Archive for Jo Eisinger

Intelligence

Posted in FILM with tags , , , , , , , , on December 22, 2019 by dcairns

Michael Caine, it would seem, spent the eighties trolling Kim Philby. THE FOURTH PROTOCOL opens with Philby being shot in the head (shortly before he died for real). But in THE JIGSAW MAN, Caine plays “Philip Kimberley,” a former head of British Intelligence who defected to the USSR — but now, by crikey, he’s back!

Confusingly, characters keep talking about Burgess, MacLean, and the actual Kim Philby, as if this Phyllis Crumbly wasn’t a fictional analogue. True, in CITIZEN KANE there is a fleeting reference to Hearst, of which I suppose somebody would complain “It took me right out of the film!”, but Charles Foster Kane was called Charles Foster Kane, not Hilford Random Wurst.

This is a true late film — Terence Young (DR. NO) only made one more, screenwriter Jo Eisinger (THE SLEEPING CITY) made none. Susan George’s movie career was prematurely winding down and the promising new field of horse homeopathy was opening up for her. Laurence Olivier managed three more features, but is looking his age, and though Charles Gray would be with us for quite a while, he didn’t make many more movies either. Freddie Francis shot it.

So it’s a shame it’s such a terrible film. I mean, wow.

Frill Quimby gets plastic surgery that turns him into Michael Caine, who returns to Blighty in search of some boring documents. Supposedly working for the Russkis, Crim Filbski de-defects and goes rogue, hunted by both sides.

This man is about to become Michael Caine.

The opening scene, in which Clem Fably isn’t Michael Caine yet, but has Michael Caine’s completely distinctive voice, is an immediate lost opportunity — instead of teasing us with the (quite good) dub-job, the movie has Film Kimby talking rapidly in two-shot from the off, as if we’re not even supposed to notice something is up.

Olivier swears a lot through a scraggly beard that makes him look more like the late Don Henderson — not as dapper as we’d like — and seems to be having trouble with his breathing, and hence with his terrible lines. I think someone thought that having Sir Larry say “Arse” was going to be great value for money. There’s fantastic amounts of exposition, none of which we care about or need. Susan George tells Caine about how she once wrote to him telling him she was learning Russian, and he says yes, he knows, he got the letter. Marvelous.

Caine is required to do only things he’s not good at: fighting, running, accents. His Russian accent, which is meant to be fake but convincing, keeps veering into Mexican. When Phlegm Killerbee apologises to Susan George for killing her publican friend with one mighty chop, he says, “I’m sorry about your friend. War is bad.” “It doesn’t matter,” she assures him. It would have been good if she’d amplified the point: “I never liked my publican friend anyway.”

The Criminologist plays bald!

The climax is a shoot-out in the baboon enclosure of Royal Windsor Safari Park. The monkeys all have hidden their typewriters.

2001 tribute?

THE JIGSAW MAN stars Harry Palmer; Maxim De Winter; Dirty Mary Coombs; Jesus of Nazareth; Joseph Goebbels; Ernst Stavros Blofeld; and Ernst Stavros Blofeld again.

Or do I mean Parry Hammer; Waxim De Minter; Mirty Cary Dooms; Nesus of Jazzareth; Goseph Joebbels; Stan Blovros Airfield; and Blornst Avros Sternfeld?

Bellevue to a Kill

Posted in FILM with tags , , , , , , , , on October 2, 2019 by dcairns

Did someone at Bellevue Hospital feel that Billy Wilder’s presentation of the place in THE LOST WEEKEND — reputedly filmed on location, though you wouldn’t know it — gave the place a bad rep, and that another movie might balance out the negative publicity?

If so, THE SLEEPING CITY, a decent little noir trifle from able western hack George Sherman and crime specialist screenwriter Jo Eisinger doesn’t do the place any real favours. It’s from the shot-on-location phase of post-KISS OF DEATH noir, but not a ripped-from-the-headlines number — star Richard Conte shows up in scene one, in costume but out of character, to assure us that this is NOT a true story. Or I think that’s what he’s saying — he says it never happened at Bellevue or anywhere in New York, but that certainly leaves loopholes.

In the next sequence, a young interne is abruptly murdered — a very well-staged sequence, midway between docudrama and melo. Conte is an undercover cop from the “confidential squad” (which is the film’s alternate title) planted in the hospital to investigate. Colleen Gray is a lovely ward nurse, and there are excellent supporting perfs from Alex Nicol (bitter roommate) and some guy called Richard Taber, playwright-actor, as a creepy old fart called “Pop.”

If the hospital authorities were hoping for good press, they hadn’t counted on the effect of b&w cinematography on institutional architecture. The place looks terrifying, and expressionist homunculus Taber, by his very presence, turns it into a nightmare of sci-fi intestines. The plot, with suffering patients being prescribed painkillers they never receive, thanks to a dope ring, isn’t exactly reassuring either. It’s my strong belief that an investigation of the Bellevue employment records will reveal that their head of PR was dismissed around about 1950.

Raymond Blur

Posted in FILM with tags , , , , , , on September 29, 2018 by dcairns

Daddy’s out of focus! Daddy’s out of focus!

New at The Chiseler — I dig into CRIME OF PASSION, a late noir, late Stanwyck with an “all-women-are-bad/mad” vibe partially redeemed/complicated by scripted ambiguities and Stanwyck’s typically powerful work.

Gerd SCREAMING MIMI Oswald directs at a suitable pitch of hysteria.

 

Starring Phyllis Dietrichson, General Jack D. Ripper, Lars Thorwald, Ann Darrow, Orvil Newton, Tom Fury and Count Yorga.