Archive for Man in the Attic

Ripping Yarns

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , , , on October 27, 2017 by dcairns

MAN IN THE ATTIC is something I meant to see years ago, as part of research for a Jack the Ripper project I was writing with Fiona. But no copy was to hand, and anyway, we’d found that all JTR films are historical travesties, usually disrespectful to the victims and usually with nothing to say on the many interesting subjects that naturally fall into the story.

MITA turns out not to be as offensive as most movies on this theme (part of the impetus for the script was Fiona’s horror at the 1998 “celebrations” or the centenary of the Autumn of Terror). And one moment, the reading of George Bernard Shaw’s letter to The Times about the case, actually shows a little erudition. But this is a dull remake of THE LODGER, only recently made with Laird Cregar far more memorable in the role than Jack Palance here.

I’ve had a bit of a down on director Hugo Fregonese, despite loving his Val Lewton western APACHE DRUMS. The script of that one is so spooky that old Hugo’s prosaic direction really irks me. The Apaches are described in supernatural terms by a dying Clarence Muse, setting us up for real terror — and then our director blithely plonks his first redskin into shot like a milkman or janitor. In fact, I’ve seen janitors given far more dramatic presentation.

Hugo displays the same flat-footed lack of flare here in what should be a stand-out scene — the lodger’s first arrival. Hitchcock, you will recall, presented an eerily still Ivor Novello, his face swathed in a scarf, with one pallid hand at his chest, looking like a wax sculpture. John Brahm pulled out all the stops with a gliding camera, dry ice, and a looming Cregar. Hugo gives us a plain shot/reverse shot of Palance and the landlady-to-be, not even bothering to hold back the first view of our Ripper’s scary face (Palance is not too bad, but never memorable).

The film’s atmospherics only come into play with the night scenes of the back lot, using a bunch of standing sets — effective London streets rubbing stony shoulders with what look to be the battlements of a castle and a medieval Scottish village (I think I recognize it from Laurel & Hardy’s BONNIE SCOTLAND).

Hammer’s more nakedly exploitative HANDS OF THE RIPPER is a good deal better, oddly enough. The plot is silly, and the portrayal of the Ripper as hideously disfigured by burns makes little sense and is there for no reason other to provide an added grisly image. This movie is offensive to burned people, among others. But it benefits from serious, committed work from Angharad Rees as the Ripper’s daughter, and especially Eric Porter as the shrink who tries to cure her. For much of its runtime it’s basically a Victorian MARNIE, only with multiple gory murders.

Director Peter Sasdy applies a lot of vulgar panache (I’m beginning to think I prefer the messier Hammer directors to the staid Terence Fishers and Freddie Francises) and gets to use more standing sets, this time Alexander Trauner’s forced perspective Baker Street and environs from THE PRIVATE LIFE OF SHERLOCK HOLMES. Even the gratuitous Hammer nudity kind of works here — Porter loitering on the threshold while his patient bathes is decidedly un-Victorian, but it exposes his unacknowledged sexual interest in his attractive charge, which is presumably what causes him to embark on a course of treatment that ultimately proves fatal — to a number of people. It’s also really terrific that Porter, being a Victorian doctor, looks strikingly like the popular fantasy image of the Ripper himself.

When it’s clearly stated that our young heroine is not, in fact, traumatized by repressed memories from infancy, but POSSESSED BY THE GHOST OF A SERIAL KILLER, it’s kind of too late for us to scoff — we’re all set for the climax at St. Paul’s Whispering Gallery, probably the most poetic, beautiful, tense and unusual conclusion to any Hammer horror film. It even gets away with the typical Hammer hasty credits roll — no coda, no summary, no reaction from the characters left alive and grieving. It’s OK, I don’t like my films to hang around after their business is concluded, like tiresome guests or ’90s Spielberg films. But when something like THE REPTILE abruptly announces it’s leaving right after its titular lizard-girl has caught a chill and died, it feels like the filmmakers are saying “This film explores the universal theme of There was a Bad Thing but we killed it.” Sort of lacking in the layered approach.

Maybe HOTR succeeds better because — spoiler alert — it kills its “hero” as well as its “villain.” Since Porter is a strange mixture of Peter Cushing’s Van Helsing (tackling the unholy) and Peter Cushing’s Frankenstein (meddling with the unholy), he has to die, but we feel a bit sad about it. And maybe the muddle of the film’s central idea leaves intriguing space for imagination — after all, the movie establishes that our Jill the Ripper does what she does because her late father takes control — but it never remotely shows any interest in why HE does what HE does. The film’s rather horrified view of its prostitutes kind of suggests that we’re meant to think his violence is, at some fundamental level, a reaction we all understand and share.

Fascinatingly, nobody seems to know who this actor is. So the unknown murderer is played by an authentic unknown.

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Second Intertitle of the Week: A Tale of Two Ivors

Posted in FILM with tags , , , , , , , , , , , , on January 11, 2009 by dcairns

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Photographed off my TV set.

THE LODGER: A STORY OF THE LONDON FOG — titles written by Ivor Montagu, who was brought in to “rescue” the troubled production, and realised it didn’t need rescuing. So instead he concentrated on helping it fulfill its potential, rather than steering it into some safer direction, as his studio bosses had intended.

(Montagu’s short comedy BLUEBOTTLES, which stars Elsa Lanchester and is very amusing, plays exactly like a cross-breeding of Keaton’s COPS with Hitchcock’s THE LODGER. It’s well worth a look, if you can find the VHS BFI British Avant Garde collection tape it appears in.)

The description “a but queer” may seem slightly tittersome today, especially given what we may or may not know about star Ivor Novello’s proclivities* but in fact the joke may well be deliberate, a private chuckle between Hitch and Montagu — it’s highly likely that Hitch, always interested in what everybody was up to between the sheets, had sussed Novello’s same-sex inclination. Indeed, to a modern audience, Novello is so obviously camp the surprise is that he ever passed himself off as a straight romantic lead to a movie-going audience. But the public had a whole different psyche then.

(The casting of whispery Laird Cregar in the ’40s remake suggests that this role was somehow seen as inherently queer, though by the time of 1953’s MAN IN THE ATTIC, the part has gone to Jack Palance, about whose red-bloodedness there can be no doubt. The universe would surely splinter if the slightest aspersion were cast in that direction.)

As for “he is a gentleman,” there’s a fascinating class undercurrent to THE LODGER, with Novello’s apparent “difference” (social, sexual, behavioural) marking him out as suspect from the start, although to be fair to the lower-middle-class supporting cast, there IS a murderer stalking the streets. In casting Novello, Hitch had to concoct an ending where he turns out to be innocent, leading to a rather funny fantasy of class mobility, as leading lady June (no surname — just June, please) meets the hero in his frickin’ PALACE, while mum and dad discretely make themselves scarce in its Xanadu-like depths. When a happy ending is THIS happy, some slight authorial cynicism can fairly be suspected.

Titles designed by E. McKnight Kauffer, who combines the influences of German Expressionism and Russian Constructivism, I’d say. And it’s been argued many times that this is exactly what Hitch does too.

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*Lying naked in a glass coffin while road workers and other rough trade filed into the room and “mourned” him, sexually.