Archive for Jack Clayton

Autumnal

Posted in FILM with tags , , , , , , , , , on October 9, 2019 by dcairns

These two title sequences are how you get into Autumn. Listen and watch and you will be resigned to it.

I have melancholic mixed feelings about James Horner’s music for SOMETHING WICKED THIS WAY COMES — it was imposed by DisneyCorp against director Jack Clayton’s wishes, after Georges Delerue’s original, beautiful score was rejected. I really like Horner’s derivative, evocative, hammy theme tune, though. But I’d love a restored director’s cut. They say Disney never throws anything away…

Michael Kamen’s opening theme for THE DEAD ZONE may be the best thing he did in his two-short career. I guess it’s the first of Cronenberg’s snazzy title sequences — he’s had them ever since, and then his films settle down to being visually quite flat, which works because usually there will be some startling imagery, and if the camera is just resting its chin in its hand in an apathetic way, that can be quite effective.

OK, you can have this one too:

Advertisements

The Sunday Intertitle: George K. American

Posted in FILM with tags , , , , , , , , , , on March 17, 2019 by dcairns

THE BOOB (1926) is a slice of Americana — a product only available in slices, it seems. You never see a whole, unsliced one, even in the work of Norman Rockwell.

We open on a swing, where a city slicker seduces a simple she-bumpkin. Director William Wellman fixes his camera to the swing, so he can frame the couple rock-steady while the bucolic scene behind them lurches seasickeningly up and down. Grand!

George K. Arthur had the damnedest career. I can’t make him out. He first appeared on my radar as star and putative backer of Josef Von Sternberg’s debut film, THE SALVATION HUNTERS. He offered JVS a budget of $$60,000 to make a film that would give him a starring role. Then, according to the director (and I’ve been unable to ascertain how honest the memoir Fun In a Chinese Laundry is, but I’ve pinpointed no definite lies), filming was begun using available locations and cheap talent, and GKA tearfully confessed that the 60K didn’t exist. Jo ploughed on regardless with his own savings, and the film made a name for him. (JVS had an indomitable, triumph-over-adversity side as well as a knack for making everyone hate him: part Horatio Alger, part Alger Hiss.)

It no doubt boosted George’s profile too, though he’d already played some big parts, going by the IMDb (he OUGHT to have had $60,000).

In THE BOOB, Englishman George (the son of a traveling salesman and a department store product demonstrator, so he may have had the right nature and nurture to pull the con on JVS) plays an American yokel, with much pasty-faced gurning. I’m reminded unpleasantly of El Brendel, though here the grimace supplants the smirk.

For the next ten years or so, GKA alternated between biggish supporting roles and uncredited bit parts. He departs Hollywood, or at least his credits die out, in 1935.

But GKA will resurface, in his native England, as producer for Wendy Toye’s excellent short films THE STRANGER LEFT NO CARD (1952) and ON THE TWELFTH DAY (1955), and also, uncredited, in the same capacity on Jack Clayton’s THE BESPOKE OVERCOAT (1955), thus kickstarting two more major cinematic careers, whatever his role in Von Sternberg’s origin story.

So I salute you, George K. Arthur! And your little dog, too.

The Sunday Intertitle: Tillie Eulenspiegel

Posted in Comics, FILM with tags , , , , , , on December 13, 2015 by dcairns

vlcsnap-2015-12-12-18h06m36s242

Then Marion Davies is not the girl for you, sir.

TILLIE THE TOILERS is based on a newspaper strip cartoon, but it’s a Marion Davies production and apart from going brunette to match the drawn character she’s up to her usual light comedy tricks. At no point is she required to change costume in a phone booth, as diverting as that would be, or scale a tall building with anything more strenuous than a single elevator.

vlcsnap-2015-12-12-18h07m59s46

The titular Tillie is a secretary on the make, rather callously ditching her beau so as to pursue first the foppish assistant manager, Mr Whipple (George K. Arthur), from whome she extracts lunch, and then a passing millionaire, Mr. Penny Fish, for whom she ditches Whipple with haste and not a little relief. It’s to the credit of the screenwriters and Davies that Tillie remains somewhat sympathetic throughout.

We’re at MGM’s Number One plot here, recycled through several Joan Crawford vehicles a couple of years later — how to marry well while remaining virtuous. It’s OK to be a little mercenary as long as you stay virginal.

vlcsnap-2015-12-12-18h07m52s230

George K. Arthur is an interesting figure — he backed Von Sternberg’s first film, THE SALVATION HUNTERS, on the proviso that he play lead, which he wasn’t very suited to doing. He’s much better as a supercilious schnook here. Sternberg claimed that the budget Arthur promised turned out not to exist, and so Sternberg ended up paying for the film himself.

Returning to his native Britain, Arthur, produced the early shorts of Jack Clayton and Wendy Toye, for which cinephiles should thank him. I’m presuming in those cases the money actually existed. Mr Whipple came a long way.