Archive for Judy Garland

The Esther Blodgett Story

Posted in FILM, MUSIC with tags , , , , , , , , , , on December 31, 2021 by dcairns

George Cukor’s mutilated musical masterpiece A STAR IS BORN is so gorgeous it makes it hard to choose anything to watch afterwards — such an excess of beauty is hard to top. In the end we went for a Japanese movie, since the aesthetics seemed a good match, but THE MYSTERY OF EDOGAWA RAMPO proved unsatisfying by comparison.

William Wellman “originated” the story of A STAR IS BORN for the Gaynor-March version, but he kind of stole it from Cukor’s earlier WHAT PRICE HOLLYWOOD, so it seems only fair for Cukor to steal it back. You can argue that it’s a story of male fragility by the very macho Wellman (whose actress wife gave up her career for him): Norman Maine is relentlessly humiliated by his wife’s success, and when he kills himself she responds with self-abnegation: “Mrs. Norman Maine.” But even in the earlier version, though the co-dependent dynamic is clear, the thing doesn’t play as misogynistic or even particularly chauvinistic. And Cukor’s writer, Moss Hart, resolves the one glitch in the earlier version, where Lionel Stander’s press agent suddenly becomes a louse for one scene in order to drive our anti-hero back to drink. As played by Jack Carson in the musical, his behaviour is consistent throughout: he’s merely kicking a man when he’s down, Standard Operational Procedure in the studio system.

Festive Charles Bickford

Fiona did find the film overly long, with too many numbers, but this wasn’t Cukor’s fault. In Gavin Lambert’s interview book GC reports that, even as the studio was fussing that the movie was too long, they were adding the “Born in a Trunk” number, making it longer. Cukor had insisted he could “sweat out” twenty minutes via small trims, but this wasn’t allowed: whole scenes of character development got the chop.

So the restoration, which puts those scenes back, some of them as sepia-tinted stills, some as out-of-sync combinations of different outtakes, is way longer than Cukor ever intended it. A truer restoration would keep “Born in a Trunk” as an extra feature, and the film might play better, but that wasn’t an option back in 1983 when the restoration was done. And then again, that sequence is maybe the most stunning in the film —

(Sadly, Cukor died the night before he was scheduled to view test shots of the restoration.)

Stunning performances from James Mason and Judy Garland, as you’d expect, but more surprising, Cukor gets people like Jack Carson, Tommy Noonan and Grady Sutton to drop or modulate their usual schtick and approach sideways the portrayal of recognisable humans. It’s amazing to watch: like the moment in CLOSE ENCOUNTERS when Cary Guffey’s toys come to life.

Lambert praises this shot:

Cukor tells him it was essential, since there WAS NO BEACH HOUSE. Just a studio set and a beach location. Artful use of reflections helps sell the illusion. The sound design is also stunning here: as Judy sings, Mason heads into the surf. We expect her voice to grow more distant but remain audible: boldly, the filmmakers allow it to diminish until its being completely drowned by the waves, just cutting through a little in between each roar. Tremendously effective, and, like so much else in the film, atypical of the period.

I was interested in how tended to Cukor keep the various film director characters out of shot. The chap barking instructions to Mason from a boat is cut off at the neck. Garland’s auteurs are shadowy backviews. And then suddenly one of them is seen full-frontal, so I wondered if I were reading too much into Cukor’s stated tendency to “shoot the money.” But then there’s the movie-within-the-movie number with clusters of literally faceless suits, so I’m inclined to think there WAS a deeper plan.

A STAR IS BORN stars Dorothy Gale; Prof. Humbert Humbert; Wally Fay; Black MacDonald; Gus Esmond Jr.; Walt Spoon; Dr. Bulfinch; Sweetface; Coroner Wilbur Strong; Detective Dickens; The Dear One; Coffer; Big Bertha; Johnny Portugal; Wainscoat; and Og Oggilby.

filming and films

Posted in FILM with tags , , , , , , , , , , , , , , , , on September 10, 2019 by dcairns

I admit it, Mark Cousins’ collection of films & filming is better than mine.

August, 1970, Charles Walters on shooting SUMMER STOCK with Judy Garland: “I remember, at one point, I was on the boom and we were moving in for a giant close-up. Judy looked up with those great liquid eyes of hers and it was the most fantastic shot in the world. ‘Cut,’ I yelled, “Will somebody please hand me a towel, I’ve just come.’ Now that might be thought indelicate, but Judy loved that sort of foolishness. It really turned her on.”

May, 1969, Francis Ford Coppola on co-writing IS PARIS BURNING? (before Gore Vidal’s involvement): “Ray Stark said I could go to Paris and have a vacation with my wife because the writer then working on it was a man who was very ill, dying in fact. And these are the honest-to-God words used, my job was to assist that man and ‘if the pencil fell out of his hand, I was to pick it up.'”

July 1959, Shelley Winters on George Stevens: “George photographs what goes on in the air between people.”

October 1964, Sidney Lumet: “But in the early television days we were doing cuts as fast as a finger could move. John Frankenheimer, who was my AD, can bear me out: there was one sequence on a live show where John had 64 cues to give in a one-minute period. It was 23 cuts in a one-minute period, which is just about as fast as a switcher’s fingers can move, and John had three cues for each camera cut.”

June, 1970: Costa-Gavras on Z, which has a score by Mikis Theodorakis: “Theodorakis was already in prison, but I had some records of his which we adapted for the film soundtrack. […] We have just one short piece of original music for the picture. It is the scene with Jacques Perrin and the guy at the restaurant, where he is giving him the passport and the addresses, you can hear Theodorakis singing in the background. This piece was recorded on a miniature tape-recorder and smuggled out with his instructions on using it in the film.”

April, 1979, Philip Kaufman on the Dolby sound mix of INVASION OF THE BODY SNATCHERS: “And when we were doing the mix at Zoetrope, I just kept saying, ‘Pods eat birds. Just keep the birds down.’ I didn’t want the feeling that nature goes on while man is having his problems, because there is some suggestion in the film that everything is being transformed, that nothing is real anymore, that we are gradually going to lose. And that’s the sense of claustrophobia that I wanted to create. I mean the soundtrack is stylised and overdone and there are sounds that are bleeding in from the very beginning, that when you see it again you’ll recognize as either chimes or alien noises. […] Dolby was very excited by what we did with sound. Not just rolling stuff in its surroundings, but selectively beginning to creep sounds into the scenes. You know, we spent a lot of time determining what channel to place sounds. It’s a very expensive soundtrack, and Ben Burtt, who worked on STAR WARS did a lot of the sound effects and special sound effects.”

Nicholas Meyer: “They’re always looking for what is commercial, which I think proves how idiotic most people in the movie business are. Obviously there’s no such thing as commercial until something has made 50 million dollars. And since it is impossible to tell beforehand, it seems to me a waste of energy and you should concentrate on something which they never ask themselves, which is, ‘Do I like it?'”

And: “I came home one day and saw Martin Luther King standing on the balcony of the hotel and getting shot. I sat on my bed and was truly appalled by what I was seeing. And they took him to the hospital, and people were screaming, and there was blood, and suddenly all of this was interrupted by someone who says, ‘Miami for 25 dollars less.’ It’s preposterous, it’s George Orwell time. It scares the shit out of me. Television scares the shit out of me. […] It’s in your house. It’s this unblinking eye with its inexhaustible font of passivity, and it should be banned. No one should be allowed to have one. We should all go to the movies the way God intended.”

Brats

Posted in FILM with tags , , , , , , , , , , , , , , , , , , on June 25, 2018 by dcairns

As the days blur into one another at a film festival, so do the films. Even on our first day of viewing, I was astounded to hear Marcello Mastroianni in LA FORTUNA DI ESSERE DONNA (LUCKY TO BE A WOMAN, 1954) hum the main jazz tune from DAINAH LA METISSE (1931), which we’d just seen. But it may have been my imagination.

The unintended theme of Day 1 was jealousy: in one of the silent shorts, a child’s doll comes to creepy stop-motion life and follows a little girl on a weirdly adult date, eventually breaking it up by telepathically implanting a vision of the kids’ restaurant meal in the mind of the girl’s nanny. The film’s title, absent from the print, supplied the absent motivation: THE JEALOUS DOLL (1909).

DAINAH features a jealous husband and all Sophia Loren’s suitors in LA FORTUNA are fiercely competitive. And don’t even get me started on REVENGE OF THE CREATURE.

Day 2 (Sunday) began with THE BRAT (1931), a charming pre-code John Ford from the Fox season. Sally O’Neil is adorable in it, Alan Dineheart repulsive but very funny. Male juvenile Frank Albertson is a classic Ford pretty boy but more interesting than Jeffrey Hunter, say. This is the only Ford I’ve seen where it’s the guy who gets spanked. Lest anyone feel excluded, there’s also a knock-down, skirt-shredding catfight between O’Neil and Virginia Cherrill (the blind flower girl from CITY LIGHTS). Some have cited this film as the reason Ford isn’t known for his drawing-room comedies, but it has a lot going for it, including Fox’s typical striking sets and angles — it feels very storyboarded in places, but Ford keeps it alive by seemingly refusing rehearsal and including all the line flubs in the finished cut.

The theme for the day, starting with this one, might have been dysfucntional families, with Pickford’s grotesque but lovable clan in ROSITA rounding off a series also including Roberto Gavaldon’s Wellesian noir-western hybrid ROSAURO CASTRO (1950) — in which Pedro Armendariz’s corrupt town boss is brought down by a government prosecutor in a story with, shall we say, contemporary resonance — and even MEET ME IN ST. LOUIS, screened in a gorgeous Technicolor print. The sound cut out just before Judy & Margaret’s cakewalk, but was restored before we missed a note. Wham wham wham went our heartbeats.

FROM HELL IT CAME!

But Chaplin’s SHOULDER ARMS didn’t fit any particular theme, unless the family motif is covered by the presence of Charlie’s brother Sidney playing both his comrade-in-arms and, in heavy make-up, the Kaiser. This was shown in a unique tinted version, but never mind that — it turns out the SHOULDER ARMS we’ve been watching for the last, oh, hundred years, is composed entirely of out-takes and this, finally, is the authentic preferred version. The best of Charlie’s “it was all a dream” movies; there are almost no clever jokes — just audaciously dumb ones performed with incredible skill against a startling backdrop of total war (with sets by the great Charles D. Hall). He supplied prints free to veteran’s hospitals where it was projected on the ceiling for men too badly burned to sit upright. I can’t imagine how painful those laughs must have been.