Archive for Madeline Smith

The Monday Intertitle: Spike

Posted in FILM with tags , , , , , , on March 10, 2014 by dcairns

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Been thinking about Spike Milligan a lot, for various reasons — I met a director of his, and a co-star. Then Anne Billson and I met for the first time in Camden Market and found a neat DVD shop, selling out-of-print obscurities on a semi-legal (well, illegal, really) basis, and they had a four-part series entitled Milligan In… which aired in 72-73, just before he appeared in THE THREE MUSKETEERS as Raquel Welch’s husband (“But it was only acting,” he reflected sadly).

What a disturbing thing — Milligan was a complicated individual, shellshocked from WWII, bipolar, a philanderer, and a genius. His genius was comedic, but he was also a poet — talented, but not superlatively so. Also a self-confessed racist — a mixture of the generational thing, his being a child of Empire brought up initially in India, a stubborn inability to grasp the niceties of political progress. Milligan’s race jokes are usually fairly inoffensive — punning on phrases that use the words “black” or “white” — but they’re not usually very funny. And there are too many of them. And then there are awkward bits that don’t seem like jokes at all.

One episode features a silent-movie sketch based around the idea of an unemployment crisis for comedians. The intertitles are hilarious, including one that has no words, just a spinning bow tie, and a speechless reply that’s just black space in a decorative frame. And there’s a beautiful joke involving a bicycle that gets eaten, leaving only its skeleton. The skeleton of a bicycle.

But there’s also a sequence of closeups when Spike enters the job centre and sees lots of people of different races waiting ahead of him. The implication is clear — these non-white people are taking our jobs. And there’s no joke to it, it’s just a slice of unpleasant Daily Mail racism. But then Milligan pans to the floor and redeems himself with a shot of the skeletal remains of a jobseeker, subtitled “Harry Secombe” (portly Welsh comic and sometime sidekick to Spike). Pan onto a second set of remains, labeled “Tommy Cooper” (another beloved British comic, very popular with Anthony Hopkins).

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There were a lot of racist comics on telly in the seventies. But the others weren’t mad geniuses. The most liberal or even radical comedy people in Britain today still idolise Spike — we’ve all decided to sort of look the other way concerning his racial politics. This sketch from the later “Q6” series, which is one of the funniest things I ever saw, is introduced as being about “Why mixed marriages don’t work” — another cringeworthy moment. But the sketch is funny because it’s about the domestic life of a dalek, the dalek is married to a lady, there’s a child dalek, the daleks can’t steer and keep bumping into the furniture, contrary to the advice of Mr Lunt, and also the lead dalek has Spike Milligan’s voice issuing electronically from its steel carapace. And they keep blowing things up. That’s a lot of funny elements, any one of which would have had me in a breathless, full-on asthmatic agony of mirth when I first saw it. The combination nearly made my ribcage explode.

The fact that the Dalek is wearing a sort of sloppy attempt a a turban is vaguely wrong, slightly funny, and ultimately easy to ignore amid the rest of the stuff going on. A Dalek bumping into a table is already, to me, funnier than anything, ever.

Later in Spike Milligan In… there’s a parody of the very respectable BBC kids’ show Blue Peter. Everybody grins terrifyingly. Milligan, in fright wig, is the most disturbing, but the guy parodying BP presenter John Noakes is really good too. The girl is Madeline Smith, of Hammer glamour fame, which cues us to expect knockers on display at some point. Sure enough, the show leaves the studio as the presenters narrate a film clip of their “skiing holiday in Islington.” They go into a shack and get rat-arsed on whisky. They play strip poker and Miss Smith is shortly down to her very skimpy undies. Violence breaks out. The Noakes figure is beaten unconscious, Madeline is bound and helpless and Milligan advances with ferocious lust —

Oh yeah, sexism. They had that in the seventies too. Milligan again was guilty, and again mainly because he refused to understand it. Here, he clearly felt this was something the audience would enjoy seeing. Which argues for a dim view of us — but at the same time, the assumption must be based on Milligan himself regarding it as something HE would like to see. Porn is always fantasy autobiography.

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But this sequence, highly reminiscent of Nigel Kneale’s legendary sci-fi TV play The Year of the Sex Olympics, is so disturbing it’s kind of good. Society collapses into horrific barbarism while a studio audience laughs and applauds. And the stock footage of clapping schoolkids is augmented by the laugh track played on top. Everyone is implicated.

The whole show is such a tonal stramash — poetry written for Milligan’s children, silent movie parody with racist propaganda, absurdity, songs (also written by Milligan), and now rape and bondage in a reversion to savagery — it’s impossible to watch without a queasy feeling. We also laughed, sometimes very hard. “It makes you feel stoned,” Fiona observed.

The Milligan mind was not disciplined, though it was amazingly fertile. It’s uncertain if he ever did anything that approached perfection, except backwards. But this series, very far from perfect and not his most likable, does present arguably the most complete picture of his virtues and vices.

Madeline Smith’s further crimes against womankind ~

This is an actual thing. The 1970s were different, and not really in good ways.

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Frankenstein Must Be Unemployed

Posted in FILM with tags , , , , , , , , , , , , , , , , on July 18, 2008 by dcairns

The end of an era: 

Terence Fisher’s last film, and Peter Cushing’s last turn as Victor Frankenstein, now calling himself Dr. Carl Victor, having used up every last syllable of his name in his previous pseudonyms. Remember how there’s always a character called Karl? Now Frankenstein himself has fulfilled his destiny by becoming that Karl.

After the splashy big-budget (by Hammer standards) production of FRANKENSTEIN MUST BE DESTROYED, with it’s actual night-for-night photography and fiery denouement, F.A.T.M.F.H. is something of a chamber piece, confined after its first scenes (featuring the beloved Patrick Troughton as a grave-robber) to a lunatic asylum (The Ingolstadt Booby Hatch for Stereotypical Nutters), where the Baron has been confined, before basically taking over the place by means of blackmail.

Fiona was surprised and pleased by the film, having previously judged it by the standard of Dave Prowse’s rather O.T.T. makeup. Why hire a muscleman and then coat him in a fake muscle suit? It is a rather overdone neanderthal effect, although I’d argue only slightly more extreme than that guy in THE KILLING.

A weirdness: Madeline Smith plays a hysterical mute (screenwriter John Elder shamelessly plagiarising his own work on EVIL OF F), cured by a second trauma. Director Fisher made some of his best work after being hit by car during an inebriated stroll — his work on THE DEVIL RIDES OUT and FRANKENSTEIN MUST BE DESTROYED was some of the best of his career. But between those films and this one, he got drunk again, and got hit by a car again — a second trauma! — and relapsed into the more sedentary style of his early ’60s work.

Fisher wasn’t the only team member to have suffered. This is the only time Cushing played the Baron after the death of his beloved wife, Helen. Much has been written about his devotion to her, and he spent the remainder of his life in a state of mourning, requiring persuasion to emerge from seclusion to make films. To the end of his days, he would sign letters “Peter and Helen”.

Big Victor.

There’s more to this, and the first hint came from actor Brian Cox, who starred with Cushing in an episode of Hammer House of Horror. “I think there was a bit of guilt involved in all that, because he had an eye for the ladies.”

The full story, apparently: Helen Cushing was unable to enjoy sex, and told her husband that it would be alright if he wanted to seek satisfaction elsewhere. This understanding was gradually stretched until Cushing was rogering girls in the bedroom upstairs while his wife did the housework downstairs. Then, on her death bed, she told him he’d broken her heart and she could never forgive him.

Ulp.

Leaves From Satan’s Book.

The film begins: clumsy slapstick grave-robbing, grubby hamming from Troughton (he kept two families, you know), dim lighting and cramped sets and framing. Then, hope: prettyboy Shane Briant, who Hammer were grooming for stardom, plays Dr. Simon Helder, an aspiring Frankenstein who’s read all the Great Man’s works, is arrested for sorcery, although as described by the judge it sounds like something even more unspeakable: “You have been found guilty of one of the vilest of crimes. How a man of your breeding and education could fall so low as to contaminate himself with this disgusting performance…”

Actually a pretty GOOD performance!

Thrown into the nuthouse, Briant becomes Bosie to Frankenstein’s Wilde, helping the Baron with his latest bodybuilding project. Screenwriter Elder, having played fast and loose with series continuity in the past, now makes amends by giving the Baron those injured hands last seen in CREATED WOMAN, and having him attribute the injuries to “a fire… in the name of science.” Of course, regular viewers will recognise this as a little white lie, or at least a grotesque distortion. But it allows us to conclusively place MUST BE DESTROYED earlier than CREATED WOMAN, although a case could then be made for CREATED WOMAN coming after this one, but let’s not go there.

Why doesn’t the Baron have Bryant replace his hands? A mystery.

(I’m reminded why I must NEVER FORGIVE John Elder: that subplot of EVIL OF F about the Baron trying to win back his stolen furniture.)

Since he can’t operate with his scorched mitts, Doc Vic has been assisted by mute Madeline. This is a departure for Smith, since she was basically cast as an ambulatory bosom in most films of the era. Here, both her mammoth bust and tiny voice remain unexploited for most of the film (she gets a few lines at the end). It’s a touchingly inept performance, seemingly modelled on the facial expression you get on a young Springer Spaniel, all big wet eyes, but it’s powerless to mar the film. It’s kind of RIGHT. Smith seems a lovely lady in interviews, although she has a strange tendency to denigrate feminism (I guess a lot of feminists denigrated her and her work), suggesting that the entire women’s movement was the work of flat-chested viragoes jealous of her gigantic attributes (Am I distorting her argument here? Well, a bit).

The Baron is initially quite kindly here, protecting inmates from the cruelty of the warders (Ernst and the inevitable Hans) and the sexual depredations of the Director (fun actor John Stratton, not Terence Fisher). But he’s been using the inmates as a sort of talent pool, harvesting their body parts to create his latest monsterpiece, an eyeless cro-magnon lump of latex in a cage. Body of a genetic throw-back, hands of a master-craftsman, and brain of a musical and mathematical genius, as soon as Cushing can drive the brain’s owner to suicide (hanging by violin string — nasty!).

With Briant now performing the scalpelwork, we get the series’ most graphic and unpleasant operation scene yet, as the chalk-white corpse has his scalp lifted off, a literal skull-cap, and his brain (bigger than we’ve been used to seeing) deposited in the Incredible Bulk. Alone, unshaven and exhausted after the lengthy procedure, Cushing muses to himself, “If I have succeeded this time, then every sacrificewill have been worthwhile.” Add up the body count from the previous films, and those sacrifices could form quite a heap. This is the Baron’s most introspective moment in any of the films, and spoken by the haggard, aged Cushing (always gaunt, but now prematurely shrivelled at 60) it has chilling resonance.

The asylum setting, with its array of novelty inmates (the geezer who thinks he’s God, the cackling lady who spits her medicine out in a scene borrowed, astonishingly, from Kurosawa’s REDBEARD) allows both for echoes of the Val Lewton classic BEDLAM (since we spend all our time inside after the opening sequence, the madhouse becomes the world of the film and vice versa) and the life and work of Sade (and Peter Brook’s film of Peter Weiss’s MARAT/SADE, which featured future patient of Frankenstein Freddie Jones). It seems apt that a critic suggested a new certificate for REVENGE OF FRANKENSTEIN: “The S Certificate — for Sadists Only”.  Although arguably the willing suffering of a horror movie audience is more akin to masochism.

Pathos alert! The monster weeps, as the kindly-yet-demented violinist trapped within the hulking frame is horrified at his new pecs and hirsute appearance. Soon, a Cartesian dilemma presents itself: the body is overpowering the brain, asserting its dominance. Elder could have perhaps explained this with hormones and such, but prefers to mangle his science, as has been traditional throughout the series. But Cushing is undaunted: a more perfect specimen can be created by cross-breeding the artificial man with mute Maddy: “Her true function as a woman can be fulfilled.” This marks a new low for the Baron, who has just been sympathetically recounting the cause of Smith’s traumatic aphasia: attempted rape at the hands of her father. Now he’s proposing to make her brood mare to his orang-utan-man.

Briant, like previous assistants, rebels against this new abomination, resolving to mercy-kill the monster, now descended to subhuman brutishness. But the beast escapes, low-budget mayhem ensues, a past evil is avenged, and then poor Prowse is dismembered by excited inmates, harking back to Cushing’s fate at the hands of the poor in REVENGE. Cushing is injured but undaunted — the monster was a failure, but lessons have been learned. Credits role as he cheerfully sweeps up the debris, planning his next atrocity, with every suggestion that Shane and Maddy will remain by his side, assisting him.

Playful self-reference: Cushing recreates a famous moment from CURSE OF FRANKENSTEIN.

It’s a little pedestrian in pacing, but after the uncertain beginning, this film is more than worthy of the series. I actually prefer it to REVENGE and CREATED WOMAN. The Monster is preposterous (and not from Hell) but then, Christopher Lee’s makeup was just a lot of silly putty. The Baron’s theory that a beautiful mind would render those features agreeable was never really put to the test, was it?

What emerges most clearly of all in this film is that the Baron’s plans never work because he is incapable, being inhuman himself, of taking into account human behaviour. He never foresees his creations turning upon him, though they generally have sound reasons to do so, and he is likewise blind to his various assistants’ moral qualms. The series charts the decline of a scientific mind into a quagmire of brutishness, due to its inherent blindness to human nature, the very thing it is seeking to master.

Here endeth the Frankenthon.