Archive for Kevin McCarthy

The Home Film Festival

Posted in Dance, Fashion, FILM, MUSIC, Television with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on August 4, 2018 by dcairns

It was rainy last Sunday so I suggested we have our own film festival at home. Try it!

An eclectic program, decided at random. First I watched THE ORE RAIDERS, and blogged about it, then I popped on THE BLACK WINDMILL (1974), which always looked like awful tommyrot when on TV, but it’s Don Siegel therefore worth a try.Reader, THE BLACK WINDMILL is indeed awful tommyrot, but with impressive credits. TV pan-and-scan showings, which I recall seeing bits of, ruined it utterly — the pleasure is all in Siegel’s framing and blocking. Ousama Rawi, the former Mr. Rita Tushingham, shot it, beautifully — there’s some particularly nice anamorphic city lights. Antony Gibbs, of PETULIA and PERFORMANCE, cut it, less successfully than one might have hoped, though the neatest bit is a long take from a locked-off position as bad guys frame the hero with a nudie photo staged in his own bedroom. Roy Budd, of GET CARTER, provides a GET CARTER type score, with added tabla drums. Veteran costume designer Anthony Mendleson makes his leading man look ridiculous. I think there’s a good argument for leading men dressing conservatively, as Cary Grant suggested. They don’t date, and anyway, why would a spy dress like THIS?I suppose, in a crisis, he could always turn sideways and hide behind his necktie.

A distinguished cast includes cast includes Harry Palmer, Dr. Crippen, Empress Alexandra, Elizabeth Bathory, Sheik Abu Tahir and Maya the shapeshifter from Space 1999.

   

Fiona only joined that one midway, then insisted on some Bette Davis so we ran JEZEBEL, which we hadn’t seen in ages. I’ve often felt that the Germans in Hollywood had more racial sensitivity than native-born filmmakers, but although the black characters here all get bits of characterisation, and Eddie Anderson underplays for once, the movie never misses a chance at a cheap joke. When Henry Fonda says he feels haunted, wrinkled retainer Lew Paton stammers, “H-haunted?” in terror of spooks.

Still, the soapy story compels, and Bette is playing a perverse, willful, stroppy filly much like herself. She adored Wyler’s disciplinarian approach, and dialled down her excesses. When she reacts to the news that Fonda has married, her face registers a dozen emotions and calculations at lightning speed, subtly enough that you can believe smiling Margaret Lindsay doesn’t notice them, and visibly enough that you can see Fonda does.

Also great work from Richard Cromwell and, shockingly, George Brent, whose sleepy approach to acting here becomes electrifying when he’s given something of real interest to play. His character is supposed to be a dynamic old-school swashbuckler, and by playing it with indifference he actually adds a convincing edge to it. This guy is so dangerous because he doesn’t advertise it.

The cunning use of POV shots I noted in THE ORE RAIDERS is present here, as Bette, embracing Fonda, makes particular note of the stick he’s left by the door. All her behaviour in the ensuing scene is an attempt to provoke him into using it on her, which he refrains from, much to her disappointment. Did I mention Bette’s character is a touch perverse?

Co-writer John Huston was drafted in to direct a duel scene, and in a film full of smart grace notes, delivers one of the neatest, as the duellists take ten paces, clear out of frame and two puffs of smoke issue in from the edges of the screen, rendering the battle an abstraction, its outcome a mystery.

We followed this with another, contrasting Bette movie, LO SCOPONE SCIENTIFICO (1972), which I’ve tackled at greater length elsewhere. Let’s just say that, cast as a kind of monster-goddess, Bette again is playing a character remarkably like herself: indefatigable.

Short subject: PIE, PIE, BLACKBIRD with Nina Mae McKinney and the Nicholas Brothers when they were small. She does an adorable rasping trumpet honk thing with her voice, an orchestra plays inside a giant pie, and the Bros. dance so hard, everybody turns into a skeleton. Will, if anybody was going to cause that to happen, it would be them.

It’s very funny to me that the props man couldn’t find a child skeleton — there was, it would seem, little call for such items — so he’s removed the shin-bones of an adult to make it dance shorter. Incredible to think that young Harold performed all those moves without knees.

Then MIRAGE, based on regular Shadowplayer Daniel’s recent recommendation. Sixties Edward Dmytryk, when he’s supposed to be washed up, but there’s some interesting stuff afoot, not all of it pulling in the same direction, but still. Stars Atticus Finch, Felix Unger Oscar Madison, Anne Frank’s sister Margot, Willie Loman’s son Biff, Gaetano Proclo and Joe Patroni. Which is to say, Walter Matthau and George Kennedy are reunited after CHARADE, which was also scripted by Peter Stone, and Matthau and Jack Weston are together, prefiguring A NEW LEAF.

Stone’s script is witty as usual, perhaps too witty — there’s a good sense of Kafkaesque nightmare going on in the crazy amnesia/conspiracy plot, but you have Gregory Peck being all Gregory Peckory, stiff and bashful, and then making quips, and the sense of waking nightmare rather deserts one.

BUT —

Dmytryk, a former editor, has discovered direct cutting — he’s seen MARIENBAD, in fact — or maybe the previous year’s THE PAWNBROKER. As Peck thinks back on baffling recent events, or retrieves fragments of memory from his earlier, lost-time spell, we cut in hard to snippets of dialogue from earlier or brief flashes of action. Best of all is a subway scene where the sound of the train continues unabated over glimpses of Walter Abel falling out of a skyscraper. Then he cuts to a watermelon hitting the ground and bursting, something that’s only been mentioned earlier. It’s a non-diegetic watermelon, perhaps the first of its race.

It’s dazzling and disturbing and would still look pretty nifty in a modern film. What makes it sellable to the great public of 1964 is that the odd technique is tied directly to the plot gimmick. Anyway, it’s very nice indeed, and makes you realise how conservative most cutting still is. Given Dmytryk’s late-career wallowing in turgid airport novel stuff, I wish he’d enlivened his work with this kind of monkey business a lot more. For a guy who’d sold out, who had to shore up his sense of self-worth with spurious justifications, accomplishing a nice piece of work like this must have been some kind of relief.

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Things I read off the screen in Invasion of the Body Snatchers

Posted in FILM, Politics with tags , , , , , , on June 8, 2017 by dcairns

I hadn’t watched Don Siegel’s original INVASION for years — no, decades! And I can’t think why — I always preferred the Philip Kaufman remake, it’s true — check out the Arrow Blu-Ray for my article on that — but had only seen the original in pan-and-scan, then got hold of the widescreen edition, then failed to watch it, like a fool.

Now I’ve watched it! How excellent it is, and how ahead of its time, even with the tacked-on bookends and VO. I was watching it and I could sort of see the original, bleaker version THROUGH the re-edit, and it damn well nearly moved me to tears. Apparently the original cut does exist, so it’s monstrous that nobody seems to have released a dual edition. Still, if you were watching this in 1956, seeing love blossom between divorcees Kevin McCarthy and Dana Wynter only for the latter to get pod-personned out of existence would be pretty tough and shocking. It still is. Being more sentimental than I was as a teen, it really got to me, and I could appreciate how well set-up we are for that moment.

(Though, come to think of it, Dana’s conversion in a cavern doesn’t follow the pattern elsewhere — no pod in sight, and her doppelganger has somehow got all her clothes. The VO even tries to bodge this by saying her body’s been taken over, but that’s not what happens. That’s INVADERS FROM MARS you’re thinking of, Mr. Anonymous V.O. Writer. Haven’t you been watching?)

FOR FIRE ONLY. Alien creatures like THE THING FROM ANOTHER WORLD are always vulnerable to fire. Later, Kevin will torch a couple of pods in the road.

ETAVIRP. The PRIVATE sign on Kevin’s door features A LOT, usually reversed. It symbolizes his individuality and his belief in personal freedom, also his all-important ability to lock himself in and the pod people out, which is critical later.

Save $1.25 FLINT-WARE. Dana Wynter’s character, who loves to cook, is positioned next to signs of domesticity. WIN A VALUABLE PRIZE! Kevin is in with a chance, or would be if this were a different kind of movie. But the advertising has a more sinister significance. Kevin McCarthy, in later interviews, says he saw the pod people as being like Madison Avenue men — harbingers of conformity, pushing a product. We see them arranging its distribution. Every home should have one! And they TALK like salesmen, stressing the necessity of their product. Once you have it, you won’t be able to imagine how you ever got along without it…

The prints on the wall may represent local author King Donovan’s book jackets, I’m not sure. CHAT BLANC (WHITE CAT). MIRROR NOIRE (BLACK MIRROR). FEMME FATALE. The black mirror is particularly apt here, as King looks at his own unformed reflection on the pool table. Femme fatale is of course what Dana will become. Not sure about the white cat, unless that’s what she presently is. In which case, reading from left to right we can chart her progress from innocent kitten (Alice’s cat, Dinah), through the looking glass black mirror, emerging as a fatal woman, possibly the Queen of Hearts.

LUBRICATION of the body-snatchers! Easing their penetration of society, I guess. Dunno what VEEDOL is, but we’re told it’s PREMIUM QUALITY 100% PENNSYLVANIA, which has a sinister ring to it.

UNION. My favourite! As the pod people gather to arrange their further dissemination. If you want to read them as communists, here’s your evidence.

RICHFIELD GUARANTEED BEST. More advertising hyperbole. The rich field calls to mind the seed pods, the agricultural nature of this evil. Pod people start out in the country, take over the small towns, then assail the cities. Which, as we’ve seen more recently, is true.

Contemporary audiences may also have been surprised by the partially-formed Wynter pod’s nipples (top). The censor’s rules are more complicated than I ever suspected. There’s the little-known Annabella doctrine dealing with small, French breasts, and now it turns out that the nipples of a pod person are acceptable as long as they’re not fully-formed and she hasn’t come to life yet. A loophole few other filmmakers were able to take advantage of.

 

“You’re next!”

Posted in FILM with tags , , on September 13, 2010 by dcairns

Despite possessing a morbid streak as wide as William Conrad, I don’t usually do obituaries here. Perhaps because I try to ration myself to one blog post a day (and I sometimes fail), and so any unexpected news items like the recent passing of the great Claude Chabrol kind of put me off my stride if I attempt to memorialize them. Perhaps because, if you mention one noted departure, you have to mention them all, and I hate the way the Oscars have that role-call of the dead that always manages to slight some unforgettable talent.

But, morbid as I am, I couldn’t very well miss the chance to head an obituary with the words “You’re next!” And Kevin McCarthy, who has passed away at aged 96, was a superb talent and an always-welcome presence on our screens. I last saw him in 2007’s TRAIL OF THE SCREAMING FOREHEAD, happily playing off his association with INVASION OF THE BODY SNATCHERS, his first real classic movie role. Despite having this gigantically iconic performance in his resumé, and despite referencing it a few times, notably by appearing in Philip Kaufman’s excellent remake, he was much more than that single, beautifully modulated perf: his long association with Joe Dante (INNERSPACE is probably my favourite example from that collaboration) showed him to have a real gift for comedy. In this age of mass-produced pod people entertainers, he was an original.