Archive for George Lucas

Cold Readings

Posted in FILM with tags , , , , , , on October 13, 2014 by dcairns

vlcsnap-2014-10-12-12h56m53s232

Another thing about THE HEIRESS — Montgomery Clift’s first lines, spoken before we see him, are delivered in a shockingly blue-collar fifties New York tone. Very mookish. particularly the words, “How ya do, Miss Sloper?” I wondered why. It could be that director William Wyler, being of Alsatian origins (in the sense of being from Alsace, not a son-of-a-bitch) wasn’t sensitive enough to nuances of accent and let the line slip by. But it may be that he thought, Clift is obviously going to stick out next to Olivia and Ralph and Miriam, better let the audience get over their discomfort as soon as possible — shock them into accepting it. Let’s make sure they notice it on Line 1, so they’re not wondering all through the scene, Is there something funny about his delivery? And his hair?

vlcsnap-2014-10-12-13h11m14s115

(Incidentally, this is the first time I saw the film and read Monty’s character as a fortune-hunter from the off, which he clearly is. On previous viewings, partly because I like Monty and partly because I’m dumb as Olivia, I always found him quite sincere — that uncertain smile! [Which really signals: Do you believe me so far?] Of course, I knew after the first time that he was after her loot, but I never could read it that way. This time at last I came to my senses, the scales fell from my eyes — he feeds her a line about always feeling he could say the right thing when he’s alone in his room, but in public the words desert him — which they clearly DON’T. It’s a classic fake psychic’s cold reading, a line that everyone can relate to and say is true of them, and it’s not even that cold because he’s had a chance to observe her and see how tongue-tied she is. Also, though, I do think Monty likes her a little, or at any rate doesn’t find her as unbearable as the guy who’s forced to dance with her earlier, whose eyes roll clean up into his head as if pumped full of helium after a few minutes of her conversation.)

The other great ludicrous first speech is Mark Hammill’s famous “But I was going into Tosche station to pick up some power converters,” in STAR WARS. Knowing the importance of setting up your “Hero With a Thousand Faces” right away, George Lucas worked hard to establish Luke Skywalker as a hysterical, adenoidal homosexual caricature with his very first line. The dialogue itself was not sufficiently evocative of these qualities, but dialogue was never Lucas’s strong suit. Finally, the correct effect was achieved by getting Hammill to loop the line while jumping blindfolded off a high diving board, his arms making little circular flailing movements as he plummeted helplessly towards the unheated water below. After the third take, it was perfect.

The Heiress [DVD]
The Heiress (Universal Cinema Classics)

Decisions, decisions

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , on November 17, 2013 by dcairns

Sternberg

“Directing a film,” said Buck Henry, “is like being pecked to death by ducks.” What he meant, if I dare parse the Great Man’s thought processes, is that the film director is beset from pre-dawn to magic hour and beyond with QUESTIONS, brought by actors, crew, executives (sometimes these are in the form of ORDERS, but directors prefer to see them as questions). What these questioners want from the director is DECISIONS. Film-making is decision-making. It’s more important to make a decision of some kind than it is to make a correct decision, which explains several entire careers.

Here are some decisions that could have gone another way.

1) Peter Mayhew, the tall hospital porter, was not originally cast as Chewbacca in STAR WARS. Kenny Baker was the first actor to play the part, because producer Gary Kurtz wanted to save money on fur. But in rehearsals,the diminutive Baker struggled to project the correct air of ursine authority. It didn’t seem likely that this four foot teddy bear could rip anybody’s arms out of their sockets. Even another teddy bear’s. It was too late to recruit fresh actors, so Lucas searched his cast for another suitable player, and immediately found the perfect man: Alec Guinness. But Guinness refused to play a role which would render him completely unrecognizable (“This frigging beard is bad enough,”) and replace all his dialogue with gargling grunts, so finally Mayhew got the role. He’d been finding the R2-D2 costume rather cramped anyway.

2) THE THIRD MAN was originally planned to take place on a sinking ship. “I was aiming for something akin to what Ronnie Neame eventually did with THE POSEIDON ADVENTURE,” said Carol Reed. “It was the perfect excuse for all those tilted camera angles.” When producer Alexander Korda insisted the film take place in Vienna, which is inland, to take advantage of some shares he had bought in a ferris wheel, Reed was initially despondent. But, by taking the metaphorical view that post-war Europe was itself a kind of sinking ship, he adapted his existing storyboard to the new locations without changing anything except metal walls for stone. He eventually admitted the change had been a positive one, and Cotten and Welles’ famous scene played better in the Volksprater than it would have in a dumb-waiter.

3) Much has been written about the colossal talent search to cast Scarlett O’Hara in GONE WITH THE WIND, but it is less generally known that an almost equally huge hunt was staged to cast the part of Mammy. Everyone had agreed that Hattie McDaniel was the only actress who could play the role, but McDaniel had just signed with RKO to play a crime-fighting cook in a series of B-pictures. Having failed to find another performer with McDaniel’s subtlety of expression, the unit turned to production designer William Cameron Menzies to solve their problem. Menzies drew up blueprints for a mechanical mammy. “I was aiming for something a little like what Rob Bottin would make in TOTAL RECALL,” said Menzies, implausibly referencing a film made thirty-three years after his death. “You know, the fat lady costume that Arnie Schwartzenegger wears to get through customs?”

“I was going to put little Billy Barty in a mechanical Mammy. The long skirts would eliminate the need for legs: he would cycle away in there and thus operate a concealed tricycle. There would be a series of buttons he could push to make the eyes roll. We had a problem with the arms: Billy, being used to short arms, would wave them about too much, which was potentially dangerous. One time, Thomas Mitchell nearly lost an eye. Finally, we had the arms worked on wires by puppeteers.”

In the end, film history records that McDaniels’ culinary detective series was mysteriously cancelled, leaving her free to play Mammy after all. But there are persistent rumours that Menzies’ racially stereotyped robot appears in some shots. It has even been suggested than McDaniel won the Oscar for a role actually played by a dwarf-propelled replicant. The relevant pages of the David O. Selznick papers have been sealed by court order until 2039.

repulsion-coming-out-of-the-wall

4) When Roman Polanski was preparing REPULSION, he very much wanted to get Catherine Deneuve for the role of Carol, the Belgian manicurist who goes mad. So he included the strange detail of the soft walls, knowing well that she was currently living in a house made of silly putty. Women love rearranging the furniture, don’t they? (I’m generalizing, of course — but all women do this.) Deneuve had worked it out so she could actually tear down entire walls and rebuild them in fresh, blobby shapes. It used to drive David Bailey mad.

Niggaz With Altitude

Posted in FILM with tags , , on December 31, 2012 by dcairns

vlcsnap-2012-12-23-12h44m15s237

RED TAILS… oh dear oh dear. I think fans ought to be glad the STAR WARS franchise is out of George Lucas’s hands — it’s been apparent for some time that practically anybody could make a better, more tonally consistent STAR WARS film than Lucas himself. Is Joel Schumacher available? What’s that you say, he IS?

This was supposedly a dream project of the producer, but he doesn’t seem to have invested anything in it besides money — the dogfights are lovingly rendered (there were reports of some VFX shots looking unsatisfactory on the big screen, but it all looked dazzling on my TV, and slightly easier to follow than the later STAR WARSES) but the human interactions seem to be striving to obtain the long sought-after quality of zero dimensionality.

And at some point late in the game, it seems like everybody gave up caring at all. The opening action sequence is disfigured by having chunky red credits stamped over the middle of the screen, destroying suspense and engagement — I guess the movie doesn’t have a quieter scene the titles could go over, and laying them on black would be too old-school, but do we need opening titles at all? STAR WARS only has the name of the film at the beginning, as I recall.

vlcsnap-2012-12-23-12h43m33s64

What puts the tin lid on it is the subtitles for the German characters, which are apparently intended for the hard of hearing, since we not only get the translation, but the helpful parenthesis “[in German]”. In case we were confused. I look forward to the next edit of STAR WARS where Greedo’s subtitles supply us with useful information about which precise alien tongue he is jabbering in. Actually, no I don’t, because Lucas isn’t likely to be rejigging STAR WARS any more. I *slightly* look forward to Disney one day making the original, authentic cut of the first STAR WARS available again, but we may have to wait a while for that.

Lucas is best out of it, and he’s to be applauded  for giving the money to charity. He leaves behind three interesting, decent movies (THX, GRAFFITI, STAR WARS), those nightmarish prequels, and this interestingly awful thing.

Follow

Get every new post delivered to your Inbox.

Join 613 other followers