Archive for Jon Whiteley

Egg and his face

Posted in FILM with tags , , , , , , , on February 5, 2011 by dcairns

Jon Whiteley in HUNTED prepares to suck eggs.

John Cleese, while working with Charles Crichton (either on A FISH CALLED WANDA or on one of the corporate training films they made together) once asked his director, “Were you the best director at Ealing?”

“No,” said Charlie. “Sandy [Mackendrick] was the best. I was the second best.”

HUNTED, starring young Whiteley and Dirk Bogarde, ably demonstrates Crichton’s skills — it’s beautifully shot and cut. Unfortunately, the script seems, well, unfinished — the tale of a criminal who takes a runaway boy with him as he tries to flee justice, it never produces a satisfactory explanation for why Dirk drags Jon along for the journey in the first place, and leaves us with a frustrating uncertainty as to the final outcome. Along the way, there’s terrific acting from the principles, and some terrific scenes.

Poor Dirk must have had a tough time — filming with a kid, and in Scotland, to boot. (Dirk was raised in Glasgow, and detested it.)

The highlight is Whiteley, in his debut role. He won the Oscar the next year for the second of his five films, THE KIDNAPPERS. He’s fantastically natural, with a serious, mournful air — the solemnity that makes him so funny in THE KIDNAPPERS and so moving in Fritz Lang’s MOONFLEET. But his best moments are obviously not acting at all, they’re just kid behaviour captured by a patient and prepared filmmaker.

Piercing his egg with a twig, little Jon almost loses it completely. Like most wee boys, he’s thrilled by mess, so the sudden sensation of exposed yolk/yuck places him in a helpless state of hilarity, mingled with a frisson of horror. “WHAT NOW?” his face signals, contorting itself in a fast-moving flickbook of emotion.

The other great bit is laughing and eating — again, impossible for this to be acted. Strangely exhilarating to watch.

A fish called supper.

In real life, kids’ faces move about all the time, as if attempting break loose from their skulls and run amok. And in real life, people’s faces sometimes move in more extreme ways than movie actors allow. Actors learn restraint, and to stop waggling their eyebrows, and generally they also lose the wonderful unselfconscious writhing, puffing and grimacing of the untutored countenance.

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Albert Whitlock’s Edinburgh

Posted in FILM with tags , , , , , , , , , , , , , , , , , on December 27, 2010 by dcairns

Looking down on an artificial Greyfriars Kirk, with an artificial Castle behind it.

To entertain Fiona’s brother, Roddy, we screened Disney’s GREYFRIARS BOBBY: THE TRUE STORY OF A DOG, and wound up being hugely entertained ourselves. A surprisingly sophisticated, authentic and somewhat dark tale, it takes liberties with the historical record but serves up a rather neat tale. Don Chaffey directed, and the cast included Lawrence Naismith, one of Chaffey’s original Argonauts, as well as Donald Crisp, the bloke who bludgeoned Lillian Gish to death in BROKEN BLOSSOMS, and the face at the window that terrified Buster Keaton in THE NAVIGATOR. Both gents were superb.

The titular dog (given the Val Lewton treatment here) runs away from Gordon Jackson’s farm to follow his master, an aging crofter (Alex MacKenzie, THE MAGGIE, wonderfully moving) to Edinburgh. A city of torrential rain and loud drunks, then as now. The whole first act is watching this simple old man die, refusing a doctor. Impressively dour stuff for a family show. When MacKenzie’s buried, the dog refuses to leave his grave at night, and gradually the two old men who have tried to make Bobby behave like a normal domestic animal give in and help him to achieve his own lifestyle choice. For the dog is just as stubborn and difficult (in Scots we say “thrawn”) as his master was.

Kids appear, of course, played by the future editor of Paris Vogue, Joan Juliet Buck, and the talented Vincent Winter, who won a special Oscar for his role in THE KIDNAPPERS. Special Oscars were for children, cripples, and black people, you see. Winter’s co-star and co-winner, Jon Whiteley, went on to star in Fritz Lang’s MOONFLEET and Roy Ward Baker’s THE SPANISH GARDNER. THE KIDNAPPERS is a fantastically charming affair, with one of the worst soundtracks I’ve ever heard, an insistent barrage of inappropriate noise (hang your head, Bruce Montgomery), whereas GB:TTSOAD has a lovely score by Francis Chagrin, possibly his career high point.

The artificial Grassmarket viewed from the artificial Cowgate.

And I love imaginary landscapes, so I was delighted to see my home city turned into a series of them, courtesy of Albert Whitlock’s matte paintings. Very much an authentic portrayal of the 19th-century capital: it was even disappointing when they used an occasional location shot. The matte paintings are augmented by Michael Stringer’s stylised sets, which use forced perspective and big backdrops and are thoroughly charming. He even builds a convincing replica of Greyfriars Kirkyard, the original of which can be seen here. I immediately looked him up to see what else he’d done, and found A SHOT IN THE DARK. I have fond memories of Herbert Lom’s office in that one, with a view out the window of a miniature Paris. This is one of the benefits of being a Parisian police chief: they give you a miniature city, so you can step out the window and rampage like Kong, or just tower over it all like Fantomas. It’s a wonder Lom’s so frustrated when his job comes with a perk like that.

This angle delights me because, even though there’s no reason for it to be a painting, it is.

There was a recent version of the tale, not an official remake but another riff off the historical account, and my costume designer friend from CRY FOR BOBO, Ali Mitchell, worked on it. When she saw John Landis’s BURKE AND HARE recently she was able to spot much of the same costumery hired for BOBBY, and a few things she’d had made herself. I like spotting props and stuff reappearing in different films, but I’m not expert enough to identify costumes, normally — except all the FORBIDDEN PLANET gear that gets reused in QUEEN OF OUTER SPACE and a dozen other B-flicks.

Buy the original for your kids (better quality than my frame-grabs) ~

UK: Greyfriars Bobby [DVD] [1960]

USA: Greyfriars Bobby