Archive for Invasion of the Body Snatchers

filming and films

Posted in FILM with tags , , , , , , , , , , , , , , , , on September 10, 2019 by dcairns

I admit it, Mark Cousins’ collection of films & filming is better than mine.

August, 1970, Charles Walters on shooting SUMMER STOCK with Judy Garland: “I remember, at one point, I was on the boom and we were moving in for a giant close-up. Judy looked up with those great liquid eyes of hers and it was the most fantastic shot in the world. ‘Cut,’ I yelled, “Will somebody please hand me a towel, I’ve just come.’ Now that might be thought indelicate, but Judy loved that sort of foolishness. It really turned her on.”

May, 1969, Francis Ford Coppola on co-writing IS PARIS BURNING? (before Gore Vidal’s involvement): “Ray Stark said I could go to Paris and have a vacation with my wife because the writer then working on it was a man who was very ill, dying in fact. And these are the honest-to-God words used, my job was to assist that man and ‘if the pencil fell out of his hand, I was to pick it up.'”

July 1959, Shelley Winters on George Stevens: “George photographs what goes on in the air between people.”

October 1964, Sidney Lumet: “But in the early television days we were doing cuts as fast as a finger could move. John Frankenheimer, who was my AD, can bear me out: there was one sequence on a live show where John had 64 cues to give in a one-minute period. It was 23 cuts in a one-minute period, which is just about as fast as a switcher’s fingers can move, and John had three cues for each camera cut.”

June, 1970: Costa-Gavras on Z, which has a score by Mikis Theodorakis: “Theodorakis was already in prison, but I had some records of his which we adapted for the film soundtrack. […] We have just one short piece of original music for the picture. It is the scene with Jacques Perrin and the guy at the restaurant, where he is giving him the passport and the addresses, you can hear Theodorakis singing in the background. This piece was recorded on a miniature tape-recorder and smuggled out with his instructions on using it in the film.”

April, 1979, Philip Kaufman on the Dolby sound mix of INVASION OF THE BODY SNATCHERS: “And when we were doing the mix at Zoetrope, I just kept saying, ‘Pods eat birds. Just keep the birds down.’ I didn’t want the feeling that nature goes on while man is having his problems, because there is some suggestion in the film that everything is being transformed, that nothing is real anymore, that we are gradually going to lose. And that’s the sense of claustrophobia that I wanted to create. I mean the soundtrack is stylised and overdone and there are sounds that are bleeding in from the very beginning, that when you see it again you’ll recognize as either chimes or alien noises. […] Dolby was very excited by what we did with sound. Not just rolling stuff in its surroundings, but selectively beginning to creep sounds into the scenes. You know, we spent a lot of time determining what channel to place sounds. It’s a very expensive soundtrack, and Ben Burtt, who worked on STAR WARS did a lot of the sound effects and special sound effects.”

Nicholas Meyer: “They’re always looking for what is commercial, which I think proves how idiotic most people in the movie business are. Obviously there’s no such thing as commercial until something has made 50 million dollars. And since it is impossible to tell beforehand, it seems to me a waste of energy and you should concentrate on something which they never ask themselves, which is, ‘Do I like it?'”

And: “I came home one day and saw Martin Luther King standing on the balcony of the hotel and getting shot. I sat on my bed and was truly appalled by what I was seeing. And they took him to the hospital, and people were screaming, and there was blood, and suddenly all of this was interrupted by someone who says, ‘Miami for 25 dollars less.’ It’s preposterous, it’s George Orwell time. It scares the shit out of me. Television scares the shit out of me. […] It’s in your house. It’s this unblinking eye with its inexhaustible font of passivity, and it should be banned. No one should be allowed to have one. We should all go to the movies the way God intended.”

Advertisements

Blue Donald, Green Donald

Posted in FILM with tags , , , , , on August 12, 2017 by dcairns

Donald Sutherland being blue in INVASION OF THE BODY SNATCHERS (Philip Kaufman, great).

Donald Sutherland being green in A MAN, A WOMAN AND A BANK (Noel Black, blah).

It isn’t easy, being green.

Why does Donald Sutherland change colour? Is it the proximity of Brooke Adams in both films?

And what happened to Brooke Adams? I look her up and find she’s working steadily, and not in trashy stuff either, which is nice, but odd, since I haven’t seen her in a film since 1985.

I love Kaufman’s BODY SNATCHERS. I wrote an essay with a mini-Kaufman interview for the Arrow Blu-ray. There’s something really sweet about how Donald’s carrying a torch for Brooke in the early scenes. And their relationship is the best thing in AMAWAAB, a strangely aimless caper movie disfigured by a cheesy score. But it also has Paul Mazursky with his ovine appearance concealing a lot of neurotic jitter — a wuss in sheep’s clothing.

That expression doesn’t make sense, by the way: sheep don’t have clothing.

Things I read off the screen in Invasion of the Body Snatchers

Posted in FILM, Politics with tags , , , , , , on June 8, 2017 by dcairns

I hadn’t watched Don Siegel’s original INVASION for years — no, decades! And I can’t think why — I always preferred the Philip Kaufman remake, it’s true — check out the Arrow Blu-Ray for my article on that — but had only seen the original in pan-and-scan, then got hold of the widescreen edition, then failed to watch it, like a fool.

Now I’ve watched it! How excellent it is, and how ahead of its time, even with the tacked-on bookends and VO. I was watching it and I could sort of see the original, bleaker version THROUGH the re-edit, and it damn well nearly moved me to tears. Apparently the original cut does exist, so it’s monstrous that nobody seems to have released a dual edition. Still, if you were watching this in 1956, seeing love blossom between divorcees Kevin McCarthy and Dana Wynter only for the latter to get pod-personned out of existence would be pretty tough and shocking. It still is. Being more sentimental than I was as a teen, it really got to me, and I could appreciate how well set-up we are for that moment.

(Though, come to think of it, Dana’s conversion in a cavern doesn’t follow the pattern elsewhere — no pod in sight, and her doppelganger has somehow got all her clothes. The VO even tries to bodge this by saying her body’s been taken over, but that’s not what happens. That’s INVADERS FROM MARS you’re thinking of, Mr. Anonymous V.O. Writer. Haven’t you been watching?)

FOR FIRE ONLY. Alien creatures like THE THING FROM ANOTHER WORLD are always vulnerable to fire. Later, Kevin will torch a couple of pods in the road.

ETAVIRP. The PRIVATE sign on Kevin’s door features A LOT, usually reversed. It symbolizes his individuality and his belief in personal freedom, also his all-important ability to lock himself in and the pod people out, which is critical later.

Save $1.25 FLINT-WARE. Dana Wynter’s character, who loves to cook, is positioned next to signs of domesticity. WIN A VALUABLE PRIZE! Kevin is in with a chance, or would be if this were a different kind of movie. But the advertising has a more sinister significance. Kevin McCarthy, in later interviews, says he saw the pod people as being like Madison Avenue men — harbingers of conformity, pushing a product. We see them arranging its distribution. Every home should have one! And they TALK like salesmen, stressing the necessity of their product. Once you have it, you won’t be able to imagine how you ever got along without it…

The prints on the wall may represent local author King Donovan’s book jackets, I’m not sure. CHAT BLANC (WHITE CAT). MIRROR NOIRE (BLACK MIRROR). FEMME FATALE. The black mirror is particularly apt here, as King looks at his own unformed reflection on the pool table. Femme fatale is of course what Dana will become. Not sure about the white cat, unless that’s what she presently is. In which case, reading from left to right we can chart her progress from innocent kitten (Alice’s cat, Dinah), through the looking glass black mirror, emerging as a fatal woman, possibly the Queen of Hearts.

LUBRICATION of the body-snatchers! Easing their penetration of society, I guess. Dunno what VEEDOL is, but we’re told it’s PREMIUM QUALITY 100% PENNSYLVANIA, which has a sinister ring to it.

UNION. My favourite! As the pod people gather to arrange their further dissemination. If you want to read them as communists, here’s your evidence.

RICHFIELD GUARANTEED BEST. More advertising hyperbole. The rich field calls to mind the seed pods, the agricultural nature of this evil. Pod people start out in the country, take over the small towns, then assail the cities. Which, as we’ve seen more recently, is true.

Contemporary audiences may also have been surprised by the partially-formed Wynter pod’s nipples (top). The censor’s rules are more complicated than I ever suspected. There’s the little-known Annabella doctrine dealing with small, French breasts, and now it turns out that the nipples of a pod person are acceptable as long as they’re not fully-formed and she hasn’t come to life yet. A loophole few other filmmakers were able to take advantage of.