Archive for Herbert Lom

The Costumier is Always Right

Posted in FILM with tags , , , , , on December 21, 2015 by dcairns

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Herbert Lom

Visiting Angels, the UK’s largest costume house, for the first time, I got entranced by their gallery of stills, many of them signed, showing movie and theatre stars of bygone days. I liked them particularly because they don’t seem to have been updated for aeons, and some luminaries still have pride of place despite having sunk to the status of subluminaries or even nonluminaries. Sinclair Hill, anyone? I may be unusual among visitors to Angels in that I was kind of thrilled to find a photo of the director of BRITANNIA OF BILLINGSGATE and the minor Jessie Matthews vehicle THE MAN FROM TORONTO.

Here are some better-known persons, some expressing their gratitude to Monty Berman, costumier-in-chief.

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Peter Cushing and Christopher Lee

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Edward Fox — father of our leading man, Freddie Fox

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Most of the costumes at Angels are on the racks, waiting to be used again, but two stand in pride of place: Indiana Jones, and this fellow. I would never have dared to touch its hem, but as I was taking a pic of a still of John Philip Law, I brushed against it, so now I can say I have done so.

I took lots of bad snaps, so if you want to see more (Hayley Mills! Hugh Williams!) just let me know.

 

Flashback Friday: The Reign in Spain

Posted in FILM, MUSIC with tags , , , , , , , , , , , , , , on June 12, 2015 by dcairns

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Continuing my trawl through past glories — I did an “Anthony Mann Week” some years back — Fiona complained bitterly that it was all too Mannly, but she did like WINCHESTER 73 a lot. In general, she’s had bad luck for these themed weeks, dropping in on films she couldn’t get along with (eg Losey’s BOOM!) and missing a few she would probably have loved (Mann’s A DANDY IN ASPIC, MAN OF THE WEST). She does like THE TALL TARGET, TWO O’CLOCK COURAGE (screwball noir!) and REIGN OF TERROR, but I haven’t ever gotten around to writing about the first two.

I never got around to EL CID, i think because I didn’t have a widescreen copy. It’s a film I’d glimpsed over the years in pan-and-scan abomination form, and like most widesecreen epics, it seemed dull on TV. That’s because the composition of the shots is the whole show — it’s very dynamic in its framing, and the storytelling obeys a visual logic of shape and movement and cutting that’s quite unreal, rather comic book, and wholly glorious. And it’s almost totally dead on a human level, despite having Sophia Loren, a magnificent actress when cast in something human. here she’s used more as a shape, like Chuckles Heston himself, an impressive piece of sculpture.

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Terry Jones said that in preparing LIFE OF BRIAN he looked at epics and they all seemed to have something that might be called “epic acting,” which he then impersonated by putting on a declamatory, Sam the American Eagle voice — pure Heston. And if that’s what the film is, Heston is your man. Co-star Douglas Wilmer told him he was “a great journeyman actor” and Heston got all offended and Wilmer smoother his eagle feathers by saying that “journeyman” wasn’t an insult and that Olivier was also a great journeyman. Heston was happy to be named in that company.

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He was called an “axiom of the cinema” too, but maybe he’s more of an axis — a sturdy compositional element around whom a shot can pivot. He’s like a pillar, but poseable. The strongest emotion he can project is STRAIN, strenuous seriousness or a dynamic tension of the emotions in which he’s simultaneously holding back and putting it all out there. Wyler got a great effect from him in THE BIG COUNTRY, by telling Carroll Baker to pull her wrists free from his great ham-hand which held her, and telling Cheston not to let go. Her wrists got red raw, and the agony of hurting a lady brought him to life — you saw the strain turn inwards and sort of ripple out across the veins in his head and the sinews in his arms.

For this kind of thing, if you’re going to make it and I’m not saying you should — he’s somehow perfect. An advance on the he-men of German epic cinema, the “bounding idiots” of DIE NIBELUNGEN and METROPOLIS. Chiseled beefcake with more visible bone than the bodybuilders of Italy, and a far more convincing ability to move about.

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Spain! Where the diopters are as plentiful as paella. For some reason, the Samuel Bronston sword-and-sandal sagas reach for the split-focus lens more than any other films. Though Nick Ray’s pair of bloaters deploy the effect self-consciously, daring you to notice that while the foreground and background are sharp, the midground is a blur, an effect impossible to achieve with the naked eye. Mann disguises the joins so well you often aren’t quite sure there’s hanky-panky afoot.

Mann’s epic phase saw him work with both stars of BEN-HUR, and feels quite reactive to that blockbuster. SPARTACUS, which he shot the opening scenes for before Kirk Douglas fired him, was also a response to BH, an attempt to show you could make that kind of thing on US soil without taking advantage of cheap labour and tax breaks on the continent. The Samuel Bronston films (this and FALL OF THE ROMAN EMPIRE) arose from the bizarre historical accident that the Hollywood studios were making a lot of money at the Spanish box office but were unable to take that money out of the country, so they had to invent films to shoot in Spain as an excuse to spend money. EMPIRE and 55 DAYS AT PEKING are surreal at times (especially the latter) because they have no sane reason to be Spanish films, and because they’re throwing money at scenes that don’t matter, with colossal overblown sets which dwarf the actors — in fact, “dwarf” is too weak a word. They ANT the actors.

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Here, at least the Spanish castles are real, so it’s only the dementedly huge crowd scenes that beggar belief, fancy dress extras staked out in the sun to bake, contributing nothing save slight distraction, swelling scenes already overstuffed with Herbert Lom or Frank Thring. Despite the authentic setting and the constant twirlings of Miklos Rosza’s score, the world of the film never feels remotely Spanish, because look at who’s in it. The Spanish are Americans and Italians and English and Scots. The Moors are Czech and English and Australian.

A good thing about EL CID is that although it’s all broadswords and bluster, it has bits that are western and bits that are noir, the two genres at which Mann excelled (I’ve never see his two musicals. Anyone?) When a patrol of Spaniards is ambushed by dusky (painted) archers, we’re a stone’s throw from THE LAST FRONTIER. The early part of the story where Sophia is betrothed to Charlton and wants him dead is good doom-laden romance. The wedding night is a symphony of expressionist angst — alone at the dinner table, Heston paces like Garbo memorizing her room in QUEEN CHRISTINA, only clutching frustratedly at every phallic object in reach except himself.

Mann said that the ending of the film was his sole reason for doing it, that with an ending like that you could get away with almost anything. He’s sort of right — but even he, using the highly stylised approach he’s established, and a leading man whose natural destiny might seem to be as a carry-on prop, can’t entirely stifle the giggles as Heston is mounted on his horse, dead, a wooden framework holding him in position like a fake house in a western street. It’s too hideously apt as a piece of satire.

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“Please tell me this was a colossal flop,” groaned Fiona, wearied by the length and annoyed by Sophia’s headgear. Afraid not: the world has bad taste. But I dug it on a shot-by-shot basis.

Those Daring Young Loms on the Flying Trapeze

Posted in FILM with tags , , , , , , , on April 6, 2015 by dcairns

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I started watching the above British thriller, in which Herbert Lom plays identical twin circus acrobats, and then The Chiseler came banging at my door demanding articles, so I wrote something about the first five minutes of it. Here.

Then I turned to THE DARK TOWER, an earlier Lom vehicle, also set in the world of the circus, with Herbert playing a hypnotist — only one of him this time — prefiguring his famous turn as a hypno-shrink in THE SEVENTH VEIL. Both these earlier vehicles are, to a large extent, cheap rubbish, padded out with circus acts and inexpensive bit players. THE DARK TOWER has a young David Farrar, and a thoroughly unlikable shit he plays, too. The interesting thing about this one — where Lom turns up as a tramp, just as he does at the start of DUAL ALIBI — is that nobody’s very appealing. Lom, the hated outsider, is actually more sympathetic than his resentful fellow circus artistes, even when he decides to use his powers of mesmerism to try to kill Farrar. Do it!

After a play by George S. Kaufman & Alexander Woolcott — long, long after, I suspect. Though I would like to be able to credit them with naming a minor character “Dora Shogun.”