Archive for Jill Haworth

Ten Bad Dates With Roddy McDowall

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 12, 2008 by dcairns

“It was all going so well! And then I had to say that thing about the bridge. Stupid! Stupid!”


You really don’t need to see this film, unless like us at Shadowplay you grew up with a copy of Dennis Gifford’s A Pictorial History of Horror Movies in the house, or regularly borrowed from the library. Other monster movie books might also do the trick, or Famous Monsters of Filmland magazine (I only ever discovered one outlet that carried this publication as a kid. While on holiday. I could only afford two issues, which was a wrenching choice to make as they all looked so tasty. There was no possibility of buying more… There was a big article about BARBARELLA, which my mum wouldn’t let me watch when it came on TV, and an ad in the back for something called EQUINOX.)

If, like me, you were exposed to the right kind of literature in childhood, you probably saw a still of the big stone guy in this movie. You probably marvelled at his massive stone body, mighty stone limbs, big stone skirt and pointy stone head. He doesn’t look like any other monster. And what you demand most of all from your monsters is NOVELTY, so that has to be good. Having seen quite a bit of Dr. Who, you might have suspected that the Golem would be less impressive in motion that he is in a still image. And you’d have been right. But children of the pre-C.G.I. age, we expected our monsters to lumber, didn’t we? If they jerked across the screen in a Harryhausen strobe of animation, so much the better. But we certainly never wanted them to slink around, weightless, in a series of algorithms.

Anyhow, CURSE OF THE GOLEM is written and directed by Herbert J. Leder, auteur of such cinematic goitres as THE FROZEN DEAD and THE CHILD MOLESTOR.  Good luck with that career, Herbert.

One hates to judge a film-maker’s personality by their work (gloomy Bergman was known to his friends for a great deal of jollity, sentimental Frank Capra once punched his wife unconscious), but going by this film I would probably characterise Mr. Leder as a BIG IDIOT. Roddy McDowall, as Arthur Gordon Pym (!) finds he can command an ancient Jewish statue to do his bidding. Since he lives with his mother’s decayed corpse (though this has no real bearing on the story, and no explanation), he’s probably not the best person to be granted this awesome power. He uses it to kill his boss, and in a failed attempt to impress Otto Preminger babe Jill Haworth. It seems golems are good at bludgeoning irksome employers, but utterly useless as an aid to modern dating.

Paul Wegener doing his cute, Susannah Hoffs-style look-to-the-side.

The golem seem to me an underused monster. Paul Wegener portrayed the animate clay statue thrice, in DER GOLEM of 1915, sequel THE GOLEM AND THE DANCING GIRL two years later, and prequel/secret origin THE GOLEM: HOW HE CAME INTO THE WORLD, which is the version that survives.

Although he was certainly some kind of influence on Hollywood’s FRANKENSTEIN, the golem never surfaced in a bona fide Hollywood remake, instead emigrating to France, where he raises his ugly head in Julien Duvivier’s characteristically stylish LE GOLEM of 1936, which incorporates imagery from FRANKENSTEIN while essentially reprising the original Golem legend dramatised by Wegener. Many of the pre-Nouvelle Vague filmmakers deserve to be rediscovered, and I carry a special torch for Duvivier, whose PANIQUE and LA FIN DU JOUR strike me as truly major works, on the verge of being completely forgotten.

1951 gives us an authentic Czech golem at last, in THE EMPEROR’S BAKER AND THE GOLEM, a comic fantasy directed by Martin Fric, which guest-stars a wonderfully monumental golem who can’t actually articulate his limbs, and therefore walks like a chair.

Since then, there doesn’t seem to have been a really truly golem-centred movie, although ceramic heavies have occasionally disported themselves upon the screen in a supporting capacity. I’d welcome a good remake, or else an adaptation of Gustav Meyrink’s fantastic novel The Golem, in which the colossus does not actually appear, but assumes a kind of allegorical omnipresence in the story. My colleague, B. Kite, the Brooklyn Behemoth, himself a stony homunculus enlivened by rabbinical sorcery, once co-authored an atmospheric and highly imaginative screenplay based on this work.

Anyhoo. Some Youtubing genius has helpfully provided this abridged version that allows you to consume the whole thing at a single, ten-minute sitting. Had I realised this I could have saved myself eighty minutes or so.

Here, by way of a palette-cleanser, is the great Jiri Barta’s animated THE GOLEM, a pilot/trailer for a feature Barta hopes to complete. The collapse of communism in Europe (a good thing in itself, don’t get me wrong) has left many brilliant artists like Barta and the incomparable Yuri Norstein stranded in a marketplace they have no experience dealing with. Somebody help!

The more numerate Shadowplayers among you may have noticed that this post contains only one bad date with Roddy MacDowall. I maintain that one bad date with Roddy is worth ten with anyone else, but I’m happy for you to nominate nine more if you feel up to it.

STOP PRESS! What the heck is THIS?


The Man with the Golden Girls

Posted in FILM with tags , , , , , , , , , , on March 23, 2008 by dcairns

Otto Preminger: often seen in the company of blondes. 

A Blonde in Love 


The Blonde on the Street Corner


Gentlemen Prefer Blondes

Jill Haworth (and Patricia Neal) in IN HARM’S WAY.

Mr Blonde

Carol Lynley (with Keir “Dave” Dullea) in BUNNY LAKE IS MISSING.

There seems a pattern to these pixie-like blondes. And Maggie McNamara and Jean Simmons have pixie qualities too, even though they’re brunettes. But then one recalls Otto’s flings with Gypsy Rose Lee (who gave him a son) and Dorothy Dandridge, and one realises that even if there is a Preminger “type”, he’s far from predictable.