Archive for Le Corbeau

French Farce

Posted in FILM, MUSIC, Painting, Radio, Television with tags , , , , , , , , , , , , , , , , , , , , , on November 25, 2014 by dcairns

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Things done –

Pere Lachaise Cemetery – people kept asking me if I knew where Jim Morrison was, but I was avoiding him. Also Edith Piaf. The only famous person I met was Ticky Holgado, whose terrifying sepulchre, depicted above, evokes the awe and horror of death better than any of the more tasteful tombs.

Charcuterie. With two ex-students: one is working as a nanny and being bitten all over by small children while pursuing her documentary career, the other was attending a fantastique film fest (but they weren’t showing LET US PREY so I’m safe).

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Coffee at the Hotel du Nord, from the film of the same name, avec Phoebe Green, who sometimes appears in these pages as La Faustin, and who was our translator on NATAN. You can’t get a view of the hotel through the bridge as Marcel Carne manages in his film — having rebuilt the whole neighbourhood in the studio he could shuffle things around, lose a few trees, and arrange things to the camera’s advantage.

Lunch at the Cinematheque – boeuf bourgignon where I bought many postcards, also some awesome KING KONG flipbooks. It’s quite something to have Kong waving his arms about in the palm of your hand.

There’s a lovely Truffaut exhibition on just now, with letters and photos and other souvenirs – not the Jeanne Moreau letters, she’s sitting on those – and it was a chance to nod sadly at the image of Marie Dubois, one of our recent departures for realms unknown. Truffaut ought to feature in the Late Movies Blogathon, come to think of it – I have a soft spot for VIVEMENT DIMANCHE! And THE GREEN ROOM is one of the most apt late films of all.

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Truffaut’s boyhood notebook — LE CORBEAU, he recorded later, was the first film he saw twice. But what caught my eye, of course, was the Pathe-Natan LE MISERABLES, which must have been on its post-war re-release, hopefully with the Jewish names restored to the credits which were removed under the Nazis.

St. Sulpice, a large church featuring some impenetrably dark works by Delacroix.

Many many bookshops, where my inability to read French prevented me from making many an extravagant purchase, like the giant book of stereoscopic images of diabolical tableaux – little dioramas with miniature imps and demons frozen in the act of cavorting with pitchforks and other accoutrements — co-authored by Brian May of Queen. The kind of book one SHOULD own. But I couldn’t walk away from the little pamphlet by Samson Raphaelson, his memoir of working with Lubitsch. It was only four euros, and reading the first few sentences I was pleased to discover that my schoolboy French did not leave me wholly in the dark. Actually, I need to modify the expression “schoolboy French” lest I be seen to traduce the educational system. Some qualifier like “concussed schoolboy French” or “sleeping schoolboy French” gives you a better idea.

Now, since I need to see a movie, obviously, and I need a movie I have a chance of understanding, preferably, I have been drawn to the Cinema Desperado, whose Romy Schneider season is featuring WHAT’S NEW PUSSYCAT. I’ve never actually seen the whole thing. TV versions were always pan-and-scanned and just TOO SMALL to allow Richard Williams’ elaborate titles to be enjoyed… the documentary series Hollywood UK more or less accused this film of ruining British cinema, since it led to the excesses of CASINO ROYALE and the belief that throwing enough gaily coloured, fashionable shit at the screen would be enough to attract and keep an audience. And I have a complex, mostly abusive relationship with the works of Clive Donner, though it’s never been entirely clear whether it’s abusing me or I’m abusing it. Here goes nothing…

(Typed at 17:41 in a café with no internet.)

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Later – well that was highly enjoyable. Can’t remember the last 35mm projection I saw – probably THE BOFORS GUN at EIFF. The cinema belongs to Jean-Pierre Mocky and shows all his films, a different one every day.

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The film is a hot mess, as expected, but there are very funny, silly bits, and some clever bits too. The editing is all over the place – continuity is appalling, but that is sometimes evidence of a cutter following the rhythms, or creating them, and saying the hell with making stuff match. But there are clear signs of whole sequences having been moved about on a whim (probably that of increasingly erratic producer Charles K. Feldman), characters show up out of the blue (not Ursula Andress, who does so literally, as a deliberate gag, but people like the bomb-throwing anarchist, who the script must have intended to set up earlier as Paula Prentiss’s boyfriend), and Paula Prentiss’s early scenes appear to have been set upon with a meat cleaver – the conversations have been hacked into nonsensical soundbites, set-ups for gags that never come or punchlines to gags never set up.

Fortunately, Peter O’Toole is usually able to find his way through a scene if it’s allowed to proceed in sequence, dragging co-stars behind him, and Peter Sellers augments the best lines of Woody Allen’s script with nonsense of his own (therapist Fritz Fassbender curses upon soaking his thighs with petrol: “Geschplund!” A straight Goon Show quote if ever there was one).

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It’s a shame about the messiness because feckless dithering in the control room is the last thing a tight farce needs, and there’s some evidence that Allen had constructed such a farce. The idea is a sound one – a shameless philanderer decides to get married and be faithful, and suddenly he’s besieged by beautiful women. Capucine’s nymphomaniac Mrs. LeFevre is possibly the funniest actor in the film, despite not getting any actual jokes. She just has beautiful timing and emphasis, and makes the other actors funnier in turn (Sellers: “You look ravishing in zat whistle”). The colossal beach whore from EIGHT AND A HALF, dressed as a Valkyrie, is also good value.

The whole cast gets assembled for a climax at a country hotel, with a rampant Andress in dropping into O’Toole’s lap from the heavens (“I yam a paris-chew-diss!”), stripping off her aviatrix jumpsuit to reveal a seductress jumpsuit underneath, then ditching that too. Oddly, despite the crummy continuity, Andress running through the hotel in her undies always has her undies disarrayed the same way from shot to shot, left butt cheek bulging out.

Disappointingly, after scene after scene of stunningly beautiful, chic Parisian sets by Richard Sylbert, the hotel is mostly a dowdy location, and rather than giving us a satisfactory conclusion there’s mere chaos, and O’Toole getting nagged by his new bride at the fade-out. Still, as she accuses him of looking at another woman (Francoise Hardy!), O’Toole enunciates acidly: “I *had* to look at her, she was *speaking* to me. I Turned in the Direction of the Sound.”

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Black Forest Gateau

Posted in FILM, literature with tags , , , , , , , , , , , on May 26, 2010 by dcairns

Or do I mean “chateau”?

Duvivier time! LA CHAMBRE ARDENTE — THE BURNING COURT — from a novel by John Dickson Carr, master of the locked room mystery — has very little reputation, and it doesn’t quite gel in a plot-character-theme way, but it has some set-piece scenes that are as fine as anything in JD’s oeuvre (French for egg) — a misty nocturnal exhumation; an open casket funeral with guests waltzing round the deceased; an arboreal chase scene. Working with usual collaborator Charles Spaak, JD unpicks much of Carr’s plotting, and the impossible crime at the story’s centre (a figure in period dress is seen administering a fatal glass of eggnog before vanishing through a wall) is actually pretty easy to guess a solution to — but the film’s ending is still a dark surprise. A few characters do seem to be cut adrift by the narrative reworking, with a bland pipe-smoking hero particularly useless to the story.

The film this most resembles is Franju’s PLEINS FEUX SUR L’ASSASSIN, with its ancient country house setting, historical murder backstory, hints of the supernatural. Duvivier even has regular Franju collab Edith Scob on hand, lending her masklike beauty to the eerie going-on, along with the glamorous Nadja Tiller and the always-welcome spannerlike face of Helena Manson, a nasty nurse in Clouzot’s LE CORBEAU.

Curious parties are recommended to Carr’s The Hollow Man AKA The Three Coffins, which features two impossible crimes, one of which has a dazzlingly brilliant solution, and also a chapter in which overweight ‘tec Dr. Gideon Fell lays out all the possible solutions to the locked-room genre, simultaneously thrusting the answers to the mysteries at hand under our noses, and whisking them away before we figure things out.

Here are some of Carr’s crimes —

In The Hollow Man, witnesses in a snowy street hear a cry of “The next bullet is for you!” followed by a gunshot. Turning, they find a man slain in the middle of the road, a pistol lying some distance from the body. Nobody else is around, and no footprints except the victim’s are found in the snow, yet examination shows he was shot at extremely close range…

In The Sleeping Sphinx, I think it is, a crypt is found where tremendously heavy coffins have been moved about at random, and no footprints mar the smooth sand on the floor. This mystery has little to do with any crime, but it’s fun.

There’s one in which a curse predicts that a man will be stabbed with an awl. He turns up dead, a small round puncture wound in his body, no visible weapon, and he’s in a locked room with only a metal grille offer any access to the outside world, and the grille is too high for the victim to have reached…

In The Judas Window, a luckless hero is found unconscious with a dead man who’s been impaled through the chest by a crossbow bolt, seemingly from a high angle. Locked room. No accessible windows, hidden doors or usable chimney. Although the title is a clue.

Can you find the solutions? Everything is as I’ve told you, pretty much, with no secret entrances or supernatural gimmicks.

Vital titles

Posted in FILM with tags , , , , , , , , , , , on January 2, 2009 by dcairns

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The ’30s was a GOLDEN AGE of titles, I tells ya! And that goes for logos too.

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Continental films is probably the most infamous of these, since they were a German company set up in Paris during the occupation. Filmmakers like Marcel L’Herbier and Maurice Tourneur made films there — while Tourneur’s son Jacques was making movies in Hollywood — but they were never political. Goebbels had said that French movies “should be light-hearted, frivolous and, if possible, stupid,” which suggests that he really missed his vocation as a Hollywood studio executive (a stressful job, but if it all goes wrong you can “return to your roots in community theater” rather than feeding cyanide to the wife and kids). All the filmmakers who worked at Continental were tainted by the connection to Germany, although they were no more guilty of collaboration than anyone whose work aided the economy — most of them felt they were struggling not only for their own survival, but to keep French film-making alive. See Bertrand Tavernier’s marvellous and funny LAISSER-PASSEZ for more details.

The biggest scandal was caused by Clouzot’s LE CORBEAU, of course. A tale of a poison-pen letter campaign in a small town, it was actually hated by the Germans, since it made anonymous denunciation look like a bad thing (although the S.S. were receiving so many anonymous tip-offs from the French citizenry, they couldn’t even investigate them all). London Radio pronounced a death sentence on Clouzot for this unpatriotic movie. After the war, as the denunciations continued, this time for collaboration (if you had annoying neighbours, the occupation and its aftermath was a golden opportunity to be rid of them) and LE CORBEAU was banned, with its director receiving a lifetime ban from film-making. This was later commuted to five years, and within three, Clouzot was back, with MANON — which is even more savage. “I directed it with my whole heart,” said Clouzot.