Archive for Masque of the Red Death

The Wrong Films

Posted in FILM, MUSIC with tags , , , , , , , , , , , , on June 24, 2019 by dcairns

A strange day of interventions by fate — we panted up the road to see THE WINNING OF BARBARA WORTH, a Henry King late silent with Kevin Brownlow intro and Vilma Banky, Ronald Colman and Gary Cooper in the leads — but I got the cinema wrong and when the lights dimmed, Renoir’s TONI appeared on the screen in a new restoration. My only regret was missing the RARER film. I hadn’t seen the Renoir before and of course it’s very fine, though none of the cast seemed able to reach the upper pitches of emotion the script demands. At one point Toni insists his wife stop screaming, when she’s been doing nothing of the kind.

But what an ending!

Then I thought we’d better get coffee so I didn’t pick the wrong cinema again, and when we got back from it, UNDER CAPRICORN was completely packed out. So we went up the road to the Lumiere and saw LA MASCHERA E IL VOLTO, a 1919 Augusto Genina film which turned out to be a splendid Italian comedy anticipating aspects of DIVORCE: ITALIAN STYLE in its jet-black approach to the comic possibilities of uxoricide. A husband who has expressed approval of Othello’s honorable way of resolving marital difficulties is undone when he discovers his wife has strayed. He can’t bring himself to actually strangle her, but he orders her to leave the country so he can tell everyone he DID kill her — so he can be a feared murderer rather than a pathetic cuckold. Things go awry when he hires for his defense lawyer his wife’s lover. A great line: “The ridiculous always seeks out those who are afraid of it.”

Then we split up — Fiona & Nicola going to see a noir double bill of THE DEVIL THUMBS A RIDE and THE THREAT, but succumbing to heat and sleep deprivation during the second — me going to see the brilliantly restored MEMPHIS BELLE, introduced by director William Wyler’s daughter Catherine, along with THE COLD BLUE, a new documentary made by Erik Nelson from Wyler’s rediscovered rushes, and then having a couple of Aperol Spritzes.

The immediacy gained by MEMPHIS BELLE’s colour photography now that you can actually see the B-17 pilot’s five O’clock shadow in a long shot — it’s that pin-sharp — really makes a difference in a you-are-there kind of way. Everything Peter Jackson promised and failed to deliver with his crappy colorization is authentically provided here.

We all met up for MASQUE OF THE RED DEATH, which a mistake in the programme COULD have caused us to miss. As it was we had to bolt our dinner. But it was worth it. “I have never seen reds so red or blacks so black!” Fiona exclaimed. A very new 4K restoration which made this handsome, eccentric, alternately campy and poetic film glow.

“The Fall of the Blouse of Asher,” Nicola christened it. Which nails the campery aspect, but it has this compelling comic-book Bergman side to it too. Corman’s direction, Roeg’s photography, David Lee’s score, and the best ensemble cast Corman ever assembled outside of ST VALENTINE’S DAY MASSACRE. Very nice, very nice indeed.

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My Theory #2: Kubrick = Hammer

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , on September 25, 2013 by dcairns

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Part Two of my Big Theory. Part One concerns the influence of Universal horror movies on Orson Welles. Part Two is the influence of Hammer Horror on Stanley Kubrick.

(Welles and Kubrick, two fans of the wide-angle lens, belong together because of Welles’ description of the young SK as “a giant” — later, Welles seems to fall silent on the subject of the Bronx genius, and as an arch-humanist it seems possible he went off Kubes’ work sometime after LOLITA…)

I’m not sure how this will hold up, but let’s assess the evidence. Firstly, casting —

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Kubrick’s first British-shot picture, LOLITA, features only one major player with Hammer associations, Marianne Stone (above), reaching a career high with her interpretation of Vivian Darkbloom (anagram of Vladimir Nabokov). Her involvement with Hammer films was off-and-on, and she also played in many British horror movies from other studios.

Hammer films before LOLITA: SPACEWAYS, THE QUATERMASS EXPERIMENT, QUATERMASS II,

Non-genre Hammer films before LOLITA: HELL IS A CITY

Non-Hammer horror films: CORRIDORS OF BLOOD, HORRORS OF THE BLACK MUSEUM, JACK THE RIPPER, THE DAY THE EARTH CAUGHT FIRE.

Hammer films after LOLITA: PARANOIAC, THE CURSE OF THE MUMMY’S TOMB, HYSTERIA, COUNTESS DRACULA, Hammer House of Mystery and Suspense. Non-Hammer horrors: WITCHCRAFT, DEVILS OF DARKNESS, THE NIGHT CALLER, CARRY ON SCREAMING, BERSERK, TWISTED NERVE, INCENSE FOR THE DAMNED, WHOEVER SLEW AUNTIE ROO?, TOWER OF EVIL, THE CREEPING FLESH, VAULT OF HORROR, CRAZE (one of many contenders for Freddie Francis’s worst film).

That’s not going to convince anybody that Stone’s Hammer work or horror movies was what brought her to Kubrick’s attention.

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But the scene where Humbert Humbert takes his wife and step-daughter to the drive-in to see CURSE OF FRANKENSTEIN might make an impression on doubters. This is the only Kubrick film to feature Christopher Lee and Peter Cushing.

But DR STRANGELOVE doesn’t feature anybody with major Hammer credentials, except Shane Rimmer, whose Hammer work, major though it was, was all in the future. In 2001, we have William Sylvester, who had been in GORGO, DEVIL DOLL and DEVILS OF DARKNESS, but he’s plainly been cast because he’s an American in England. But Leonard Rossiter was in THE WITCHES.

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It’s with CLOCKWORK ORANGE that Kubrick embraces the trashier side of British culture. Most significantly, we see Alex (Malcolm McDowell) fantasizing about being Count Dracula, with long plastic fangs and red red kroovy dripping from his lips. This second overt Hammer reference clinches the Kubrick fascination for the Studio That Dripped Blood, and check the cast list —

I contend that Patrick Magee wasn’t cast for his Beckett experience, but for DEMENTIA 13, MASQUE OF THE RED DEATH, THE SKULL and DIE, MONSTER, DIE! admittedly not Hammer productions but generically bang-on. Also for his unparalleled ability to form himself into  a series of living Messerschmidt Heads, TALES FROM THE CRYPT, THE FIEND, ASYLUM, DEMONS OF THE MIND and — AND NOW THE SCREAMING STARTS were still to come — followed by BARRY LYNDON.

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Scottish actress Adrienne Corri had a long genre back catalogue, and her future would feature even more entries. To begin with we have DEVIL GIRL FROM MARS, CORRIDORS OF BLOOD (again), THE HELLFIRE CLUB, THE VIKING QUEEN and MOON ZERO TWO (both Hammer). Right after working for Kubrick, she made VAMPIRE CIRCUS, and later MADHOUSE. Despite Renoir’s THE RIVER, horror movies will probably always be what she’s known for (along with being stripped to her socks for Kubrick’s dubious delectation).

Aubrey “PR Deltoid” Morris made BLOOD FROM THE MUMMY’S TOMB the same year as CLOCKWORK ORANGE so we probably can’t count that. Dave Prowse had already done HORROR OF FRANKENSTEIN and would soon shoot VAMPIRE CIRCUS and FRANKENSTEIN AND THE MONSTER FROM HELL. And some space thing. Steven Berkoff had done THE FLESH AND THE FIENDS, KONGA and SLAVE GIRLS, and would return in BARRY LYNDON.

The girls: Katya Wyeth, from the film’s final shot, came fresh from TWINS OF EVIL and HANDS OF THE RIPPER (in the important role of 1st Pub Whore). Virginia Wetherell had done CURSE OF THE CRIMSON ALTAR and DR JEKYLL AND SISTER HYDE. Shirley Jaffe was fresh from TASTE THE BLOOD OF DRACULA. Vivienne Maya chalked up LUST FOR A VAMPIRE and TWINS OF EVIL — her best role is as the flashback girlfriend in A FISTFUL OF DYNAMITE.

Of course, I admit the difficulty of casting a dolly-bird in 1971 who had NOT been in a Hammer horror or two. But now we come to BARRY LYNDON.

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The casting of Andre Morell strikes me as highly significant — Morell isn’t as tightly bound to Hammer in the public consciousness as Cushing and Lee, or Michael Ripper, but he should be. He was Quatermass on TV (an indirect link) and Watson to Cushing’s Holmes; THE SHADOW OF THE CAT, SHE, PLAGUE OF THE ZOMBIES, THE MUMMY’S SHROUD, VENGEANCE OF SHE, and a number on non-horror Hammers including the terrific CASH ON DEMAND. Plus non-Hammer horrors like BEHEMOTH THE SEA MONSTER.

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Frank Middlemass had come from FRANKENSTEIN MUST BE DESTROYED. Ferdy Mayne will be best remembered as Polanski’s Count Von Krolock, but also chalked up THE VAMPIRE LOVERS.

THE SHINING refers to Hammer only in its genre, but a comparison with THE EXORCIST is revealing, Kubrick having attempted to make a megablockbuster throughout his late career by patterning his films on the biggest box office smashes of history. But each of these films goes through the Kubrick funhouse looking-glass and emerges as something no sane person would expect to rake in the receipts — BARRY LYNDON purloins the child’s death from GONE WITH THE WIND, THE SHINING aims for THE EXORCIST and winds up in MARIENBAD country, and A.I. wants to be E.T. but can’t help its mechanical nature, like little Haley Joel Osment and the late Stankey K. himself.

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FULL METAL JACKET is too American and too young to borrow Hammer actors, and by the time of EYES WIDE SHUT most of them were dead. However, with its quasi-Satanic shagging party, the movie seems to be channeling sixties and seventies horrors, particularly Corman’s MASQUE OF THE RED DEATH (and maybe CURSE OF THE CRIMSON ALTAR? And if there were a film called STENCH OF THE SCARLET PENCIL I’m sure that would have been an influence too).

Taking My Big Theory to its logical conclusion, we would have to say that Welles follows the path of Whale by telling moral tales in which nevertheless the truest, deepest sympathy is with the monsters; Kubrick follows the Sangster and Fisher route by portraying a world in which the oppressive patriarchy, though corrupt and inhuman, is the nearest thing to a safe side to be on…

Heat-Seeking Miscelanea

Posted in FILM with tags , , , , on December 10, 2011 by dcairns

Limerwrecks! After a month of film-noir, we return to the Vincentennial, celebrating 100 years of Uncle Vinnie Price and his lovable shenanigans. I’ve contributed a few rhymes of the subject of MASQUE OF THE RED DEATH.

They 

are

colour

coded.

That last one is by Horror Host Hilary, AKA The Surly Hack — scroll around and see more of his work at Limerwrecks.

The Chiseler! A profile, or character assassination, of Al Bridge, not so much rumpled as scrunched up and thrown away, but one of my favourites in the Preston Sturges repertory company of grizzled professionals.