Archive for Jim Carrey

Moving House

Posted in FILM, MUSIC with tags , , , , , , , , , , , , , , , , , , on December 4, 2013 by dcairns

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There are good things in FINDERS KEEPERS (1984), Richard Lester’s penultimate fiction feature (there are good things in RETURN OF THE MUSKETEERS too, but it’s overshadowed by tragedy on one side and its illustrious predecessors on the other). Lester has said that FK was the only movie he made as a hired gun, making it in theory even less personal than the SUPERMAN films, which he nevertheless managed to imbue with a lot of his personal style and attitude. In fact, FINDERS KEEPERS being a knockabout farce, on the surface it’s closer to classic Lester.

Michael O’Keefe and Lou Gossett play con artists, Beverley D’Angelo plays a potty-mouthed actress. The plot revolves around a coffin full of cash and there’s lots of action on trains, chases and other opportunities for the Buster Keaton influence to show itself, assisted by the flat landscapes and Lester’s planimetric, architectural framing (“That’s my thing.”)

Lester inherited the project from a friend, along with some of the cast, but he was able to drop a few friends into the proceedings — Brian Dennehy and John Schuck return from BUTCH AND SUNDANCE: THE EARLY DAYS and Pamela Stephenson breezes in fresh from SUPERMAN III. Ed Lauter’s bad guy is a stand-out — he’s a vengeful ex-accomplice, making his part of the film like a comic take on Peckinpah’s THE GETAWAY. Dennehy, playing a corrupt sheriff, is my other favourite — he’s a smart crooked man with a dumb family, and his seething fury at his lot in life and his chuckleheaded clan is pretty funny. His flaky daughter is played with wondrous tall awkwardness by Barbara Kermode, in her only film role. “Did you forget to take your anti-crazy pills?” asks Dennehy wearily, at her latest eccentric outpouring. This is a line you CAN use with your loved ones, I’ve found, but only if you’re sure you can get away with it. I told Lester when I met him earlier this year that I greatly enjoyed Kermode’s perf. “She was a local girl we found on location,” he said, slightly amazed. He also said that he hadn’t seen the film since making it. (It never played Edinburgh and I’ve only seen it on VHS. There’s never been a DVD.)

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Barbara Kermode, you are a STAR!

Oh, and one other cast member deserves mention. It’s his first movie, and he’s playing Lane Biddlecoff, Dennehy’s dumbest nephew. Here he is ~

The kid is good, but Barbara Kermode really ought to have had his career.

At the climax of the film, Lauter kidnaps D’Angelo and hides out in an empty house. When they awaken next day, the house is in motion — being dragged across country by a truck, like the church in DELIVERANCE. D’Angelo becomes hysterical and starts screaming and Lauter, lacking any ready-made gag, in desperation rips off his toupee and stuffs it in her mouth, a grotesque but, too me, very funny act. Lester, who went bald at 19 and found it helped him get taken seriously by older authority figures, could never resist a wig gag, and here, quite literally, is a wig gag.

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McKean and Gossett set off to rescue her and get the loot. Spoiler alert — this is the whole ending of the movie —

It displays the film’s strengths, I think — some genuinely clever visual gags, perfectly framed, and some rambunctiously stupid ones — and its weaknesses, which for me include Ken Thorne’s score. Thorne had been a regular collaborator and his Kurt Weill-influenced soundtrack for THE BED SITTING ROOM is marvelous. He got an Oscar for arranging and scoring A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (that chase scene scoring!). Here he seems out of his element. The selection of pop songs and their placement isn’t everything I’d like it to be either, suggesting that it was no longer something Lester felt completely at home with.

But the last shot — very Keaton, and specifically THE BLACKSMITH. There’s an elegiac quality which has nothing to do with the story but fits in very well with the film’s place at the twilight of the director’s career.

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Things Roddy said during Dracula Has Risen From the Grave.

Posted in FILM, Science, Television with tags , , , , , , , , , , , , , , , , , , on December 26, 2012 by dcairns

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A specific example of the limits of conceptual knowledge in WMS is from a reported instance of a 21-year-old woman with WMS (Verbal IQ of 69) who was literate and read several books on her favorite topic: Vampires. When this subject was asked what a vampire is, she responded reasonably and clearly that a vampire is ‘‘a man who climbs into ladies’ bedrooms at night and sinks his teeth into their necks.’’ When asked why vampires do that, she thought for a bit, and then said, ‘‘Vampires must have an inordinate fondness for necks’’ (Johnson & Carey, 1998).

Fiona’s brother Roddy is Christmassing with us again, which means we’re watching lots of his favourite horror movies. Roddy has Williams Syndrome, like the woman quoted above, and oddly enough he likes vampires too. (Williams people are often musical, and often seem to have passionate interests, bordering on obsession: Roddy’s love of cranes and digging machinery is very typical of the condition.)

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“I wouldn’t like to meet him on a dark night. Wonder what would happen if I did?”

Roddy says this once during every screening of a Christopher Lee DRACULA film. Lee is his favourite vampire, and we’re pretty sure the attraction is the sexual fascination Lee’s Count is able to exert over every blonde he encounters. Roddy does not exert this fascination, but would probably like to. Wouldn’t we all?

“What’s that he’s doing? Is that a coffin or something? Another victim? Oh my God.”

Roddy himself watches quite hypnotized, becoming antsy and talkative only when the suspense builds. But the boring scenes with Barry Andrews keep him hooked too, since it’s always possible that something more vampiric may happen at any moment.

This movie has a fair bit of tedium, but director Freddie Francis contrives some lurid and Bavaesque colour effects, which seep in whenever Lee is around. Unfortunately, nothing but verbiage seeps in when Barry Andrews and Rupert Davies are around.

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“Is it her he’s looking for? Look! He’s rubbing his face on her face. Oh! He’s a vampire and he bit her.”

“Uh-oh, there he is. What’s happening? Uh oh. Here you go.”

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People with Williams consistently interpret faces as being friendlier than the rest of us.

“He’s smiling, look.”

“Ah-oh, here we go. He got caught – run!”

Here, Roddy seems to be unsure who he’s rooting for, shouting helpful advice to Dracula as well as to the heroes. But he knows pretty well who the goodies and baddies are. The character of the unnamed priest (Ewan Hooper) who gets enslaved by Drac is a puzzle, though. Characters who behave inconsistently are troubling.

“Uh-oh. This is the best bit.” Hooper smashes Rupert Davies on the head. “Hit the wrong man!”

I try to explain to Roddy that no, he hit the man he was aiming at, but he doesn’t understand Hooper’s two-faced Renfield persona. People with Williams Syndrome are extremely sociable and tend to think the world is their friend, until proven otherwise.

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Also, since the spread of cognitive abilities in people with this condition is quite varied, I suspect Roddy has a rather uncertain “theory of mind.” I can explain the concept of theory of mind with a test ~

If you say to a child under three, “A little boy has some sweeties, and he hides them under a bowl, but when he’s away his mummy moves them and puts them under a cup. When the boy comes back, where will he look for his sweeties.” Younger children always say “Under the cup,” because that’s where the sweeties ARE, and they can’t grasp the fact that the boy has different knowledge from them. That’s theory of mind.

When we watched ABBOT AND COSTELLO MEET FRANKENSTEIN, Roddy became frustrated by the character of the policeman, who didn’t know that Lon Chaney was the Wolfman. I tried to explain that the policeman didn’t know that fact, but no matter how I tried to express it, Roddy thought I was claiming that Lon Chaney wasn’t the Wolfman. “I’m sure Lon Chaney is the Wolfman,” he muttered, repeatedly.

“What’s going to happen now? Uh-oh, here comes guess who. Uh oh, he’s got a hold of him now.”

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“He’s not very pleased, is he?”

Tests have shown that Williams people are very attentive to faces, when watching TV or otherwise. This close concentration seems to be connected to a difficulty in interpreting the meaning behind facial expressions. Because the condition involves high levels of sociability, Williams people concentrate very hard on the faces, trying their best to make out what the expressions mean. Concordantly, Williams people aren’t much interested in cartoons. Roddy loves slapstick stuff where people without learning difficulties fall down or bump their heads, thus losing their supposed sense of superiority, but cartoons aren’t interesting, presumably because the faces don’t have enough detail of expression.

Roddy’s generally very good at recognizing people’s faces — that seems to involve a different part of the brain. He did think the CGI Jim Carrey in A CHRISTMAS CAROL was “that man from that programme with the horse” — Wilfred Brambell in Steptoe and Son (but what other real human being ever looked like that?), and he did think Veronica Carlson in this films was a presenter from 70s children’s show How, but that’s not so unreasonable: Jenny Hanley’s appearances in SCARS OF DRACULA did not prevent her co-presenting Magpie on Children’s telly in the seventies.

“For example, adolescents and adults with WMS have difficulty differentiating not alive into the conceptual categories of dead, inanimate, unreal, or nonexistent.” The Neurocognitive Profile of Williams Syndrome: A Complex Pattern of Strengths and Weaknesses, Ursula Bellugi, Liz Lichtenberger, Wendy Jones, and Zona Lai, Marie St. George

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“I ken what he’s going to do — I ken what happens!”

Roddy sort of believes in Dracula, and sort of believes in Santa Claus. It’s quite hard to work out how much he believes, though. I think it might be similar to the belief in God a lot of people must have — they would be astonished at any example of divine intervention (of course there are no doubt many people who would accept a miracle as wholly appropriate to their understanding of the world — I suppose…) Roddy doesn’t expect to meet Dracula on a dark night, and he knows that Christopher Lee is an actor. Or at least he accepts that these things are widely acknowledged to be the case. He believes Castle Dracula is a real place and won’t take in any information about special effects that contradicts the evidence of his own eyes. (To be fair, Yvette Mimieux believed the iron sphinx in THE TIME MACHINE was a real structure, and hoped to visit it one day, and she’s in the film.)

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“Watch out! There he goes! Eyes start watering.”