Archive for Maria Marten or The Murder in the Red Barn

Gifford’s Most Wanted

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , on September 6, 2010 by dcairns

Inspired by the BFI’s Most Wanted campaign to unearth 100 lost movies, I’m turning to my readers to help locate the TEN MYSTERY FILMS from Denis Gifford’s A Pictorial History of Horror Movies which I still haven’t tracked down.

(There are still lots I haven’t seen, but these are the only ten I haven’t been able to find copies of.)

Your help is needed! Facebook and tweet this post to all your filmy friends, and anybody who runs/works for/is an archive. I must see those movies!!!

I offer unspecified rewards. And you know those unspecified rewards are going to be pretty cool when I eventually specify them, right? Damn straight.

I’m going to write a little piece on each over the coming weeks, but here’s the Top Ten Lost Monster Movies in capsule form –

1) THE FAIRY OF THE BLACK ROCKS:  a 1905 period yarn with a skeleton flasher.

2) CASTLE SINISTER: still don’t know anything about this, except it’s Britain, 1948, produced by “British Equity”, whoever they were.

3) THE COUGHING HORROR: a 1924 melodrama that gives me a tickle in the throat just thinking about it.

4) MARIA MARTEN, OR THE MURDER IN THE RED BARN: not with Todd Slaughter, but an earlier, silent version. Another version, directed by Maurice Elvey in between these two, is considered lost, according to the BFI.

5) FIGHT WITH SLEDGE HAMMERS: likewise, a silent melodrama described as “The most thrilling film ever taken.” Taken where?

6 & 7)THE GORILLA: the 1927 version with Walter Pigeon, and the 1930 remake, again with Pigeon. Never seem to show up ANYWHERE.

8 & 9) THE TERROR: Roy Del Ruth’s silent Edgar Wallace adaptation with Edward Everett Horton and THE RETURN OF THE TERROR: Howard Bretherton’s sequel with Mary Astor.

10) THE EXPLOITS OF ELAINE: with Pearl White. I’m sure this is hard to see, but not impossible, I hope! It qualifies for Giffordom by virtue of featuring a cameo by Jekyll & Hyde.

There are also four lost films (assuming none of the above are lost). The rules of See Reptilicus And Die do not allow me to neglect movies on the mere basis of their non-existence. So I’m going to see these too!

A BLIND BARGAIN:  a lost film, this, so a more creative solution is required.

THE CAT CREEPS: 1930 version with Jean Hersholt, Lilyan Tashman, directed by Rupert “PHANTOM OF THE OPERA” Julian. I wondered about this for ages, why it never showed up. Turns out it’s lost, a fact confirmed by the fact that it’s reviewed on the IMDb by fantasy novelist and wingnut F. Gwynneplaine Macintyre, who has reviewed nearly every prominent lost fantasy film. As a situationist stunt, this wins some admiration from me, though I wonder at the ethics of writing slams of films one hasn’t seen (unless one is ninety years old).

LA PHRENOLOGIE BURLESQUE: lost Melies — I’m resolved to bring this back into existence by sheer willpower (and, if necessary, bribery).

BALAOO THE DEMON BABOON: apparently fragments of this exist in Canada. Is there any way to see them without crossing the pond? Don’t make me come over there!

How does one see lost films? In ones’ dreams, certainly, the way Fiona saw Hitchcock’s THE MOUNTAIN EAGLE on my behalf. Or by reconstructions, which allowed me to stretch a point and tick LONDON AFTER MIDNIGHT off my list. Or else by seeing fragments and trailers which might be said to stand for the whole, the way an organism can be cloned from a single cell. There may be other techniques, and rest assured, I’m open to all of them!

NB: such is the speed of development in my INSANE QUEST, I already have news about several of the top ten, which I shall report to you in following posts. But for now, I’m open to all info.

Barn Storming

Posted in FILM with tags , , , , , , , , , on October 31, 2008 by dcairns

Hello, it’s Tod Slaughter again! And up to his old tricks — you know, murdering, and that.

Only two killings take place in MARIA MARTEN, OR, THE MURDER IN THE RED BARN, and one of those is Tod’s eventual and inevitable execution. The movie begins in a theatre where the cast of the play are introduced, making the theatrical nature of the events explicit — and since the hangman is presented as the final member of the dramatis personae, the end cannot be much in doubt.

Director Milton Rosmer (also an actor, and a regular player for Michael Powell) doesn’t make anything of the transition from stage to “realistic” film studio sets, and doesn’t add much in the way of cinematic appeal, tracking in from wide shot occasionally at the start of a scene. George King, who brought a little more panache to the shooting of CRIMES AT THE DARK HOUSE, acted as producer on this one.

Amusingly, it turns out that the central plot of MARIA MARTEN is recycled verbatim in CRIMES, adding an extra murder to the plot to keep things suitably juicy. Star / rampant hambone Tod Slaughter plays a corrupt squire who “ruins” local lass Maria M, then shoots her so she can’t interfere with his upcoming marriage to a rich lady. His plan hinges on framing Carlos, the gypsy boy who had wooed Maria. Carlos is played by Eric Portman, famed for playing a squire himself in Powell & Pressburger’s A CANTERBURY TALE. Flamboyantly miscast here, he plays Carlos with the cut-glass accent of an Eton undergrad, clashing preposterously with the other actors who play gypsies and yokels with a wide variety of Lancastrian-Mancunian-West Country-Cockney accents, but at least staying within a fairly narrow bandwidth of the social spectrum. Carlos’s mum must be regretting sending him to that posh finishing school.

Alas, Tod doesn’t have a moustache to twiddle in this film, and with only one rape and one murder to his name, his opportunities for salacious leering and barmy cackling are more limited than fans might like, but when caught in tricky situations he does reveal another string to his bow — he can squirm with outstanding effectiveness. As the heat is turned up, Tod’s entire form begins to wriggle and contort with discomfort, like a population of eels crammed into a carnival effigy. Delightful stuff.

Once again, it’s clear that the crudity of the drama and performances (“Winterbottom the village idiot” was a particular favourite among the supporting cast — the British film industry has changed so little!) are paradoxically sophisticated — the audience is meant to guess the plot turns long in advance, the better to savour them, and Slaughter’s overacting invites his public to share in his wickedness, blow by blow, with no evil thought or unhealthy appetite left untelegraphed. With everything nicely externalised, there’s no sense that we are guilty of the same evil desires, and our sense of moral superiority is secured by the happy ending, when we can watch in satisfaction as evil is extirpated.

Follow

Get every new post delivered to your Inbox.

Join 359 other followers