Archive for Full Metal Jacket

Kubrick Boxes

Posted in FILM with tags , , , , , , , , , , , , , , on April 23, 2019 by dcairns

Mr. George Swine!

When I first handled Michel Ciment’s magisterial Stanley Kubrick, my friend Robert pointed out something unusual about the pictures, which were glossy and coffee-table-suited, but also — “He’s making connections.” I’m not sure a movie book had done that, previously.

(Obviously, I should have connected the fights in THE DAY OF THE FIGHT [where SK proves it’s not a proper documentary by filming the big match flat on his back at the pugilists’ feet], KILLER’S KISS and BARRY LYNDON, and Tom Cruise’s street-crazy palm-punching in EYES WIDE SHUT with Nicholson’s rather more compelling version in THE SHINING, the vehicular love scenes in STRANGELOVE and 2001, etc, etc…)

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Alpha-Omega

Posted in FILM with tags , , , , , , , , , , , , , , on April 2, 2019 by dcairns

The opening and closing shot of every Kubrick feature film.

Observations:

Some of these films seem to be talking to each other.

KILLER’S KISS, which in Kubrick’s own revised filmography stands as his first feature (he suppressed FEAR AND DESIRE, top) is the only film ending with anything so conventional as a clinch, but way down at the end EYES WIDE SHUT ends with Nicole’s four-letter suggestion, thus closing a circle of a kind.

The forested hillsides of FEAR AND DESIRE seem to echo those of THE SHINING but if you’re looking at what the shot’s DOING, the real rhyme is between DR. STRANGELOVE and THE SHINING.

STRANGELOVE to CLOCKWORK ORANGE is the sequence I really stand by.

It’s sometimes hard to know what IS the last shot. BARRY LYNDON earns two images, the last live image and the Epilogue card which is clearly part of the film and makes a nice connection with LOLITA and THE SHINING. Likewise LOLITA gets the last shot of Mason, which loops back to the first scene (Peter Sellers is about to emerge and say “I’m Spartacus” just as we hastily fade out), and its final super-title. THE SHINING’s closing shot I’ve represented with two images because it’s a rostrum move.

SPARTACUS is an outlier — I chose to use the first shot of Saul Bass’s title sequence, because the first shot of the film proper, I believe, is by Anthony Mann before he was fired. And the hand makes a nice rhyme with LOLITA…

The Easter Fools’ Day Intertitle: Lon Chaney Big

Posted in FILM, MUSIC, Mythology with tags , , , , , , , , , , , on April 1, 2018 by dcairns

Yeah, sometimes the calendar makes the satirist’s job too easy.

Fiona has announced that we need to see READY PLAYER ONE today — something about it being a kids’ film with geeky references for the over-forties (or over-fifties in our case) — so it looks like we’re doing that. Sadly we missed THE POST which was the proper grown-up Spielberg film for this year — we did manage to make it to Filmhouse for a screening but sadly five hundred other grown-ups had the same idea first. So I feel we may be seeing THE WRONG FILM. I also want to see ISLE OF DOGS but, to quote Peter Falk, “You’re sick, I’ll YUMA ya.”

Our intertitle is from my favourite film of all time — it’s THE BEST FILM THERE IS, folks — HE WHO GETS SLAPPED — because the date seems to demand a martyred clown picture. And Lon Chaney was recently enjoyed in Bo’ness. He’s quite something on the big screen. I still dream of Jane Gardner getting to score this one. That would be REALLY something.

A friend, who was experiencing Chaney for the first time in THE PENALTY, thought he had a Jack Nicholson quality. He certainly does the lowered-chin malevolent glower, known as the Crazy Kubrick Stare, to perfection. It’s like the Lauren Bacall Look, but with added menace. Though I doubt Chaney, like Bacall, was doing it to steady himself against a nervous tremor. And Kubrick is known to have used the line, when directing Vincent Donofrio in FULL METAL JACKET, “Make it big. Lon Chaney big.”