Archive for Leslie Norman

Good Faith

Posted in FILM, literature, MUSIC, Politics with tags , , , , , , , on April 22, 2019 by dcairns

MIX ME A PERSON is quite a good death row race against time drama, with Adam Faith in the Diana Dors role. Anne Baxter, doing a creditable English accent, runs the investigation, and Donald Sinden is the weak element. Based on a Jack Trevor Story novel (the man who wrote THE TROUBLE WITH HARRY and got paid £150 for it by Hitchcock, who used a fake name to keep the price low).

The teenage stuff is wild, man: check the coffee bar singalong above. Real gone. Characters have names like Socko and Dirty Neck and Gravy and Nobby. All very Grange Hill.

Leslie Norman (Barry’s dad) directs and at times looks like a real stylist, but can’t quite maintain the intensity or invention to make the movie remarkable. But the camera noses through doorways and there are some very interesting transitions…

Story’s story is more critical of authority than you expect at this period — and he hadn’t had his appalling experience being crippled by the Metropolitan police yet.

Adam Faith was really terrifically naturalistic in BEAT GIRL, which didn’t deserve him, whereas the weepy elements here are more of a train. He’s a proper movie star, though.

Seen on Talking Pictures TV,

MIX ME A PERSON stars Eve Harrington; Ronald ‘Budgie’ Bird; Dr. Gideon Fell; Mike Rawlins; Professor Abronsius; John Tracy; the Duke of Norfolk.

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Dunkirk Spirit

Posted in FILM with tags , , , on June 2, 2016 by dcairns

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New Forgotten!

Air Hordern

Posted in FILM, weather with tags , , , , , , , , , on April 18, 2015 by dcairns

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Michael Hordern gave the wing commander a very hard stare indeed.

After enjoying Leslie Norman’s work on X: THE UNKNOWN, we popped THE NIGHT MY NUMBER CAME UP into the Panasonic and let her fly. I guess Norman is one of the missing links between Ealing and Hammer, but he never caught on at Hammer (he was fired from the staggering LOST CONTINENT), unlike Seth Holt whose taste for sensation made him arguably a better fit there than he had been as a producer at Ealing (where he had produced THE LADYKILLERS, an atypically subversive work).

But, excitingly, TNMNCU *does* have supernatural elements, though they are not of a suitably sensational quality to satisfy the House of Gore. The place: Hong Kong. Michael Hordern has a strange dream, which he tells to Denholm Elliott, who blabs it to a group of associates at a party. The dream involves a flight crashing on the Japanese coast. And the next day, all the circumstances of that dream begin to come true. Elliot, a heroic airman who cracked up after the Battle of Britain, is on the flight, as is his boss Alexander Knox, who has never flown before, and Michael Redgrave and Sheila Sim and various others. The exact makeup of the party changes at the last minute and comes to exactly resemble the dream. Then the radio breaks down, just like in the dream. The plane is lost in thick cloud… fuel is running low…

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The elaborate model shots are recognisable as just that, but they’re very impressive all the same.

The screenplay is by R.C. Sherriff, a James Whale associate who wrote JOURNEY’S END and worked on all the famous Whale horror films after FRANKENSTEIN. This manifests not so much in the uncanny element, as in the extreme Britishness and the unexpected dashes of humour — the ending, in particular, is a delight, a left-field gag like the abrupt laugh that finishes Hitchcock’s second MAN WHO KNEW TOO MUCH. Hordern delivers it with supreme aplomb.

Until then, it’s a slow simmer of suspense. It’s not as if that much is going wrong with the flight for most of the movie — it’s just the creeping dread as reality takes on more and more of the qualities of that damned (prophetic?) dream. An abstract kind of fear with a very concrete smash-up waiting at the end of it.

The film also deserves credit for its unusual structure: we begin after the crash, with search parties scouring Japan in search of wreckage, but then Hordern turns up and says they’re looking in the wrong place altogether. Refusing to say how he knows, he simply says that he knows. Being Michael Hordern, he’s very convincing, and the search may be diverted…

Then we go into flashback to the dinner party before the flight, and Hordern is prompted to tell his dream. Then we get a flashback within a flashback showing a dream sequence. Possibly a first for British cinema.

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And then we get to enjoy Knox’ tight, nervous grin, Redgrave’s slowly accentuated voice-quaver, Elliott’s glassy-eyed sense of subdued panic… The whole movie is a single sizzling slow fuse, ably illustrating Polanski’s dictum that “anxiety has no upper limit,” while the passengers delight their author by passing the time in feverish meditations upon free will and predestination. A philosophical disaster movie.