Archive for John Hodiak

The People Against The Thing From Another World

Posted in FILM with tags , , , , , , , , , , , on September 3, 2019 by dcairns
Called to the bar.

Casting Spencer Tracy as an alcoholic is a bit nervy… a scene showing him engaging in a sketchy interaction with Eduardo Ciannelli in the men’s room may be dicier still. THE PEOPLE AGAINST O’HARA (1951) has moments of subversion and dissonance unusual in an MGM picture.

Tracy plays a retired criminal lawyer and reformed boozer driven back to the bottle by his struggle to win the case of a young man (James Arness, THE THING FROM ANOTHER WORLD himself) accused of murder. John Sturges directs — his early thrillers aren’t as noirish as Anthony Mann’s, but he does have cinematographer John “single-source” Alton on his side so the movie is beautiful.

I must have looked away during the credits because I missed Alton’s name, but the suspicion gradually donned on me as the film went on that I was seeing his work. One of the few DoP’s with such a distinctive style.

This is the shot that made me first glimmer and glom.

“Spencer Tracy’s always good as a lawyer. He’s so solid,” said Fiona. “He’s an immovable force.”

“I think you can have an immovable object or an unstoppable force…” I suggest, but then come to think she’s right. Spence is an immovable force. Or possibly an unstoppable object.

The film is very well cast — Diana Lynn has one terrific scene, John Hodiak is fine in his natural environment as third lead, Pat O’Brien fades into the furniture, Ciannelli and William Campbell are great nasties, and if you enjoy the look, sound and feel of Emile Meyer as much as I do, you will enjoy seeing, hearing and touching him here.

This is sort of a noir — there is some surprising stuff, including the ending. But the ultimate message of just about any MGM film is that the system works, so you don’t get a real sense of subversion and malaise, but then, maybe you already have enough of that in your life.

THE PEOPLE AGAINST O’HARA stars Dr. Jekyll and Mr. Hyde; Hildy Johnson; Emmy Kockenlocker; John Kovac; Dr. Satan; the Thing from Another World; Cimmaron Rose; Walking Coyote; Concho; Chief Quinn; Reverend Cyril Playfair; Mrs. Carol Stark; Lt. Harry Kello; Chief Inspector Bernie Ohls; Paul Kersey; Molly Molloy; Mr. Rafferty; and the voice of Colossus.

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Horseshoe Shuffle

Posted in FILM, MUSIC with tags , , , , , on January 3, 2017 by dcairns

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THE HARVEY GIRLS is like the ultimate film of entertainment, with memorable songs, lovely actors (and John Hodiak, a cartoon wolf), elegant dance and camera moves, sumptuous colours, and a huge amount of good-natured fun.

I’m really glad to be discovering George Sidney at this belated stage of my life — I had seen some of his work before, but had given no thought to him. One of the not-so-good things about the auteurist approach is it could cause one to miss out on a good Sidney or Charles Walters film as one concentrates on a lesser work by Minnelli or Donen. Now, those latter gentlemen are more significant artists, but the other exponents of the Freed Unit style are no slouches.

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One moment I want to dwell on, amid countless terrific movements and moments. Virginia O’Brien gets one number of her own, shortly before she disappears from the film almost completely (she’d gotten pregnant, and she actually wears a smithy’s apron during her big song to disguise a little bump).

During her song, Virginia, who has dialled down the googly-eyed zombie act she first found fame with, and might have been moving on to more substantial and less gimmicky roles had parenthood not diverted her, prepares a horseshoe for applying to a hoof. The shoe is deposited in the fire, and after a rare cut (the sequence consists of only a few, very long, shots) it’s extracted with tongs and beaten with a hammer. Sparks and glowing makes it clear that this is now a real red-hot piece of iron.

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Then Virginia picks it up with her bare hands. Sings a line or two. And drops it in a barrel of water, which emits an explosive hiss of steam.

The mystery/joke of O’Brien’s asbestos fingers forced us to rewind to see what the trick was. And it’s a very simple one — Virginia hangs up the glowing shoe, steps screen right, forcing a small reframing, and while the shoe is offscreen, evidently some property man with tongs of his own or real asbestos fingers, grabs it and substitutes for it a fake shoe painted red to simulate glowing. He achieves this during a two-second moment when the shoe isn’t on camera. the horseshoe is still swinging when the camera re/discovers it. The jet of steam from the barrel is a practical special effect.

It’s a lot of trouble for a joke that doesn’t make any sense — what are we to make of Virginia’s superhuman flame-retardant properties? Is she a Shadrach or Johnny Storm of the Wild West? In a way, it’s not even a joke about that, but about the deceptive nature of the continuous take, about MGM and George Sidney’s ability to pull the wool over our eyes and make us smile at our inability to see what’s in front of us.

All At Sea

Posted in FILM, literature, Politics with tags , , , , , , , , , , , , , , on July 22, 2009 by dcairns

After the blasting Hugo Friedhofer score, and titles which weirdly assert “By John Steinbeck” and “Screenplay by Jo Swerling,” we get a moody shot trawling the misty Atlantic waters of the 20th Century Fox studio tank, alighting upon curious and suggestive items of flotsam, or do I mean jetsam?

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The hand of cards Hitch was seen playing in his last movie, SHADOW OF A DOUBT? If so, this would be a sort of phantasmal cameo appearance, the shadow of a previous walk-on.

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This copy of The New Yorker makes me wonder if each piece of floating detritus stands for a different character in the film? This would be Tallulah Bankhead, photo-journalist and society lady. But I’m not sure I can be bothered stretching the metaphor all the way to include every last but of bobbing debris. Let’s just say the bobbing apples are a reminder of Hitch’s upbringing.

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“What are those letters on your diaphragm?” Tallulah Bankhead drawls to John Hodiak, and indeed, he is a heavily initialed sailor man, with a prominent “B.M.” on his chest. Who might those letters belong to?

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Barbara Morton — Pat Hitchcock’s character in STRANGERS ON A TRAIN?

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The Bald Mexican — Peter Lorre in SECRET AGENT?

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Bob Montgomery? We never do find out.

LIFEBOAT, while very enjoyable, seems strangely divided between propagandistic, artistic and genre tendencies. While savagely anti-German, it also portrays the jolly Nazi captain Walter Slezak as the only competent and committed man on board, and as Hitchcock and Truffaut agreed, during the moments when the other passengers are plotting against him, they appear quite monstrous. Then again, Slezak’s character really is the embodiment of evil, picking off the weakest of his fellow survivors by way of psychological manipulation techniques bordering on hypnosis.

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What Slezak brings to the role, apart from his authentic accent, is a rather chummy, guy-you-can-trust quality, which colludes with his cherubic (and slightly Hitch-like) appearance to create a nice complexity of effect. In many ways, this guy would make a great captain of the lifeboat, were it not for his tendency to dispose of the weak.

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Do we believe, necessarily, that William Bendix is a jitterbug champion? I wonder if Hitch had a strong idea in his mind of what jitterbuggery actually consists of? I guess WB would be good and hoisting his partner through the air, but I can’t quite picture him cutting a rug. Trampling it into dust, perhaps. Still, Bendix makes a fine lumpenproletariat, even if he does tend to overdo his William Bendix impersonation at times. My favourite Bendix is DETECTIVE STORY, in which he pulls off the impossible feat of out-over-acting Kirk Douglas, going so far over the top he comes out the bottom into a new form or underplaying. It’s like William Bendix parodying William Bendix parodying William Bendix, and it’s a beautiful thing. You won’t believe me but, I’ll say it — moving.

Hitchcock’s cameo, in a newspaper ad for a miracle weight-loss product (or “obesity slayer”) is one of his wittiest, nicely solving the problem of how to do a walk-on in a tightly contained narrative (floating past as a corpse was briefly considered) as well as a chance to show off the results of his recent diet. Many viewers wrote in asking where they could be Reduco, we are told.

If Reduco is Hitchcock’s diet pill, then presumably Emerg-O is William Castle’s personal brand of Viagra.

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I don’t mind John Hodiak in this! He still looks a bit like a Tex Avery wolf, but his slight lack of leading man charisma seems to work neatly in what is basically a group jeopardy picture. A Cary Grant figure would overbalance the thing.

Just realised that not only does Henry Hull advocate the extermination of all Germans in this movie (an awkward moment — had Hitch started editing footage of concentration camps yet? At least the other characters don’t all rush to voice agreement), but he was also the character in OBJECTIVE, BURMA! who advocated extermination of the Japanese. Is there any race on Earth who haven’t been threatened with extermination by Henry Hull? I guess English werewolves get a free pass.

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Hume Cronyn is lovely, however it should be observed that his cockney accent is among the worst on record. Dick Van Dyke is a regular Meryl Streep by comparison. Since Cronyn was so good in SHADOW OF A DOUBT, and since he could undoubtedly adapt to many unlikely characters (see his sadistic gay prison warden in BRUTE FORCE for an eye-popping example), he must have seemed like a safe bet, but there are limits to his versatility. I’m surprised he couldn’t just mimic Hitch’s Leytonestone vowels. It took us ten minutes to decide if he was actually doing an accent, or was just suffering concussion or a head cold.

I was trying to work out what I’d seen Mary Anderson in, then I realised it was TO EACH HIS OWN, which is one of the greatest of all near-unknown Hollywood films of the ’40s, but in that one Mary is up against Olivia deHavilland in full Oscar-worthy rampancy, so she doesn’t have much chance of making an impression. Most of her best scenes also feature a very cute and talented child actor. She’s screwed. Nevertheless, Shadowplay salutes her!

No doubt due to the John Steinbeck influence, there’s plenty of “premature anti-fascism” to enjoy here, with Hodiak as the leftie hero who gets Bankhead’s back up, until she decides she likes a bit of rough, and he wins enough money from Hull to becomes a capitalist in his own right, which is probably a Hitchcock-Swerling addition.

Tallulah Bankhead is Tallulah Bankhead, which is fine by me. “Some of my best friends are women,” indeed!

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Canada Lee, an important figure in American film, gets little to do but cook, although the revelation that he’s an accomplished pickpocket is actually a relief, since it lifts him slightly from the status of token black or Uncle Tom. The most uncomfortable moment is right at the start, when Tallulah asks if Hodiak has seen anything “charcoal” floating in the water, meaning Lee. But that is, at least, in character for her.

Ironic that Hitch apparently never faced any difficulties from HUAC for making this seemingly rather leftwing film, but Lee was, essentially, blacklisted to death.

One thing that’s kind of good about the film, and complicates it out of straight war propaganda, is that all of the characters have good and bad points. Bankhead grumbles, but she sacrifices for the others whenever she has to. Everybody makes stupid mistakes, and not s0 stupid mistakes, in their reaction to the German. And Slezak’s German is given a genuine point of view, nauseating as it often is.

LIFEBOAT cost a lot to make, which disappointed 20th Century Fox: impressed by Hitch’s talk of “cutting in the camera,” Zanuck was expecting this single-set movie to be  quick job. But Hitch refused to shoot in the most seemingly efficient way (Shoot everything looking forward; then everything looking back; then left; then right), which drove Zanuck crazy. But looking at the movie, at the way the characters gradually become more bedraggled and filthy, it’s impossible to see how Hitch could have worked, save scene by scene, as is normal. Years later, Sidney Lumet would shoot 12 ANGRY MEN at high speed by basically filming each actor’s entire part in one go, but that could not be done on LIFEBOAT. As he had with Selznick, Hitch had held out a false promise of super-speed. His reputation for efficiency would only slowly be made in America.