Archive for GK Chesterton

SUDDEN BIG FONT

Posted in FILM, Television with tags , , , , , , , , on November 1, 2017 by dcairns

The only really alarming thing for us in Mindhunter, David Fincher’s new FBI/serial killer series, were the SUDDEN BIG FONT moments where the show would abruptly scream at you about where the current sequence was set. Given that the show is otherwise so cool and clinical, this hysteria seemed slightly misplaced, though I guess it did help stamp a visual identity on a show that was otherwise pretty simple and understated in its visual approach. (We don’t see murders, or even fresh crime scenes — just crime scene pics, and lots and lots of unpleasant graphic talk — and I contest the show would have been even more effective without the photos, whose nasty content is always described anyway.) And I guess it’s good they didn’t repeat the typewriter font from SILENCE OF THE LAMBS that got transposed directly into The X-Files. But if everything remains calm and collected as a hulking murderer discusses how to have sex with a severed head, why should we be so excited to learn that the next bit of procedural is going to occur in, say, Denton, Ohio?

THE REPTILE, curiously enough, a Hammer film from John Gilling played on the same sets as his PLAGUE OF THE ZOMBIES, begins with a pre-credits teaser and then a giant yellow title is suddenly slapped into our astonished faces by a direct cut. Again, this was the only scary bit in the film. A bit like GK Cheserton’s demi-god/new messiah in his short story How I Found the Superman, the monster is killed at the end when somebody lets a draught in. Considering the house is on fire at the time, such a slight breeze proving fatal suggests a monster of unusually delicate constitution.

Still, good to see Michael Ripper get such a prominent role and even get to deliver the death-blow/window opening. And very nice physical work from Jacqueline Pearce, who should have become a massive star, as the scaly lady.

Advertisements

More Things That Aren’t Films

Posted in FILM, literature, Television with tags , , , , , , , , , , , on September 21, 2012 by dcairns

Breaking Bad continues good. Rounding out season 3 now, slowly catching up — but an episode a night is cutting into my movie-watching. There’s a magnificent episode directed by Rian Johnson of BRICK and LOOPER fame, a tour-de-force set almost entirely in one room, taking the very old idea of an attempt at killing a single housefly that escalates out of all proportion — superb writing, direction and playing transcend the basic premise and generate spine-jangling tension.

The most gifted of the regular directors involved is Michelle McLaren, late of The X Files, who manages to serve up at least one stunningly eloquent set-up per ep. Check this framing out — the couple, their estrangement, and the space between them occupied both by the bag of ill-gotten gains and the exit from the family home, spells D-I-V-O-R-C-E without a word needing to be spoken. Of course there are words, and they deepen and elaborate the emotions…

***

Dipping into G.K. Chesterton again. I like his absurdity and surreal menace, never quite dispelled by the rational endings, as Gilbert Adair notes in his intro to The Club of Queer Trades. He also praises Chesterton’s ability, or compulsion, to romanticize everyday London. Chesterton’s essay on detective fiction includes the following example straight off the bat ~

Men lived among might mountains and eternal forests for ages before they realized they were poetical; it may reasonably be inferred that some of our descendants may see the chimney-pots as rich a purple as the mountain peaks, and find the lampposts as old and natural as the trees.

Chesterton already does this: he’s speaking of himself when he imagines such descendants. Although his philosophy, which he shoehorns in crassly whenever he can manage it, is frequently little more than a defense of prejudice, he gussies it up nicely in melodrama and fancy ~

‘In God’s name, look at his face,’ cried out Basil in a voice that startled the driver. ‘Look at the eyebrows. They mean that infernal pride which made Satan so proud that he sneered even at heaven when he was one of the first angels in it. Look at his moustaches, they are so grown as to insult humanity. In the name of the sacred heavens, look at his hair. In the name of God and the stars, look at his hat.’

Also, Chesterton begins The Napoleon of Notting Hill with ~

The human race, to which so many of my readers belong —

I like that so much I’m not sure I want to go on reading it, it’s too perfect on its own.

***

As an adjunct of sorts to my protracted and oft-interrupted reading of Ulysses, which currently looks designed to last the rest of my life, I delved into Dead as Doornails, a memoir by Anthony Cronin on the writers he knew in Dublin. Of particular interest is the first real celebration of Bloomsday, June the 16th, the day detailed in Joyce’s book. Cronin took part in a tour retracing Leopold Bloom’s steps, on the fiftieth anniversary of the original date, along with Flann O’Brien (Brian O’Nolan), Patrick Kavanaugh and others. The whole thing nearly degenerated into violence at once, with O’Brien and Kavanaugh trying to kick each other off a steep hillside, but turned into something “that would have pleased Joyce”  ~

June 16th, 1954 was not only the fiftieth anniversary of the day Joyce had picked on as the day of his great fiction, but it was also one of the comparatively rare occasions when the date coincides with the Thursday of the Ascot Week and the running of the Ascot Gold Cup, as it does in the book. Naturally, with Kavanaugh, Con Leventhal — also a racing man — and myself in the party, some attention was given to this. Our progress, what with stops at pubs and places of interest such as Sandymount Strand, was so slow that the race was actually run while we were still in transit, in fact while we were still traversing the route of the funeral; and, at the insistence of the racing men, we stopped at a bookmaker’s in Irishtown to have a bet and hear the broadcast. There was a very strong French favourite, owned by M. Marcel Boussac, reputedly a great stayer. As is often thought advisable, in the Gold Cup, the stayer had a running mate who was meant to act as a pace-maker and ensure a good gallop for him, so that the stamina limitations of the other horses in the race would be exposed. The pace-maker’s name was Elpenor and he proceeded to make the running to such effect that not even his own stable-companion, who was supposed to win, could catch him, and he perforce went on to win the race himself at fifty to one, a record price for a Gold Cup winner in this century, though Throwaway in the book starts at forty to one.

Now Elpenor is a character in the Odyssey. He is a companion of Ulysses who falls off a height during some fighting, as some of our party had so nearly done, cracks his skull and dies. Although Ulysses remarks that it didn’t much matter, ‘since he wasn’t much of a fighting man, nor ever very strong in the head,’ he nevertheless goes down into the underworld after him to see what he can do. This descent is paralleled in the book by the scene in Glasnevin cemetery for in Joyce’s Ulysses, Elpenor is represented by the deceased Paddy Dignam; and it was the route of Paddy Dignam’s funeral that we were following; indeed the whole idea of a commemoration which would involve horse-cabs grew out of the Dignam funeral sequence.

Unfortunately, Cronin only noticed this remarkable coincidence when it was too late to place a bet, provoking his companions to fury when he told them of it. They could have made a fortune.

What made the result the more remarkable was that Joyce always believed his book to have strange prophetic powers of which he himself only became aware after the event.

***

I also read Get Real, the last of Donald Westlake’s Dortmunder books. I was afraid it might be a melancholy affair, but Westlake keeps it funny. He may have had some intimation that he wouldn’t be writing any more books, though: and this itself becomes occasion for some sly wit, when Dortmunder speculates that at last his luck may be beginning to change. Without Westlake to arrange the stumbling blocks that litter Dortmunder’s destiny, I guess he’s right.

Pictures in the Fire

Posted in FILM with tags , , , , on January 8, 2011 by dcairns

Mr Pond nodded; he seemed to be suddenly smitten with a fit of abstraction. At last he said: “I sometimes wonder whether things weren’t better when pictures meant the pictures in the fire, instead of the pictures on the film.”

Sir Hubert Wotton gruffly suggested, in a general way, the dingy fire in a Third-Class Waiting Room was not one in which he would prefer to look for pictures.

“The fire pictures, like the cloud pictures, went on Mr Pond, “are just incomplete enough to call out the imagination to complete them. Besides,” he added, cheerfully poking the fire, “you can stick a poker into the coals and break them up into another picture, whereas, if you push a great pole through the screen because you don’t like the face of a film star, there is all sorts of trouble.”

I picked up GK Chesterton’s The Paradoxes of Mr Pond second-hand, tempted by some very nice opening paragraphs. It’s more of the same: short stories of impossible crimes and paradoxes solved by a beatific eccentric. There’s a little less Christian propaganda than in the Father Brown stories, but you can rely on the criminal to turn out to be an atheist or a Jew, if one has been established. It’s for this reason that I prefer John Dickson Carr, who also provides colourful 1930s language (even in those books written in the 60s). Carr never propagandizes for anything except strong drink.

I was nearly finished the book when I hit the only really offensive story, which begins with a character deploring the mistreatment of the Jews in Europe (this was 1936). This character, unfortunately, is Wootton, the blustering bureaucrat who is always wrong, and he’s swiftly mocked by the comedy Irishman who makes some humorous remarks about kicking Jews, and then Pond tells a crime story in which the Jew turns out to be the bad guy. Had this been the first story in the book, I would have read no further. In fairness to Chesterton, he did write Eugenics and Other Evils, but that doesn’t let him off the hook.

Image from Julien Duvivier’s LYDIA.