Archive for Howard Hawks

Bad End

Posted in FILM with tags , , , , , , , , , , , , , on February 13, 2015 by dcairns

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Ahah! The Forgotten is postponed to next week, it seems, due to the extensive Berlin coverage at The Notebook. Meanwhile…

Finally watched EL DORADO, which a lot of people portray as being a thoroughly inferior copy of Howard Hawks’ earlier Wayne western, RIO BRAVO (they share a writer, Leigh Brackett, but she kept warning Hawks that he was repeating himself — he didn’t care). I found it very enjoyable. Wayne is Wayne, a little older (visibly struggling to mount his horse, but bizarrely elegant crossing a room and kicking an opponent); Mitchum is Mitchum, which ought to make him a worthy substitute for Dean Martin, but the role is less well-crafted; James Caan is a huge improvement on Ricky Nelson. Arthur Hunnicutt subs for Walter Brennan, as he often did, most skillfully. Angie Dickinson is replaced by a couple of women characters who don’t get much to do — westerns didn’t seem to allow Hawks to push his heroines as far into one-of-the-boys territory as he could manage in other genres, although I bet h could have had fun with a JOHNNY GUITAR scenario if anyone had encouraged him. A LOT of fun.

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“How will you get down?” Wayne is asked, when the injured gunfighter proposes riding into battle against impossible odds on a cart. “That’s easy, I’ll fall down.”

We also get strong support from Ed Asner, R.G. Armstrong and Christopher George, who could have had a very good career if confined to bad guys. He’s really not appealing as a hero, though it probably doesn’t help that the two leading man roles I’ve seen him in are THE DELTA FACTOR, a horrible Mickey Spillane thing that nearly did for director Tay Garnett, and CITY OF THE LIVING DEAD. Here, he’s an amoral professional, not viciously evil but willing to do anything for a buck: Wayne’s character treats him with wary respect (which is to say he kills him as soon as he gets a chance).

The very end is somewhat muffed, though, with the expected romance shoved offscreen and the laid-back conversational coda between Wayne and Mitchum ineffectually stretched across two scenes. They’re both nice scenes, but they’re kind of the same. Makes me wonder if Hawks were ever good at endings? He didn’t care about PLOT, famously. I slightly cringe at HIS GIRL FRIDAY’s fade-out (don’t want it to end on Rosalind Russell crying) though I love the rest of it as much as you’re supposed to, maybe more; RED RIVER, by the very nature of its story, has to cop out at the end to avoid becoming a tragedy; I can’t actually remember the ending of THE BIG SLEEP, though I expect it’s a clinch or at least a sly look between the leads — as Manny Farber points out, that movie creates so much goodwill in its first four sequences that it can coast along for the rest of its runtime without worrying about producing anything specially memorable.

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So, a question for everyone: what are the classic movies you love which don’t quite work right at the end? And not for reasons of studio interference, but because the writers/directors got it wrong. I’ll kick things off with this one and MR SMITH GOES TO WASHINGTON. When it played on TV, its screenwriter, Sidney Buchman, would switch it off before the failed suicide bid Capra added for extra weep value. I think he’d have been far better having Jimmy Stewart wake up and learn he’s won — we may be able to figure out for ourselves that would happen, but wouldn’t it be more emotional to SEE it? Still find it extraordinary that the film ends with the hero unconscious.

Let’s hear from you!

Card Tricks

Posted in FILM, Mythology, Painting with tags , , , on December 20, 2014 by dcairns

I’ve only made three of my usual cinephile Xmas cards this year, owing to time restrictions.

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As usual, what you should do is cut the illustration out of your computer monitor with a pair of round-ended scissors and paste the cracked rectangle of liquid crystal display to an old Christmas card with the names inside crossed out. This will totally result in an ace Christmas card.

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Then, tape a piece of newspaper over the gaping hole in your screen, using sticky-backed plastic, and simply work around the newsprint area.

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If you’re viewing these on your phone, forget it! It’ll never work!

Heavy Sentences

Posted in FILM, literature with tags , , , , , on July 16, 2014 by dcairns

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Fiona just read Boris Karloff: More Than A Monster, The Authorized Biography by Stephen Jacobs and pronounced it good. “You really feel like you’re being taken day by day through his entire life,” she said. So I was charged with inserting some Karloffiana in the Panasonic. It had been probably ten years since we’d watched THE CRIMINAL CODE, which has dual interest as its sampled in TARGETS…

Boris rocks in this one. If it had been made at Warners it would have been crusading — but it’s a Columbia picture from Howard Hawks and so the tone is breezily cynical but disinterested in political analysis — DA Walter Huston jails juvenile Adonis Phillips Holmes and then becomes prison warden at the jug he’s banged up in, where he tortures him in solitary — and yet Huston is positioned as the film’s hero. In fact, if we disregard the appeals to sentiment and use of physiognomy-as-character, Huston can be seen as the bad guy (but with a mildly vicious guard inserted to soak up the audience’s hostility) while Karloff is the hero’s best pal who saves the day. The remaining weirdness is the inert hero, whose one self-determined act, refusing to snitch, is presented in passive terms. He’s a ping-pong ball batted about between Boris and Walter.

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The script forges a fascinating connection between two meanings of the title — the criminal code Huston lives by is the law of the land, which “Someone’s gotta pay!” for murder. The criminal code Holmes and Karloff must obey is the law that says No Snitching — and if somebody does snitch, then, well, “Someone’s gotta pay!”

In this fashion, the writers throw up felicities and clunkers in equal measure — Huston’s rat-a-tat delivery at times overemphasises the fact that much of his speechifying consists of a single, on-the-nose pronouncement of his position, followed by twenty or so paraphrases of the same statement. One gets the impression that his character is trying to persuade himself of something — maybe that he deserves the role of hero in this picture. When in doubt, he snarls “Yeah?” at anyone who’ll listen. A bit like Eddie G. Robinson’s “See?”

Karloff has to deliver American vernacular dialogue in a middle-class English accent, but mostly gets away with it. Though his face and sinister haircut suggest pure villainy — and he does kill a couple of people, even stalking one around a room in an exact preview of FRANKENSTEIN  — his character is actually pretty complicated. While Huston, in order to “save” Holmes, tortures him, Karloff refuses to let the young man take the rap for him. His malevolent activities are strictly for revenge, and you can understand his rage at the screw who grassed him up for taking a single drink while on parole.

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In the end, Karloff and Huston are both extremists, devoted to their own particular criminal codes at the expense of humanity. Holmes and romantic interest Constance Cummings are simple humanists, who don’t understand much about codes and things but know what decency is. Young Holmes, whose every appearance caused Fiona to swoon away (“And I don’t normally care for conventionally handsome men”), does eventually put forth a more sophisticated interpretation of the code — “It’s right for them.”

Features some great yegg types and as fine a display of yammering as you’re likely to encounter.

“You don’t get yammering like that any more,” said Fiona.

“No. It’s gone the way of the rumble seat.”

UK purchasers:

Boris Karloff: More Than a Monster
THE CRIMINAL CODE (Walter Huston, Boris Karloff) Region 2

US purchasers:

Boris Karloff: More Than a Monster

Karloff: Criminal Kind DVD

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