Archive for Henri-Georges Clouzot

An Odyssey in Bits: The Fantasy Department

Posted in Dance, Fashion, FILM, MUSIC, Science with tags , , , , , , , , , , , , , , , , , , , , , on January 23, 2019 by dcairns

A spacecraft floats/falls through frame and at the exact moment we realise were going to lose it from view, the big blue balloon of Planet World drifts into view to replace it.

A series of different satellites and vehicles are picked up, as Johann Strauss’s The Blue Danube begins, not without controversy, to play. Here’s Quincy Jones:

“But you can’t get too cute with that sort of thing. I was really bugged by the over use of Strauss waltzes in 2001. That would have been OK as a one-liner, but it bugged me when it developed into the main theme. I knew that Frank Cordell had written Mahler variations for a year and a half for that picture, and they threw it all out. Then Alex North came in and wrote about six reels, and everything he did was thrown out too. I’m sure that between them, those two composers came up with something a lot hipper and a lot more appropriate for a picture that important than what we finally saw. Kubrick had already made that kind of musical point in Dr. Strangelove with “Try a Little Tenderness.” I personally think 2001 is too important a film for this kind of cute musical self-indulgence.” 

Leaving aside the inaccuracies — there’s only one Strauss waltz in the movie and it isn’t the main theme, except of the two sequences it’s used for — does Jones have a point? I doubt anybody today has a problem with the use of library music here. Jones seems concerned that it’s too cheap-sounding for an “important” film.Kubrick’s treatment of his two composers was awful: Cordell was put to work with practically no instructions, whereas North only found out his score had been cast aside in favour of the temp track when he attended the premiere. Imagine sitting there and hearing Also Sprach coming up instead of your close-but-no-cigar title theme. And then thinking, “Oh well, he’ll have used the rest of it.” And then along comes Ligeti. And then The Blue fucking Danube. And on and on until, only after three hours can you be sure that your entire score has been binned. Ouch.

However, I think Kubrick was correct to prefer the Strauss and quite right to say those who had a problem with it were being affected by the associations the piece had for them: ball gowns and tuxedos and waltzing. Whereas he was merely trying to evoke “grace in turning,” which is what the music seems to do. Certainly putting it up over shots of the actual Danube, as Duvivier does in THE GREAT WALTZ, isn’t nearly so effective. Did Jones also object to Clouzot’s use of it in THE WAGES OF FEAR, where it partly accompanies a dance, and partly a truck lumbering homewards?The first spacecraft we see are a bit 2D: they move like photographic cut-outs. But then the big wheel space station hoves into shot and its rotary motion, and the shadows cast over itself by its spokes and ring give it a majestic sense of solidity.

The Pan American spaceliner reminds us that corporations will always let us down: like the neon Atari ads in BLADE RUNNER, they date the thing, although modern audiences probably haven’t even heard of PanAm so they won’t care. The bestest shot in the whole space ballet is when we, out of nothing more than sheer joie de vivre, we fly BETWEEN the rings of the space station. It’s not any of the five normally accepted motivations for camera movement, it’s just WHEE! And maybe making the camera behave like a spaceship. It never flies into position and stops in this sequence. Sometimes it observes from a sort of geostationary point, sometimes it sails past or towards or around the action. It’s a proper zero-gravity camera.This docking bay is VERY Death Star, isn’t it? About the only design trait Lucas’s film shares with Kubrick’s. Love the little windows, all showing, Escher-fashion, different gravities (because the station creates gravity by centrifugal force, and the docking bay is in the hub, gravity is pulling outwards in all directions.

Meet Dr. Heywood Floyd! He’s asleep at the moment but you might as well meet him now as he doesn’t get much more interesting when he’s awake. “I like to work with the best actors in the world,” Kubrick told Michel Ciment, so naturally he got the guy from GORGO and DEVIL DOLL. An American who happened to be a UK resident. But I’m OK with him. W.S. always seems both matter-of-fact and chummy, which suits the character of a space spook, a government guy and scientist. One of the bureaucrats ultimately responsible for HAL’s nervous breakdown, though the movie doesn’t make that clear.The floating pen is such a neat effect: it’s stuck to a big rotating pane of glass in front of the camera, and the stewardess gives it a very slight twist to detach it.

I don’t so much dig how the lines of seats are sunken either side of the central aisle, like a slave galley. Makes me fear that stewardess Edwina Carroll Heather Downham might step on his drifting hand with her grip shoe. Or trip over him and go literally flying.

But I guess the seats being in trenches is an excuse for the low angle showing off the grip shoes.Edwina Heather is very attractive: a flashback to those days when all airline stewardesses were young and pretty, to distract the anxious hetero male passenger, via her pulchritude, from his fear of a fiery death. As one lot of pretty girls retired to get married, the airline could replace them with new, younger models. No more.

TV screens. In-flight movies, shot specially for this movie, and computer read-outs, all running on 16mm. Here’s an extract from John Baxter’s Kubrick bio ~

‘He called me and Ivor Powell into his office one day on 2001,” recalls Andrew Birkin. “He had all these international model directories, and he’d gone through them, marking up all these girls.’

“‘We could get them in,’ he said, ‘for an audition.’

Birkin and Powell looked blank. ‘For what?’

‘We could always say we have to shoot one of those 16mm docking sequences,’ Kubrick mused. (The films of sports and news that appeared on TV screens in the PanAm shuttle sequences were all back-projected 16mm.)

‘But it was all a fantasy,’ Birkin says, ‘He never did it. He also had an obsession about meeting Julie Christie. He was always trying to work out some sort of scheme whereby he could audition her. I knew her a little, and I said, “I’m sure she’d come up if you just called her.” But he didn’t want to do that. It all had to go through the Fantasy Department.’

That’s kind of sweet, or as sweet as casting couch ambitions can be said to get. We could guess from EYES WIDE SHUT that fantasies of adultery were a part of Stanley’s very successful second marriage.The auditions for CLOCKWORK ORANGE don’t sound so sweet.

 

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Posted in FILM with tags , , , , , , , , , on December 5, 2018 by dcairns

An actual blog entry for the blogathon — Peter Nellhaus looks at a Shadowplay favourite over at the always stimulating Coffee, Coffee and More Coffee — H.G. Clouzot’s perverse and haunting last feature, LA PRISONNIERE.

In addition to that welcome news, we’re happy to bring you an older post by Mimic Hootings, commemorating AN INNOCENT WITCH, the last a late film of Gosho Heinosuke, here. It fits right in, so who cares if it’s five years old? Sink into an atmospheric bit of film writing!

And finally (for now), here’s the first contribution from Limerwrecks, celebrating in song the demise of the Universal MUMMY series with THE MUMMY’S CURSE. And again here and here and here Finally, he rests! Or does he?

Vlad to the Bone

Posted in FILM, literature, Mythology with tags , , , , , , , , , , , , , , , , , , on February 5, 2018 by dcairns

Welcome back to Watch Bram Stoker’s Dracula with director Francis Coppola, in which Fiona and I watch BRAM STOKER’S DRACULA with director Francis Coppola.

We were talking about the intimations of homosexuality in the novel, and how the movies occasionally make this apparent. And, interestingly, the first line of the IMDb’s short plot synopsis reads “The centuries old vampire Count Dracula comes to England to seduce his barrister Jonathan” while the second line continues, “Harker’s fiancée Mina Murray and inflict havoc in the foreign land.” There it is — the flash of gay ankle followed by the chaste covering-up.

Now, let’s all don our pink shirts and join Uncle Francis.

I think a positive thing is that we told it as a love story. 

Coppola credits screenwriter James V. Hart (PAN) for “finding” the love story and “weaving it in,” and “finding” is in fact a very good word here as he’s swiped the reincarnation idea from Karloff’s THE MUMMY. But Coppola is talking about the story of Vlad Tepes’ love who killed herself.

I liked Sadie Frost, she was a very nice girl and appealing and pretty and sexy. I was sort of surprised […] we haven’t seen much of her.

We see quite a lot of her here. Including a huge close-up that doesn’t do her neck-wound make-up any favours, followed by a dissolve through the puncture marks to a wolf’s glowing eyes, which must be the worst transition ever (beating the cut to Jeff Goldblum yawning in THE LOST WORLD: JURASSIC PARK by a lupine whisker). Van Helsing himself, Antony Hopkins, once cautioned against attempting humour in a segue (in SILENCE OF THE LAMBS) but I think he’s wrong. What one shouldn’t do is attempt a completely ludicrous segue without any trace of humour.

Rarely is a movie shot 100% in the sound stage and I think this is.

Well you ought to know. (Later, Unc Fran will admit that it wasn’t.)

Clearly Lucy is being affected by her encounter with Dracula and has been affected in a way and infected I should say because she has the metaphoric blood of a vampire in her, which means that she too will be a vampire.

And by “metaphoric blood,” I suppose we mean cum.

Here was a scene in which we tried, Roman and I were very pleased to do this, tried to portray an early nickelodeon and on the screen are some very early motion pictures

And we get TRAIN APPROACHING A STATION — sometimes called the first horror film due to the consternation it inspired in audiences — appearing in synch with Oldman. Only it seems to be being projected in negative — which connects it to the literal Phantom Ride in Murnau’s NOSFERATU (for which Murnau must have had Graf Orlok’s black carriage painted white, and the black horses replaced with white ones).

The supposedly early porn doesn’t convince — wrong body types — and the assumption that such films were screened openly, with ladies present, rather than at secretive “smokers” shows how the movie really doesn’t get Victorian England. Looking more closely, there’s a suggestion that the porn is showing in a back room, curtained off, but it’s a mere dolly-ride away for Mina and the Count. In principle it could be a nice metaphor for him taking her to the dark side (of the cinema).

This shot, of Dracula literally sweeping her off her feet of course was a mechanical effect, he takes her and then they’re on a little trolley that is pulled. It was interesting, when I did this shot with her, just to show the kind of kid that Winona was, she looked at me, I mean she was a little too smart for her own good in a way, as a kid. She said, “Well, I’ve already done this shot once,” ’cause this was a tricky set-up, they had to step onto this moving thing, I said “Oh really?” she said “Oh yes, I did it with Tim Burton.” But I have always felt that Winona had a deeper well of talent than she was willing to dip into.

Nice back-handed comment, and strange segue. Coppola is apparently still smarting from the suggestion that Burton had anticipated him in any way. It’s clear that she was a touch resistant to his direction, including that one time he yelled “YOU WHORE!” at her to help her get into character. I have to assume that, since she got him the job in the first place when his career was pretty ice cold, it wasn’t that she didn’t want to be directed by Francis Ford Coppola, she just didn’t want to be directed LIKE THIS by THIS Francis Ford Coppola.

I want to give Uncle Francis credit where it’s due (family loyalty) but I’m on Winona Ryder’s side here.

Don’t ever try this with a wolf, by the way. This is not something that you wanna do. Again, it’s used to show Dracula’s seduction of Mina, the sensuality that lay under the skin of the vampire legend, it’s so confused with sex and romance and love and death, the two sometimes are difficult to separate.

“Well, that’s not two things, Uncle Francis, that’s a whole long list of things,” objects Fiona. She’s right, I counted them, that was definitely either four or six things.

LOVELY transition!

Now we introduce essentially a new character, Doctor Van Helsing.

Yep, definitely new. Though he did narrate the captain’s log montage earlier.

One of the good things about James V. Hart’s script (and there ARE good things) is that the writer is aware of lots of different resonances the vampire myth has, and has researched the period enough to find things that connect with the Victorians and also with those of us watching in 1992. In Van Helsing’s lecture we get stuff about the spread of syphilis which we can easily connect to vampirism and thus to AIDS. The bad thing about this is that he just sticks it in, in the form of a lecture. It’s inelegant, but I’m still kind of glad it’s there.

Cut to Keanu Reeves looking thoroughly drained.

“Shagged out… after a long squawk,” says Fiona. And then: “You don’t have to be naked to drain somebody’s blood,” she says, referring to the naked, smoochy Bellucci girls.

“But it helps,” I suggest.

Watching this with the commentary, sometimes you’re mainly focussing on what Uncle Francis is saying, sometimes on the pictures, and it feels like when you miss bits of plot it’s because the movie really isn’t interested in those things. For instance, somehow Keanu is going to escape from Castle Sitting Down Dracula. But I have no memory of how he does it. Doesn’t he sort of jump out a window and then land back in England?

Hopkins turns up in a shot which seems to be nodding towards THE EXORCIST, which may be a bit on the nose, but so’s everything in this film. Apart from Sadie Frost, who’s bit on the neck. Coppola explains that his big idea was that anyone who’s devoted his life to the study of vampires must be a bit crazy, so he instructed Hopkins to play it that way. “Whadda LOON!” Coppola guffawed on the set after one particularly fruity take.

I think Coppola’s logic is sound, but that this is still not a good way to play Van Helsing. I think Edward Van Sloan’s method was fine. Peter Cushing’s was brilliant. Jack MacGowran, playing a variant on the character for Polanski, was just fine in context. The character seems a great way to explore, consciously or not, the unpleasantness of being in thrall to medical professionals, and there’s a touch of that here. But it’s dissolved in a welter of ham theatrics.

Coppola credits the big window Gary Oldman shows up at to THE BITTER TEA OF GENERAL YEN. I like how he’s basically providing the whole filmography of influences for us. It’s a good reference, since the dream sequence in Capra’s film also seems to refer to the idea of the vampire seducer from the East. It is quite a 1930s-esque window, though, but they get away with it.

We brought in a singer, a vocalist, named Diamanda Galas to provide some very orgiastic and other feminine sounds of intensity to help us with this sequence.

“She’s only a child!” exclaims Van Helsing, which might not be my first reaction to a tits-out Sadie Frost, but we’re all different, which is one of the themes of this film anyway. He prescribes an immediate transfusion, which is of course risky as doctors at the time hadn’t figured out blood groups. He gets every male in the neighbourhood to transfuse into Sadie and miraculously they’re all the same type (Type O). Sadie’s type. (In fairness: I think that’s the way it is in the book. Coppola once shows the Dread Pirate Roberts donating, albeit without a blood test. But I’m assuming Withnail and the Rocketeer also get in on the act. The more the merrier.)

Interestingly, blood transfusion, another example of modern technology at the time, and we did it as authentically as we knew how, we tried to find out how did they do transfusions, and we did it the way they did, however, shows what a pansy director I am, it wasn’t really a transfusion, it was just a movie scene, however, the great director Clouzot, in one of his movies actually had the character get a blood transfusion and the actor showed up and they began to shoot the scene and he had brought a doctor and they did a real blood transfusion while they were shooting, and so I realise I’m not as I like to think I am, and Damn, why didn’t I have it be a real transfusion? and Clouzot was Clouzot and I don’t think I would have gotten away with it.

“He would have liked to, though,” suggests Fiona.

Clouzot transfused Bernard Blier in QUAI DES ORFEVRES, and did it again to Brigitte Bardot in LA VERITÉ, or at least he certainly had the needle in her arm. And, having gone that far, I think we all know he would have kept going.

Bad nipple continuity here: Sadie’s bosom has a strange now-you-see-me-now-you-don’t approach. The trick with getting away with continuity errors is to calculate where the audience is looking. Hard to see how anybody could miscalculate the centre of attention when Sadie is writhing about in what I believe is known as deshabille.

Coppola starts to tell us about Byron and Shelley and the Villa Deodata set in his own unique manner ~

Now these people in those days were sort of like the equivalent of, you know, Snoop Doggy Dog. They were the hip people of the day, as when I was young it would have been Jack Nicholson and Michelle Pfeiffer and what have you, going off to Switzerland.

BWAHAHAHA I just can’t