Archive for Kubrick

Napster

Posted in FILM with tags , , , , , , , on November 25, 2016 by dcairns

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Abel Gance’s NAPOLEON gives us five-and-a-half hours on France’s smartest, bravest, sexiest, tallest man.

I’m not sure if star Albert Dieudonné was actually tall — in one of two shots there are other actors who out-heighten him. But more often, Gance gives him screen prominence that makes him seem to tower over his surroundings, and his bony, sharp features and slender frame create an impression more of tallness than its opposite. Basically, nothing about him really evokes the historical figure he impersonates, but like Chaplin, Napoleon can be reduced to a hat and a stance, and so anybody can stand in for him.

Dieudonné’s great advantage is his intensity, which he seems to carry with him at all times and which makes itself felt even if he just sits there. You believe he must be a military genius because of his presence and how Gance frames him. Kubrick believed Jack Nicholson would make a good Napoleon because he felt intelligence was the one quality that can’t be acted. I’m not sure that’s true. If the actor is bright enough to understand something, they can play the person who invented it. While there are certainly cases like Denise Richardson playing a nuclear physicist which seem to insult OUR intelligence, for the most part, a moderately sentient thespian can play a brainbox by hard work. John Huston was ultimately impressed by the way Montgomery Clift convinced us in FREUD that he was having original thoughts, when in fact the poor man’s brain was basically burned out. What convinces us of genius is the one quality Nicholson and Dieudonné both share — that mysterious quality called presence.

 

The Art of War

Posted in FILM with tags , , , on November 22, 2016 by dcairns

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I feel like I’m cautiously circling NAPOLEON, nibbling off tiny bits here and there. Like a man with a scary cake.

Kubrick was pretty dismissive of the film in The Film Director as Superstar – “as far as story and performance goes it’s a very crude picture.” He praises the filmmaking more in the Michel Ciment book, but still says it’s disastrous as a portrait of Napoleon Bonaparte. It feels like when Kubrick watched films for research he still approached them like an audience member looking to be entertained, not as a filmmaker looking at craft. Arthur C. Clarke got him to watch THINGS TO COME in prep for 2001 and Kubes’ reaction was “I’m never watching a movie you recommend again!” I would have thought the film would have been diverting on technical grounds, at least.

My theory relates to animated maps. Kubrick seems to have been particularly keen on rendering Napoleon’s genius as a strategist, which is why he needed 40,000 extras to play the various armies, but also why he wanted to be able to show figures on a map, large troop movements in a kind of stylised time-lapse. So I can see why he would have been appalled by Abel Gance’s rather different approach.

Albert Dieudonne as Napoleon looks at a map…

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And his eyes BLINK ON AND OFF. And we see flashes, diagrams, sums, arcane symbols, superimposed war footage. A sort of blipvert montage of a brainstorm, suggesting that Napoleon is producing cogitations we mere mortals couldn’t possibly hope to understand, and which we shouldn’t worry our pretty little heads about. This black magic approach seeks to convince us of Bonaparte’s genius by baffling us with bullshit, whereas for Kubrick the whole challenge was to explain, to render comprehensible to us so we can grasp just how clever the Frenchman was.

I can agree that Kubrick’s explicatory approach, if that’s the result you’re after, was superior. But then, he never made the film, did he?

Moon Landings Faked by Georges Melies

Posted in FILM, Politics, Science with tags , , , , on April 4, 2016 by dcairns

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I didn’t want to post this on April 1st because you wouldn’t believe me.

But think about it — it CAN’T can’t have been Kubrick — the camera never moves. I think we can assume that SK, deprived of the ability to do long, fluid tracking shots, would have gone hand-held, as he did for the Tycho monolith sequence in 2001.

If not Melies, who died in 1938, presenting some difficulties for the conspiracy theorist (but his death was faked too) I think Robert Bresson would have been a good option. Or, since the Americans had a tendency to hoover up left-over Nazi talent, maybe Leni Riefenstahl? She was adept at staging documentaries and she wasn’t exactly busy after WWII. It would have been easy to swear her to secrecy — she was unpopular enough already. I’m proposing a sort of cinematic version of Operation Paperclip here.

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The moon landing fakery theories originated in a book by a technical writer employed by a company called Rocketdyne, which serviced NASA. The author knew nothing about rocketry himself. His self-published crackpot theories were first taken up by the Flat Earth Society, which you should bear in mind. I think a more interesting theory could be spun out of the tenuous connections between Rocketdyne, which merged with Aerojet, and Aerojet’s co-founder, Jack Parsons. It’s not a good conspiracy theory if it doesn’t involve Jack Parsons. Unless you can find another rocket scientist and Crowleyite sorcerer who died in a mysterious explosion, and good luck with that.