Archive for Laurence Olivier

The Shakespeare Sunday Intertitle: You cataracts and hurricanoes!

Posted in FILM, Television, Theatre with tags , , , , , , , on July 23, 2017 by dcairns

Last week’s intertitle from an Italian KING LEAR of 1910 was in English, so it makes just as much sense that this week’s, from 1909 American adaptation of the same play, is in German.

An interesting contrast, in other ways: while the Italians enacted their arm-waving al fresco, the American film is wholly studio-bound. Though even shorter than the Italian abridgement, it packs in more of the plot, so we get Gloucester and his sons in their subplot, complete with sleight-of-hand blinding. And this one rightly considers the storm a key set-piece, something you can’t just leave out and replace with your lead actor talking to  a rock. They break out the special effects kit to give us interior rain and lightning-bolts. In this case, the SFX equipment seems to consist of a wire brush to produce multiple diagonal scratches on the negative (rain) and a scalpel to etch in little S.S. style symbols (lightning). The backdrop also lights up from behind, and the FX “team” seems to change their style of thunderbolt as the film goes on. The top image shows a long, thin fellow zapping in from top right, whereas the frame-grab below has a chubby little fellow aiming right at Lear’s head (well, he did ask for it).

Oddly, the interior filming makes this one seem a lot less sophisticated than last week’s. Even the beards are inferior. Maybe it’s just that transferring a play to scenic settings feels more “cinematic” than doing it on cheap sets? If so, that’s really just an illusion.

The megalithic backdrops put me in mind of the Granada TV version with Olivier, whose Stonehenge chic look always seemed rather kitsch. I slightly prefer the Elizabethan approach of Jonathan Miller’s rival BBC production, but both approaches unavoidably raise questions, since Shakespeare is never consistent about period (bad Shakespeare!). Maybe the best way to build a world for Lear would be a mix-and-match design.

William V. Ranous stars and co-directs with J. Stuart Blackton. The IMDb credits are wondrously woolly, with two Gonerils and two Regans credited and one woman playing both. Thomas H. Ince and Maurice Costello are supposed to be in it too, but we don’t know what as.

Google translates:

Because Gloster helped the King Lear, his eyes were cut off and he was driven away.
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The Sunday Intertitle: Burning Blue Soul

Posted in FILM with tags , , , on March 5, 2017 by dcairns

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Finally watched all of William Wyler’s THE STOLEN RANCH, which I mentioned a while back.

Wyler’s claim that, during his days churning out B-westerns, he spent sleepless nights trying to think up new ways of showing a man getting on and off a horse, is borne out slightly by this one — particularly when the hero mounts his steed with an impressive sideways leap that almost topples the poor creature ~

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The story is pretty childish, dependent on the villains conducting all their covert business in a room adjoining the kitchen where they KNOW the hero works. Everything is overheard, and without the need for a “wire tapp.”

Faced with such generic and fatuous material, and probably a pretty tight schedule, Wyler does pull off a few nice angles, particularly when he makes use of the actors’ dorsal views — it’s something he continued to exploit in later films — CARRIE springs to mind (not the Spacek) where he exploits Olivier’s ability to express strong emotion with his back to the camera. The intense relationship between two men which SHOULD be at the heart of the story is swiftly diverted by the addition of twin romantic interests (and the obligatory, unconvincing misunderstanding), but not before we’ve had this ~

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And the Oscar goes to…

Posted in FILM, Television with tags , , , , , , , on February 27, 2017 by dcairns

3000

For a moment there I was feeling a good deal of sympathy for Warren Beatty. As he said, he was handed the wrong envelope. Finding a card saying “Emma Stone, LA LA LAND” he was understandably nonplussed. Had he looked at the ENVELOPE, it would have been clear what had happened, but in the heat of the moment, it’s understandable that he froze and didn’t think to do that.

Except that won’t quite do, because the card doesn’t just say “Emma Stone, LA LA LAND” it also says “Best Actress” or “Best Actress in a Leading Role” or something. Which means it might as well have said “This is the Wrong Card.” Which would be a surprising thing to read, but not actually a confusing one. You might be thrown by it, but you wouldn’t hand the card over to Faye Dunaway to read out.

I don’t blame Faye, who must have thought Warren had lost it, taking so long to read the damn card. So that when she got a look at it, she thought time was of the essence and blurted out the name of the film printed there.

The same thing ALMOST happened in 1985.

Larry Olivier was given the job of presenting. He omitted to read the nominees’ names. Which caused a couple of the organizers a moment of panic — did Olivier read the name of the winner or did he just read the first name, alphabetically, on the list of nominees.

The organizers rushed up to him afterwards and asked him this. “I have absolutely no idea,” Sir Larry blinked. There was then, as I recall, some kind of CAR CHASE to find the only person who actually knew what was supposed to be in the envelope. It turned out that, by luck or good judgement, the right film won. And I think, actually, the best film of those nominated, which God knows is unusual enough