3) Bologna – Bertolucci

My favourite city and possibly my favourite of the 12 directors in 12 REGISTI PER 12 CITTA’.

It’s a good one — with the slightest of narrative frameworks, Bertolucci uses children’s games to lead his Steadicam through the porticos and piazzas. Apparently it’s Doors Open Day because these kids get everywhere, including places I’ve never seen on my visits for Cinema Ritrovato. Must try to do more churches and museums next time.

There are lovely theatrical lighting changes and the whole adventure has a vivid, 3D quality, thanks to the sweeping movement. And atmosphere! These are contemporary kids but not entirely, obviously there’s an element of nostalgia for Bert’s own youth. And the slight quality of spookiness (where have all the grown-ups gone?) seems appropriate to childhood, and to these spaces.

It’s a great lesson in how to use the Steadicam. It’s not just lively coverage. It’s storytelling, but a lot more than that also. It takes your eyes for a dance. I wish Bert had kept up this style. I feel like, as the left lost its way politically, so did he stylistically.

The score is by Nicola Piovani, who had been doing Fellini’s last films and Bigas Luna’s and would go on to do LIFE IS BEAUTIFUL. I get why Antonioni used classical music and Wertmuller used folk, but I don’t understand why so few of the other filmmakers didn’t use original scores.

Saw Bertolucci in Bologna one year, in a fantastic wheelchair with spiral-painted discs for wheels. He had an impressive bodyguard, so we didn’t get to ask him for a last dance.

The recent deaths of so many of these filmmakers, or their spouses, is giving this whole voyage a Dr. Phibes quality. I guess in a way it’s good that they’re all dead — if there were one left, I’d feel anxious as their film approached, as if I were going to jinx them.

Epic Fail Safe

You know what they say: “When a fail-safe system fails, it fails by failing to fail-safe.”

It was a natural for Bologna to programme this one in the season Henry Fonda for President — that most presidential actor played the top man or else a potential top man in a whole programme’s worth of films, but the other beautiful connection is between this and DAISY KENYON for the appearance of the BIG TELEPHONE.

A nuclear threat — bombers accidentally sent towards Moscow, the War Room desperately tried to call them back. We’ve had the freak technical fault, but who will crack under the strain, junky Fritz Weaver, Larry Hagman who didn’t take good care of his nukes in SUPERMAN: THE MOVIE, hawkish wingnut Walter Matthau (EXCEPTIONALLY good) or Dan O’Herlihy who is plagued by a Recurring Matador Dream?

(The RMD is the only example I can think of where a filmmaker — Sidney Lumet — makes CREATIVE USE of matte line, a shimmering outline carving O’Herlihy out from the throng, and allowing him to be differently lit — from screen left rather than right — and exposed. See also the weird device where the B-52s B-58s are shown in negative. Peculiar, but the great Ralph Rosenblum’s cutting is so sharp you barely have time to register the strangeness.)

The scene-for-scene parallels with DR. STRANGELOVE are striking, as I knew they would be, but they’re MORE striking than I expected — I hadn’t known that the author of the novel Red Alert, which STRANGELOVE is based on, sued the author of the novel Fail Safe, for plagiarism — I heard about that at this excellent podcast. It is amazing to see a beat-for-beat repetition until the ending, which takes things in a radically new direction.

Lumet’s war room is perhaps a little too science-fictional, and too much like a bing hall at the same time, but the wide lens filming and dramatic cutting, each angle-shift callibrated for dramatic effect. It makes one conscious of how sloppy most mise-en-scene and montage are. As in WE MUST LIVE, there were simple cuts to familiar faces that achieved intentional, intelligent JOLTS.

You can’t talk about Lumet having a tragedy — he loved making films and he was able to make them for his whole life and his last two are highlights — but if he had a tragedy it would be that he thought of himself as a journeyman who could turn his hand to anything, when in fact he was always best with a socially-relevant thriller, often with a New York element (though THE HILL among others shows his ability to travel well).

FAIL SAFE stars Robinson Crusoe; Abraham Lincoln; Senator Long; Sheriff Heck Tate; Juror 6; Professor Biesenthal; Gov. Fred Picker; Dr. Robert MacPhail; Boss Hogg / Thaddeus B. Hogg / Abraham Lincoln Hogg; and Buddy Bizarre.

The Wronger Man

I’d always meant to watch John Brahm’s 1939 criminal justice melo LET US LIVE, and now I know why I held off — I got a chance to watch it streaming from Bologna in a gleaming fresh copy, better than any grungy old version I might have tracked down.

Henry Fonda plays an innocent cabby wrongly convicted of armed robbery and murder. Maureen O’Sullivan is his bride-to-be, frantically trying to prove his innocence before he goes to the chair. The movie anticipates Hitchcock’s THE WRONG MAN in plot terms, but Brahm gives it all a glossy Hollywood expressionism more showy than Hitch’s gloomy death march.

How to account for Brahm’s fluctuating visual style — here in this relatively early work (he’d done his remake of BROKEN BLOSSOMS in the UK, and three B pictures for Columbia before this one) his arresting use of chiaroscuro and violently off-centre framing is fully developed. In later films it comes and goes. It could be the amount of prep time, the skills of the cinematographer he was working with, or the amount of enthusiasm he could muster.

(Brahm films to see: THE LODGER and HANGOVER SQUARE, THE LOCKET, GUEST IN THE HOUSE, his Twilight Zones and some of his Alfred Hitchcock Presents episodes. He never had what you’d call the best scripts to work with.)

One cut to Fonda’s face made Fiona gasp, exactly as happened in THE LODGER with Laird Cregar. Remember Billy Wilder’s line about a close-up being like a trump card in a game of bridge, to be used sparingly where it’ll really count? But how many times has a simple cut to a character, already established as being present in the scene, taken your breath away?

My new ambition — if I can get to direct one more thing, I’d like to make that happen. I know the trick — the face or expression must be new and arresting, and the face appear in an unexpected part of the screen in an unusual, off-centre composition. Now somebody give me a million bucks before I forget.