Archive for Kubrick

Gold off Naples

Posted in FILM with tags , , , , , , , , , , , , , , on May 6, 2021 by dcairns

In DR STRANGELOVE, Peter Sellers is getting at least some of his vocal inflections from Kubrick when he plays Merkin Muffley, and in TOM THUMB he’s doing George Pal. The third in the trinity of directorial impersonations is AFTER THE FOX, where he reportedly patterned his performance as Italian master criminal Aldo “the Fox” Vanucci on Vittorio De Sica, who he’d already acted alongside in THE MILLIONAIRESS.

It makes sense, when cast as an Italian, to have an actual Italian as model, especially if that Italian is going to be close at hand. And especially since your character masquerades as a great Italian film director. But the movie’s self-referencing doesn’t end there. Vanucci plans to smuggle stolen gold into Italy under cover of a fake film shoot — a film about smuggling gold into Italy — so he enlists real movie star Victor Mature, playing fictional movie star Tony Powell (but with a clip of Mature in Jacques Tourneur’s EASY LIVING to illustrate his career). Mature, who had been semi-retired from the screen, evidently found the experience as invigorating as his character does. It’s quite an early case of an actor sending themselves up with vicious glee, and Mature is not only a good sport but a proficient farceur.

Oh, the title of the fake movie (below) is a broad reference to an earlier, real De Sica film.

And here’s De Sica as himself, directing a movie. Rather excellent gag where a fake sandstorm is produced for the scene, and when the storm dies down, all the equipment has been stolen. This fake movie the real director is making stars another real director, John Huston, but confusingly/hilariously, he’s not played by John Huston. Maybe they’d assumed that Huston, like De Sica a serious gambler, would need the money and agree to play himself playing Moses. Bizarrely, he eventually did play a different Lawgiver in BATTLE FOR THE PLANET OF THE APES.

And is it a reference to Italian movie dubbing when Akim Tamiroff (whose presence in caper movies seemed to be de rigeur — OCEAN’S ELEVEN, TOPKAPI) is lip-synched by Maria Grazia Buccella? It’s quite funny, anyway.

Neil Simon, who scripted, reckoned that the film was only fair, and that there was more funny stuff on a cutting room floor in Rome somewhere (including Sellers disguised as a Beatle). But, going into it with low expectations — I’d seen it once, years ago, and hadn’t laughed much, and we watched the other De Sica-Sellers collaboration, WOMAN TIMES SEVEN, and didn’t laugh at all — we actually found it very enjoyable indeed. It doesn’t really have a second act, just a bunch of stuff, but it has one of the best closing lines in history.

OK, maybe not top ten best end lines, but top hundred. I like it because it destroys the reality of what we’ve been watching, it FORCES THE FILM TO STOP.

AFTER THE FOX stars Pearly Gates; Samson; Goodnight; Det. Milton Arbogast; ‘Uncle’ Joe Grandi; Pope Alexander III; Nero Wolfe; Lucrezia Borgia; Professor Henry Harrington; Kreacher; Baron Fabrizio Donati; Sgt. ‘Muscles’ Dunn; Capannelle; and Fran Garland (archive footage).

Negging

Posted in FILM with tags , , on July 29, 2020 by dcairns

vlcsnap-2020-07-29-12h51m48s873Neg Sparkle 12 at The Chiseler.

The Sunday Intertitle: Nightie swimming

Posted in FILM, literature, Politics with tags , , , , , , , , , , on March 15, 2020 by dcairns

The Mating Call from David Cairns on Vimeo.

THE MATING CALL (1928) is directed by James Cruze, whose films, though not often great, are agreeably peculiar. THE GREAT GABBO would be a terribly good example here.

This one is produced by Howard Hughes and was controversial, not for its Ku Klux Klan storyline, but for its nude scene by René Adorée (why do I say “by,” as if she authored it?). It’s pretty startling — frame grabs of my copy don’t work in terms of showing what the moving images so clearly displays. Let’s just say it wouldn’t have the effect it does if RA were not so clearly brunette.

Hughes was known to use the N-word regularly, and the depiction of the Klan (or “clan” — they’re not 100% identical to the real deal but the deniability is minimal) is as a bunch of vigilantes keeping erring townsfolk — drunks and wifebeaters — on the straight and narrow by terrorizing them. Or, in one particularly recalcitrant case, tying the perp to a cross and bullwhipping him. The race angle is largely absent.

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The climax is typical of Hollywood vigilante movies — they get the wrong man, the hero, and tragedy looms. Kubrick, talking about why his humble narrator in A CLOCKWORK ORANGE had to be so very wicked, told Michel Ciment that vigilante movies always got it wrong by focussing on the danger of punishing the wrong man (THE OX-BOW INCIDENT, an excellent film, is the best example). But everybody always assumes they have the right man, and everybody knows the law makes mistakes too, so this argument wouldn’t ever sway a torch-burning mob. The argument should be about the wrongness of ex-judiciary punishment.

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The movie, based on a Rex Beach source novel, ends with the vigilantes and cops faking evidence together to ensure a “just” outcome, making this probably the second most repellant Klan-based movie in Hollywood history. Apart from the nude scene. Although the general sexing-up of the issues involved calls to mind Terence Young’s gross THE KLANSMAN.