Archive for Lindsay Anderson

Film Club: The Knack

Posted in FILM, MUSIC, Politics, Theatre with tags , , , , , , , , , , , , , , , , , , , , , on August 10, 2015 by dcairns

Film Club: the concept. We all see a film and talk about it. Pretty simple. This time we have SPECIAL GUESTS.

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Plot synopsis for the unwary. In a narrow London domicile, schoolteacher Colin (Michael Crawford) laments his lack of knack with the ladies, whereas Tolen (Ray Brooks) apparently has them lining up. The arrival of the Bohemian Tom (Donal Donnelly) and the innocent Nancy (Rita Tushingham) sparks off a whirling comic psychodrama, commented on by a “Greek chorus of disapproval,” the middle-aged Londoners who “don’t subscribe to that sort of programme.”

I’ve got so much interview material that it seems to me I should just let the principles talk, and I’ll weigh in in the comments section if you say anything I like! THE KNACK is an odd thing. Farran Smith Nehme, the Self-Styled Siren, told me she reacted with a “what WAS that?” And she’s super-clever. The thing is, I don’t think that reaction is inappropriate or misses the mark — it may be more a question of whether you enjoy that sensation…

Ann Jellicoe’s quotes are taken from the intro to her play Shelley, or The Idealist.

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SUSPICIOUS READING TO MY WAY OF THINKING

I wrote The Knack partly for the same reason as Shaw wrote You Never Can Tell and Ibsen Love’s Comedy: to make sure of getting a play produced after an early one had failed. So The Knack is a comedy with four characters and one set, but I wrote it mainly because I wanted to explore comedy, to write a play that should be full of joy, innocence and zest.

The Knack, like my first play, was written from the inside, character determining situation, situation defining character. The principle that action is not narrated was developed further. In The Sport of My Mad Mother, the characters were incapable of understanding their own motives; in The Knack, Tom sees clearly what motivates him and the others. Colin needs help but Tom sees danger in giving him ready-made answers; instead he tries to put Colin into situations where Colin will be able to recognize the nature of his problems and perhaps find his own answers; this is in contrast to Tolen who is always giving Colin good advice which weakens Colin and makes Tolen feel powerful. The man who understands seldom makes a direct statement; the others reveal themselves through what they say and do. The play is about how you should treat other people, and its form reinforces what it has to say. Speech rhythms are more subtly used than in The Sport of My Mad Mother, but there are interlocking rhythms which, with the youth of the characters and their zest, give the play its bounce. I was, however, beginning to be bored with verbal rhythms used in an obvious, musical way as they were in the first play, and to feel they were a mannerism.

[…] The success of The Knack in New York and as a film has freed me to follow what path I choose, at least for the time being. But I begin to feel alienated (temporarily I hope) from a society which has adopted The Knack and, it seems to me, subtly degraded it: A New York reviewer was able to write of the film that it was all the better for the elimination of the moral values of the play. The Knack is about the people who seemed to me most fresh and interesting at the time I wrote it.

Ann Jellicoe.

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SKIMMING RICOCHET OFF A DESKTOP

Through the kind auspices of Kate Wood, I was able to divert Charles Wood, celebrated playwright and screenwriter of THE KNACK… AND HOW TO GET IT, away from the cricket long enough to obtain answers to Ten Questions ~

Dear David, use what you like of my thoughts on “The Knack” below. It was all so long ago. I was lucky to get the chance to do it, for which for which I thank Richard and Oscar and Woodfall. Did a few more for them, enjoyed them all. All the best with it, let me us know how it goes, Charles.

1) When and how did the offer to adapt Ann Jellicoe’s play come about? Do you recall how you first met Richard Lester?

It was all arranged by Oscar Lewenstein of Woodfall Films. My agent, Peggy Ramsay who was also Ann Jellicoe’s agent suggested me. I didn’t see the play but I read it and loved it. Oscar talked to Lindsay Anderson about it and I came up with a treatment for him which was a straight up and down realistic adaptation of the play. He didn’t like it.. Oscar obviously then talked to Richard of whom I knew nothing and asked me to go and see “Hard Day’s Night”. I went off to write some pages for him. Anyway, lots more drafts and it was done.

2) Lester has said that the screenplay went through a great many drafts, including one without the character of Tom. Was this a vexing process or do you like exploring multiple approaches?

Richard remembers better than me. It wasn’t at all vexing. Richard and Deirdre made me very welcome in their house. It was my first film and I knew nothing so I enjoyed it. Learned a lot very quickly, I thought. It was very enjoyable.

3) Lester also says that you both wanted to avoid the play’s explicit connection of Tolen with fascism. Did you then have a discussion about what the film would be about, or do you prefer not to be too explicit about that? Does the film have what the screenwriting books call “an underlying theme”?

I hadn’t the faintest idea what the film was all about. There was no theme except youth and discovery, and being alive, same old things. It was Ann Jellicoe’s play we were adapting and putting onto film, when all the pieces came together we hoped she would approve. Richard thinks film and gags, I think words and dialogue and things to get the actors to do. Tolen is fascist of course in lots of ways, mostly power, in fact altogether power.

4) I’m fascinated by the way you exploded the play and put little fragments together in a new pattern. A lot of the dialogue is exactly faithful to the original but the shape is different and what it’s saying is different. Similarly with How I Won the War — I was surprised when I tracked down the book how much of it you’d used, but how opposite the effect was. I suppose I want to ask how you feel about the authors you adapt — do you feel any responsibility to them?

Yes, I feel totally responsible to them, but I don’t bring it up should I meet them afterwards. None of them complained or even let me know they’d noticed that I had anything to do with it. It’s the director gets the blame. Quite right. Good man.

Wanda Ventham — Benedict Cumberbatch’s mum — plays the gym mistress. A Mumberbatch! Crawford’s vision of himself as a dirty old man spying on schoolgirls is a joke that’s a bit disturbing, but, as Steven Soderbergh says, “The expression on his face: hilarious!” Wood invented the staff room scene, which has some dazzling bits of verbal weirdness — what John Gielgud called “woodery-pokery.” 

5) You’re IN The Knack. How did that come about?

I fancied getting back into uniform for a minute and being a Horse Guard rather than a Lancer this time and Richard didn’t think the line meant anything so he punished me by making me say it – I got my own back by doing it badly. Serves him right. Shouldn’t meddle in military matters.

6) Nancy’s journey through London is wholly invented for the film. How much was scripted, how much did it develop on location? Did Lester work closely with you on visual gags? Everybody makes the mistake of assuming he improvises everything, but I’m sure huge amounts were planned and written (I would love to see the script!).
 
I can’t remember. I know we wrote a lot more when it was being edited to fill in gaps or whatever, voice over. I enjoyed that process, just the two of us and an editor peering at a Moviola – felt I was making a film, never happened again. I can’t let you see anything because I don’t have a script in any of its forms.

7) When you fragmented the play, how easy was it to find a new structure?

It structured itself, with a lot of help from Richard. I rarely had the faintest idea. If I got too lost I followed the play. Always go back to the source.

8) Did you consciously adapt your style to match Jellicoe’s dialogue? It’s striking how well it all blends together. (Bits in HOW I WON THE WAR that I assumed were yours turned out to be from the book. Lots in THE BED SITTING ROOM that sounds like Milligan/Antrobus turns out to be you.)

Yes. That’s what they pay me for.

9) The controversy about the use of the word “rape” — which nobody seemed to be shocked by at the time. And people don’t seem quite so shocked today as they were ten years ago. Since your theatre work often crams together comedy with upsetting material, I’m assuming you were aware this was an edgy thing to do. I wonder if the film had followed the play’s more stridently feminist line, if this whole thing would have been accepted as part of its polemic. I guess I don’t have a specific question… maybe, “How does one justify joking about rape?” But that’s almost too easy: jokes are always about serious things.

I’m astonished that there’s any controversy at all now. And as you rightly say, jokes are serious things. (My latest play was turned down and criticised by one theatre for having long serious speeches turned off with a comic quip. But that’s the way I write (together with lots of others I should have told them. Couldn’t be bothered). Anyway, it’s my last.

10) What did you think of the finished film when you saw it? Have you seen it lately?

No, I haven’t seen it for a long time. I thought it was wonderful, magic in black and white. David Watkin – it was his first feature film as well – shot it beautifully. He became a firm friend, cemented by “The Charge”. You ought to read his memoirs for his take on the film, opened my eyes. CW. 2015.

Knack, The / The Knack...And How To Get It (1965) | Pers: Rita Tushingham | Dir: Richard Lester | Ref: KNA001AB | Photo Credit: [ Woodfall/Lopert / The Kobal Collection ] | Editorial use only related to cinema, television and personalities. Not for cover use, advertising or fictional works without specific prior agreement

THE Y.W.C.A.

I spoke on the phone to Rita Tushingham, while Tasha the Siamese cat yowled in my ear and somebody in the street played bagpipes, of all things — I know I’m in Scotland, but you can take local colour too far. I stress that both cat and bagpipes were at my end of the line. Rita only had to contend with a grandchild attired as the Red Skull from CAPTAIN AMERICA.

You originated the role of Nancy in The Knack?

Yeah, we took it on tour first and then to the Royal Court Theatre in London.

Ann Jellicoe wrote that, depending on the audience, it would seem to be a completely different  play.

Some people walked out because they were so shocked, if you can believe it. We played it in Cambridge and they just loved it, and in Bath they absolutely couldn’t get it at all, they had no idea what we were on.

THIS IS ALL A FANTASY

It seems like that was a sort of microcosm of the way the film has gone, because it went from being incredibly fashionable and acclaimed to being ignored or considered embarrassing, or shameful, and now I think it’s being appreciated more again.
 
I just thought that it was all in her mind anyway, where she goes around saying “Rape!” and I think it was that they found offensive, wasn’t it. And the fact that Tolen was saying “They’re all queuing up to go into the Albert Hall: it was a fantasy. All the characters are on their different sort of trips. And Nancy was the innocent one, but looking for love, really.

In Germany I did a Q&A about THE KNACK and one young woman got quite irate at the word “rape” — “There’s nothing funny about that!” It wasn’t meant to be funny. It was just a word that was used. Nowadays, everyone’s far more aware about that, but in the days we shot it, it was a very different thing. It was the same meaning, because it’s a violent act, but you have to look at what it was in the film. She was offended that we should have used that word, and I did say to her, excuse my language, “What would you rather say, ‘I’ve been fucked?'” How to explain it? You can’t change it, can you? It’s THERE.

It just became, for some reason, harder for people to read. It’s a shocking word, and it’s used a lot in the film…
 

Oh, absolutely, and I would never ever make light of that, and indeed we didn’t. It’s an appalling act. But it wasn’t meant to be saying “this is alright and it’s funny.” That was not the intention at all.

You can write a joke about something without implying that the thing itself isn’t serious.
 

Exactly. And also, you can raise people’s knowledge and bring things to their attention. When you think about what is happening now and all these cases that are coming up about historical sexual abuse… it’s a very different way of looking at things, and a good way of looking at things, now, but in those days it was just never meant to be offensive.

One thing the film does seem to show is that you’ve got a country where people are ignoring things. When you run through the streets shouting “Rape!” and the world goes on as if nothing has happened.
 
But I’m afraid to say, David, that’s what’s happening now. Look what they were doing in the sixties, and seventies, these cases that are now coming to the fore. People did turn a blind eye, didn’t they?

But THE KNACK was not about that scene where my character’s running about shouting “Rape!” That was not what it’s about. It was, in a sense, a sexual awakening, and in fact Tolen, the womanizer, he [inaudible], Tom went on to be happy, and Colin and Nancy found each other and love. It wasn’t meant to be anything other than that. I think if you played that and didn’t have the word “rape” in it, I think people wouldn’t be looking for something in it offensive. There’s nothing sexually explicit in THE KNACK, it’s very innocent.

It throws people, because the film is so visually innocent — you see at most a knee, and then this comes along and they don’t know how to react. But it’s the scene where Nancy finds her voice and becomes powerful.
 

And has them all running around after her, especially the Tolen character. Of course, when you look at any film that was shot years ago, there are things in it that wouldn’t be shot now. But no one — or at least, no one that I know — makes a film to be offensive. Why would you?

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(Lester makes a Hitchcockian cameo as one of the befuddled onlookers.)

I’M FROM HAMPTON WICK, MYSELF

Can you remember meeting Richard Lester for the first time?

Yeah, I met him… [laughs] it’s funny because I remember I met him at Woodfall Films, and I’d just finished shooting GIRL WITH GREEN EYES. And I remember saying “I’ve just finished shooting GIRL WITH GREEN EYES and Desmond Davis is my favourite director.” Which IS quite obnoxious. But we laugh about that. It was just done, thinking of something to say and it wasn’t meant to be rude.

But I remember walking along Curzon Street chatting to Richard. Immediately we got on. What was interesting was the way he works, he’s almost editing it as he goes along, he covers things so well. Because of his understanding of comedy and things. He doesn’t labour it, he goes onto the next — and this is what was so innovative about him when he came to the fore, and a lot of people have been inspired and copied his style — the comedy sort of rolls on. You hope the audience are going to be with you, but you don’t layer it on like… a thick layer of lard.
 
His style of working, with multiple cameras, and the pace he works at, there are actors who love that and a few who are thrown by it…

I love that. He doesn’t like doing lots of takes. So you cover it. You know if a take’s gone — I don’t mean to say you’ve been good, but if a take seems to have gone quite well and sometimes if it hasn’t. And sometimes, when you’re doing things and it’s the end of the day and they turn the camera round on you, and you’ve got to reproduce what you’ve been doing all day, sometimes you feel a bit [?] but if you have the multiple cameras, especially in comedy — because so many things happen in comedy that you can’t recreate, it’s of the moment, it happened, in fact, on screen, and the audience experiences that. You can’t always plan, obviously you have to be very structured, but if something just happens and it’s funny and you’ve got it covered, it’s great that you have that.

Also, you’re kind of up and ready for it. I know that some people don’t like it, they find it quite off-putting, I like it, because you just feel that at least they’re gonna have something they can use.

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KIP, MILK AND BISCUITS, IS IT ANY WONDER THEY’RE SCREAMING OUT FOR ROUGHAGE?

Filming on the streets of London, having come from the stage, was that distracting?

No, because mostly everything I’ve done has been on location anyway. I did the theatre after I’d done A TASTE OF HONEY. I didn’t mind that at all. It wasn’t distracting. We were just going along and doing the scene. The crew is kind of hidden. The camera is hand-held. ..And my grand-child’s just walked in. Dressed as some kind of Captain America villain.

Keeping the movie theme going.

It didn’t worry me. It was just that dancing along Kensington High Street and singing. But people don’t want to get involved. Even now they don’t. They just think “Oh, there’s a nutter,” and just carry on. And The Mall, now, you wouldn’t be able to shoot like that. And Buckingham Palace. And Hyde Park. But people just sort of got on… […] It was so easy to work on, and being such a small cast.

How did you all get on?

We all got on fine. And all different. They were all very different personalities, the three of them. And that’s why I think it works so well, because you can see that on screen. […] And also Donal Donnelly was such a lovely performer. He’s sort of lyrical, isn’t he? He has that magical sort of feel. And not afraid to go with it. And Michael Crawford was just a bumbling sort of teacher but he was perfect for the role.

In the Soderbergh book, Lester says they worried that Tom was an underwritten part, but that Donnelly solved it purely by being a lovable, relaxed Irish actor.

He was almost magical, wasn’t he? Almost spiritual in a way. 

He’s just happy and self-contained.

With life, and himself.

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A difference of opinion on interior design with the future Mrs. Ethel Shroake (Dandy Nichols).

LOOK AT ME, LAUGH

In the scene in the park, you have to act to the camera. Was that difficult to do?

No, no… Well, nothing’s easy, is it? But we just went and did it. In, I think we did one take, we might have done two… You work on it beforehand, in your mind, you study it, and then you just go with it.

I’ve heard some actors say they play to their own reflection in the lens.

No, I could never do that, I can’t bear to see myself. I didn’t even think about that. It was just te camera and me. I would imagine now, if you do something like that, it really IS just you and the camera, because everyone can watch on the monitor, so all you really need is the operator. And that is much more intimate. 

It wasn’t theatrical at all, the character was playing it out to Tolen, so she was playing to someone, she wasn’t just saying it, mumbling or anything.

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[Here, Fiona starts mouthing something to me, but I can’t lipread, so I get her to write it down. Then I can’t read her handwriting. So eventually I give her permission to speak (such power!) It boils down to: The monitor on a set can be distracting…

Oh gosh. I hate them. But then they’re always off-set, you don’t see them. But often I’ve found some young actors able to go and watch the monitor and see things. I hate that, I just can’t do it, because suddenly you’re seeing yourself, performing. And I think you lose that intimate thing within the scene. But it doesn’t bother some people. I don’t even like to hear playback. I just like to do it and trust. This is where the director comes in — you have to trust that he’s got what he wants. And sometimes they’ll say “Can we go again?” but I don’t want to see how I twitched my left eyebrow or throw my hand up in the air. It could take something away. I think you would be more restrained, you would lose some freedom as an actor. 

Well self-consciousness is the enemy…

Oh God, yeah. And you mustn’t have that, because when you’re doing it and they say “Action,” you are performing, you are that character, in that scene, and the situation is such… As you know, it’s never in continuity, and you just have to go for that and be aware of what’s come before and what comes after. Some people say, “Oh, I didn’t like the way I looked there.” You can’t think of that. It starts to chip away at what you’re trying to do, I think.

That might sound very odd, but that’s how it works for me. 

No, that makes perfect sense. I know Lester hated the idea of monitors and wouldn’t have them.

He knew what he wanted, and he knew that he would get it. And that’s why he used — in THE BED SITTING ROOM, he had quite a few cameras. I think that’s such a good film.

[For reasons of space, I’ve broken off our discussion of THE BED SITTING ROOM for a separate post later in the week. Don’t miss it!]

I’d like to say hello to your wife, HELLO. 

Fiona: Hello Rita, it’s an absolute pleasure to have you in our living room, as a disembodied voice.

Nice to talk to you too. I don’t want you to feel I’m ignoring you. […] And funnily enough, in about half an hour, Richard and Deirdre are coming here to have tea. […] We’ve been friends for so long.

I was struck by Tolen’s line “You’ve got Chinese eyebrows,” and wondered if Ann Jellicoe had you in mind when she wrote that.

[Laughs] I don’t know. I did work with Ann, but I don’t know, I shouldn’t think she’d have had me in mind. I think the only person who can answer that is Ann Jellicoe.

Richard-Lester

GOT THE WHOLE IDEA FROM TELEVISION

Richard Lester was kind enough to let me interview him for a whole day for Criterion’s disc of A HARD DAY’S NIGHT — and provided lunch, too. This is more or less the complete transcript of our discussion of THE KNACK.

THE KNACK must have happened fairly quickly after A HARD DAY’S NIGHT?

Very quickly. The offer came, I’d finished, we had the opening, and we went to France, as a family, and I think a courier came and brought a request to look at the play, and a request for a meeting. And they knew that there would be a second Beatles film which would start in February or March, so it had to happen quickly. The story of my life is, “You’ve only got two weeks.” I mean, JUGGERNAUT was rewritten in two and a half weeks, completely.

With THE KNACK, we had the time, because Charles Wood and I started, and I think we did close to four or five screenplays before we started. We tried getting rid of one of the characters [poor Tom!] we threw everything out and started from scratch, taking the essence of the piece and trying to make it into cinema, and not be what it was. And out of it, a lot of the quality of the characters changed. Tolen, who was quite a Nazi figure, a fascist figure, became the most pitiful of them.

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Did you think it would be too obvious, to have him be fascist, or did you just not believe it?

I just believed that ultimately that would lead to foolishness. Tom says, about Tolen, “He must be a sexual failure.” “He’s having it five times a day.” “Well exactly.” [laughs].

And eventually he joins the Greek chorus.

Yes, the roles reverse.

I suppose because you changed it so much, you don’t have the benefit of being able to say “This is a serious feminist comedy” and the use of the word “rape” has become problematic.

Yes it has. I found, suddenly, it became an issue. Mostly in Eastern European countries, which was odd: that’s where it first started. What I don’t remember is whether than sequence, or anything like it, happened in the play.

[It did: and the play’s use of the word is just as whimsical as the film’s, part of an ongoing strategy whereby words lose their meanings, or acquire new ones — “What about the cases?” being a good example. I showed the film to students once and it was, indeed, a Polish girl who found the R word shocking and perplexing. And one would never accuse the Poles of being slow at seeing the uses of metaphor, or being compelled to take things literally. Look at the movies they make.]

With that word, Nancy suddenly becomes the most powerful character in the film.

Yeah.

Were you surprised it got an “X” certificate at the time?

[Laughs] Everything got an “X” certificate the time! Almost everything I did.

Lester was interested in packing a scene with so much detail — action, music, voice-over and subtitles — that any given group of people in the audience might be taking in entirely different elements.

And THE KNACK was your first film collaboration with David Watkin.

Yes. We were working together in commercials. I brought David on. [He had] worked in British Transport Films, doing railway films. I got David his first commercials, which he did with me, and then his first feature, and then his first colour feature [HELP!]. And then we just stayed working together, it was a wonderful experience. He was a man, like myself, of foolhardy courage. he would try anything. He would experiment with leaving the silver nitrate in the negative to see what the colours came out like… without much cover!

It’s a shame he didn’t make more black and white films…

I think the most beautiful black and white film I ever saw was David’s film of MADEMOISELLE, Tony Richardson’s film, which was booed out of the cinema when it showed at Cannes. They just ridiculed it. But it was absolutely stunning.

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The white room was a huge innovation…

We did it first in a white kitchen of an Irish actress who was doing a commercial. And when the rushes came back, that had happened, and she looked slightly negroid, which didn’t attract the clients enormously. But where it came into its own, I think, was MARAT/SADE, where he was putting so much backlight into people that they began to distort, in the way that those Henri Lartigue photographs did. And THE DEVILS, again. 

And THE KNACK introduces the Greek chorus…

I don’t know how we started to do it, but very early on I put a small Arriflex with a baby 4-1 zoom, which was quite easy to use, and we would put a GPO hide — they used to have a little tent, if they were working down a manhole, they would put it on — we would just stick that on the pavement where we were shooting a sequence, as most of the film was shot outdoors, and photograph the people who had stopped to look. And then, when we cut the most interesting bits in, Charles and I wrote a few gags, and then we got a group of voice artists, like [John] Bluthal, like Adrian Edmondson whom I used to use a lot [later, I assume], like Miriam Margolyes, who could be relied upon to ad-lib. Say, You be the woman there, you be the man, and you play around until you get some bits, and then lay them over. Which I liked, as a technique, very much. So you got the sense that this group of young people were playing against a Greek chorus of disapproval.

It worked very well, for me, in setting that tone for THE MUSKETEERS. The “us and them” part of it, the fact that you have people, the servant class, who are always there. We put in that line ~

“This [pass] is for one person.”

“I am one person. That is a servant.”

I also asked, though I can’t find the bit on the tape so this next bit is a paraphrase, whether Lester ever fell in love with the temp track during his edits, so that it became a wrench to replace it with the newly commissioned score.

ALWAYS! I score the end of THE KNACK with THE UMBRELLAS OF CHERBOURG. Though John Barry did… quite a good job, on that occasion, so it was alright.

To end with, I want to link to my first ever post on Shadowplay, which is about THE KNACK, so for one day the blog can become an unending moebius strip. There.

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Enigma Variations

Posted in FILM, MUSIC, Mythology, Science, Television with tags , , , , , , , , , , , on July 3, 2015 by dcairns

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TV plays always seemed a bit joyless to me as a kid — they were clearly for adults, but lots of adult stuff was fun. The Wednesday Play and Play for Today were never fun.

Maybe the form is at fault. You have something the length of a film, or a B-movie anyway, but made at a fraction of the cost. While B-movies got around the low-budget problem with simple, expressive lighting, cheap actors and stock sets, BBC plays did all of the above and threw in static filming and talkie scenes.

But the problem is that on top of that, they were drama, which meant they mustn’t be funny. Dennis Potter managed to smuggle in a few titters, but he saved the real comedy for his long-running shows. (A conversation I overheard when The Singing Detective first aired is like dialogue from a play: one girl trying to explain to another this incomprehensible but amazing thing she’d seen. “It was just this guy in a hospital bed with a really bad skin disease.” “Eurgh. Poor thing.” “No, but he kept saying stuff, it was the things he said, it was really good.”)

Maybe my avoidance was simply down to the fact that, inconceivably for us now, these plays made no attempt to be ingratiating or accessible, they were starkly concentrated on the job of alienating anybody who wouldn’t want to follow them where they were headed. Children were not welcome. I suppose some kids would have seen this as forbidden fruit and would be all the more interested, but as I viewed the adult world with a certain amount of terror anyway, I don’t think I was keen on anything that would open a door into it for me.

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Still, The Imitation Game, written by Ian McEwen and directed by Richard Eyre, is really good. It does have points of connection with the recent film of the same name. McEwen started out wanting to do the life of Alan Turing but got sidetracked by his researches into the women at Bletchley Park, and the role of women in Britain’s war generally. Harriet Walter, with her long bone china face and hushed, trepidatious voice, plays a young woman determined to play her part in the war, but despite her skills she is steadily demoted instead of promoted, due to her very eagerness to do work at the level she’s qualified for.

Rather appallingly, Turing, here called Turner, is used as a villain, the penultimate in a long line of men who patronize or exploit or betray Walter’s character. McEwen found a great subject when he focused on this aspect of the “war effort” (curious phrase), but it seems a shame he had to further traduce a national hero who’d already been roundly trashed by the establishment. For all the recent dramatic attention Turing has received, the one great drama capturing the totality of his tragedy seems elusive.

Eyre achieves some very nice shots, most of them admittedly static — an austere style in keeping with the period. Locked-off frame after locked-off frame, and the only way out is a cut. This kind of feminist drama, where the men are all bastards of one stripe or another, and each sequence is another mask dropping to reveal this, is out of style now, and it does have a sad, predictable quality, perhaps because drama tied to an ideology tends that way, but it’s at least gutsier than girl power.

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Penda’s Fen, written by David Rudkin and directed by Alan Clarke, the most celebrated of the TV play directors, is altogether more cinematic. It sets out its stall with an intro by the author invoking the landscape of “Visionary England.” A teenage boy experiences his homosexual awakening at public school, has mystical visions including angels, demons, and a conversation with Sir Edward Elgar in an abandoned cow shed. Imagery evokes Ken Russell and Lindsay Anderson.

Rudkin seems determined to throw every idea in his head at the page/screen, even creating a TV playwright character who can pontificate on his behalf. Given the play’s urgency to communicate, its baffling detours and mysticism, and the lack of anything else quite like it, I rather assumed he was a frustrated genius who rarely got to write anything that got made, but he was quite busy until the end of the eighties. His science fiction mindfuck …Artemis..8..1…. (you have to get the number of dots right) is fondly remembered, with a bit of head-scratching.

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The whole thing’s on YouTube.

Almost Too Late

Posted in FILM with tags , , , , , , on May 14, 2014 by dcairns

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I got an invitation to contribute to the Masters of Cinema Blu-ray of TOO LATE BLUES. Somebody had dropped out and they needed it in a week. Unfortunately, I was preparing to go to Toronto in LESS than a week. And I had never seen the film. And did not consider myself a Cassavetes expert by any means.

But I watched the film and halfway through I knew I had to say YES. So I went on a binge of reading and viewing to make myself more familiar with my subject. I induced two students from Edinburgh College of Art’s film course final year (thanks, Anna & Mario!) to shoot and record me talking about the film in front of projected frames, and I think it turned out pretty good.

You may pre-order here —

Too Late Blues (Masters of Cinema) (Dual Format Edition) [Blu-ray + DVD] [1961]

I had a little more thinking time for this one, which is a film I’ve screened almost annually at the college —

Harold And Maude (Masters of Cinema) (Blu-ray) [1971]

But oddly, the TOO LATE BLUES piece I did may actually be the better of the two.

If…. (Masters of Cinema) [Blu-ray] [1968]

Finally, I wrote an essay for the booklet of this one. Like H&M, this is a film I know well from way back. I supplemented my own musings by interviewing Brian Pettifer, a Lindsay Anderson stock company star who remembers it all very fondly, though alas Paramount wouldn’t let us include any of his observations about the film’s sparse budget…

If you click on those links and buy something, you will be supporting Shadowplay, which is to say ME. Secretly, I think this is a good thing to do.

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