of the second Inkijinoff, devoted manservant, with his mysterious veiled mistress. It’s like the death of Amok Inki somehow summons the second incarnation.

And throughout the film, whenever raddled hero Jean Yonnel looks at the second Inki, it’s like he’s thinking “Where have I seen you before?”

Of course, this is another great setpiece for Karol Rathaus’ world music score, too.

Actually, this scene partakes of the horror movie, jungle exoticism, and the musical, all at once, and you realize that exoticism is never far from horror and the musical anyways. But the only other sequence I can think of that mixes all three is Maria Montez’s sacrificial dance in COBRA WOMAN.

Admittedly, the effect is quite different in that one.

Java Head

Posted in FILM with tags , , , , , , , on March 22, 2012 by dcairns

Two films by Fedor Ozep form the basis of this week’s edition of The Forgotten, continuing our trawl through the back catalogue of Pathe-Natan. Ozep is my new obsession — careful with the video clips I’ve embedded in the piece, together they may make up more than your allotted daily allowance of cinematic genius — exceed the stated does and you could throw a mental flywheel.

AMOK, from which the above image derives, was subsequently remade in Mexico, and formed the subject of this piece by co-Shadowplayer David Melville, which inaugurated his alphabet of Cine Dorado Mexican melodramas. And THE BROTHERS KARAMAZOV — well, when I mentioned the film to my mother, she didn’t say “Dostoevsky?”, she immediately said “Yul Brynner?”