Archive for Little Caesar

Nero LeRoy

Posted in FILM with tags , , , , , , , , , , , on March 30, 2021 by dcairns

“Is this, then, the end of Nero?” asks a dying Emperor Peter Ustinov at the climax of QUO VADIS?, more or less quoting Edward G. Robinson at the end of LITTLE CAESAR. Which was directed by the same guy, Mervyn Leroy, back when he was young and awake. Since there are varying accounts of Nero’s actual or supposed last words, and none of them include a quote from a Warners gangster picture, this must surely qualify as one of the most prominently placed in-jokes in Hollywood history.

Would that there were any other evidence that the film had a sense of humour about itself. It’s entertaining rubbish, though: the sets are big, and the acting varies from dreadful (Robert Taylor, not a screen god in this household) to the impressive — how Deborah Kerr, Leo Genn, Abraham Sofaer (the judge/surgeon from AMOLAD), Marina Berti and Rosalie Crutchley are able to make their dreadful lines sound like human speech is quite staggering.

Crutchley, darkly gorgeous, is the only character who’s apparently read the whole script, not just the scene she’s playing: she knows how it’s going to end.

I watched a bit of TORA! TORA! TORA! on TV the same day, and it was interesting to see how the American scenes in that managed to turn comparatively recent US history into the same kind of lifeless tableaux as the typical ancient world epic. I forget if it was in this film that Ustinov blew on his soup to cool it, and was told the gesture was too modern. “In what age, pray, did the wretched Romans stop eating their minestrone piping hot?” he inquired. Of the two films, QV has slightly more authentic human behaviour. By the end, I was dying for some actual life.

So Fiona wondered if Ustinov contributed his own famous last words, since the man did have a sense of humour absent elsewhere in this roaring stodgefest. The scenes at court are weapons-grade camp, with Patricia Laffan (DEVIL GIRL FROM MARS) a resplendent whore-empress Poppaea, and Ustinov clearly taking to heart departing helmer Anthony Mann’s character sketch of the depraved Caesar: “Strikes me as the kind of guy plays with himself nights.”

QUO VADIS stars Quentin Durward; Sister Clodagh; Starbuck; Hercule Poirot; Nyah; Magwitch; Benjamin Disraeli; Queen at Tarsus (uncredited); Vargas the Diablo Giant; Hecuba; Inspector Buchanan, Special Branch; Horatio, His Friend; the screenwriter of THEY SAVED HITLER’S BRAIN; Mrs Dudley; Mrs Alexander; Bambino; and the voice of Morbius.

The 7 Wonders of the Pre-Code World #6: Grot

Posted in FILM with tags , , , , , , , on May 22, 2009 by dcairns

Grot!

What visions of splendour that name conjures up! These snaps are all from LITTLE CAESAR, but the production design/art direction of Anton Grot graced countless films of the ’30s (and ’20s, and ’40s). I think visually he may have had more to do with the look of some of these films than the credited director. Certainly Michael Curtiz would have had something to say about the look of DR X or CAPTAIN BLOOD, whether or not anybody understood him, but I could easily see someone like Mervyn LeRoy simply following a storyboard for these great establishing shots ~

vlcsnap-52366

vlcsnap-52462

vlcsnap-54107

Check those zig-zags!

I first read of Mr. Grot in Leon Barsacq’s nifty textbook Caligari’s Cabinet and Other Grand Illusions, A History of Film Design, which my dad bought me when I was a kid. I think at the time I was kind of disappointed that the book wasn’t really about Caligari and horror films, or film directing per se, but about the speciality subject of film design. And yet, the images in the book stayed with me — I’ve been trying to recreate versions of the Caligari image on the left all through my “career” — there’s even a version of it scripted in one of the feature projects I’m working on right now. The malevolent cross-legged man in the middle of the room!

So thanks, Dad.

Barsacq himself was a distinguished designer, closely associated with Duvivier, Carné and Clair, and his book opened up whole worlds to me — images got embedded in my unconscious, and the tricks of the trade impressed my youthful mind: forced perspective, the Schufftan process, matte paintings and hanging miniatures — THIS was the way to make movies. I don’t recall Barsacq having any particular agenda against realism, but his taste was obviously more attuned to spectacular fantasy and blatant trompe-l’oeil effects. His sensibility crystallized my own.

The Greatest Motion Picture Ever Made

Posted in FILM with tags , , on February 8, 2008 by dcairns

“…when awakened by newsboy’s cry…”

I always show this to students and friends and anybody who passes my door. Everybody always gets a big kick out of it (study the editing — it must have been cut by somebody who WASN’T LOOKING).

And yet, when I say to them “Someday I would like to make a film as good as this,” they look at me in a strange way.

(From the extras on the Warners DVD of LITTLE CAESAR.)