Archive for Mel Gibson

The American Problem

Posted in FILM with tags , , , , , , , , , , , , on September 14, 2019 by dcairns

The following contains spoilers for Joe Eszterhas’s Number One Plot.

I remember thinking THE MUSIC BOX was OK, but now I’ve watched it again and it’s kind of not.

I think Costa-Gavras thought he could make intelligent political films in the US (post-producing them in France to maintain some distance) but maybe he was wrong. The most pernicious form of censorship, suggested Alexander Mackendrick, is self-censorship.

The screenwriter is Joe Eszterhas but I vividly remember that at the time most of us were not on to him. He had written FLASHDANCE (which I’ve never seen — the Wikipedia plot synopsis, however, is HILARIOUS, just a bunch of random incidents separated by dithering — I’ve been working on editing together old movie serial recaps, and this seems like one of those) and JAGGED EDGE and Costa-Gavras’ BETRAYED.

The big obvious joke with J.E. is that he always writes the same movie. Well, JAGGED EDGE (his signature work, it even shares his initials) is the exact same story as BETRAYED, THE MUSIC BOX and BASIC INSTINCT and I assume JADE. Someone is involved with someone else who may be a monster spoiler alert they totally are.

Though it was fashionable to say that JAGGED E. “kept you guessing to the very end,” I did notice, aged eighteen, that I was not guessing at all at the end. It was obvious to me that if Jeff Bridges wasn’t the killer, they would have to do a lot of tiresome explanation, SUSPICION-style, and also it wouldn’t be as dramatic. Still, let’s give J.E. (the man and the film) credit for doing a version of SUSPICION with the right, and less obviously commercial, ending.

Then he just does it again and again. In MUSIC BOX, for the first time the villain is a father, not a lover, and the crimes are historic. I recall the friend I saw it with back in 1989 saying, “The moment I saw that guy I knew he was guilty, but I was still sucked in.” Which is true. You do need to know how it’s going to turn out.

Flatly, is the answer. The very strong premise of a daughter defending her father on war crimes charges, complicated by the fact that the communist government of Hungary might be framing him because he’s a vocal anti-commie, seems like a good set-up, and it is, but they have no ending up their sleeve other than “Surprise! He’s guilty!” And since we’re not surprised, that’s not very gripping. They know they can’t trump up some kind of fight over a hunting knife and kill the guy. So they’ve got nothing.

I do like how Armin M-S’s credit appears over an animatronic likeness of him.

This being a J.E. script, all the men are inappropriately sweary or sexual, something that is more obvious to us post-SHOWGIRLS (written on the FLASHDANCE random-shit-and-dithering model) but was always a feature of Dirty Joe’s writing (JAGGED EDGE, Peter Coyote: “The guy’s got a rap sheet as long as my dick!”)

Costa-Gavras’ direction is smooth, there are some good-ish shots, but nothing breaks out of the Oscar-bait conventions of the script. When Jessica Lange walks by the Danube in search of inspiration, there are some shots of rippling water, but no cinematic poetry to lift us out of the merely photographic and suggest the emotional process the screenwriter has failed to write.

Freeze-frame ending. Ugh.

Fiona’s main observations: “This script is LEADEN,” and “That’s a really ugly dressing gown.”

Lange refuses the case because she’s too emotionally involved (mythic structure #101) then changes her mind after examining her knees in a mirror. She seems about to go full Sharon Stone. I have no idea what’s going on in this scene.

I like C-G, normally, because he weaves political considerations into rivetting stories, seamlessly, and because he is one of the best storytellers with the camera we have — he doesn’t get enough credit for his dynamic visual language. But it just feels like he has nothing to work with here. It’s like trying to sculpt soup.

And yes, Armin Mueller-Stahl is good, if a bit one-note (everyone is one-note, it’s an Eszterhas script).

Armin Mueller-Stahl’s Oscar campaign.

The best thing Joe Eszterhas wrote, a horrifying, craven piece of unintentional black comedy, is his letter to Mel Gibson. You will scream.

MUSIC BOX stars Dwan; Thronfolger; Hammett; Lyndon B. Johnson; Samuel; and Henry Portrait.

The Three Stooges of Grief

Posted in FILM, Theatre with tags , , , , , , , , , , , , , , , , , , , on May 21, 2019 by dcairns

Okay. After further Stooge-viewing, I can offer more “insights.”

(One) Watching with company helps. For me, there’s still a point of depression that kicks in after two shorts, but you obviously get bigger laughs with a friend present, and I can imagine a big cinema audience would amplify things further.

Old womanhaters.

(Two) Some of the shorts have more to offer than others. It might be the presence of a guest star — expected, like Billy Gilbert, or unexpected, like Lucille Ball. Or it might be an actual plot, as in PUNCH DRUNKS, where we get to see the Stooges meet up as if for the first time — Moe is a fight manager, Curly a waiter, Larry a violinist, and Curley becomes an unbeatable berserker whenever he hears “Pop Goes the Weasel” played. Or it might be all that plus the whole thing being a kind of grotesque operetta, as in WOMAN HATERS, an ode to/spoof of misogyny, performed in song and recitative.

Curky does his celebrated Jean Cocteau routine.

(Three) Curly is the most appealing actor. Moe is a horrible character, played with some skill admittedly (and as a unit, the Stooges are exemplary in what they do, if you can admit the need for anybody to do it at all). Whenever Moe gets a closeup, any laughter you might be working on dies before reaching the throat. And then you have a dead laugh lying on your stomach. Larry, apart from his fiddling, seems less of a character all round, and doesn’t really suggest the required dumbness. When you look at Moe and Larry together they seem like they ought to be starring in a film which would be called BILL AND TED GET ACROMEGALY. But Curly has all these weird mannerisms and non-sequiturs, which have nothing to do with real human behaviour — the strange butterfly movements, the dances, the abstract vocalisations, the nonsense utterances — “victim of circumstance” — “that’s a coincidence.” And he’s the most creative, adding flinches everywhere, as if constantly fearing the violence he is, in fact, going to receive.

Look at this image. Now try to think of something amusing.

(Four) I do have a fascination with unfunny clowns, or clowns who are only intermittently funny (Jerry Lewis is the King of Intermittence, but he can get me HYSTERICAL). I’ve watched less than ten Stooges shorts, and two of them begin with the Stooges begging on the streets. Not busking, like L&H, but merely BEGGING. And I think you’d find it hard to argue with the contention that we’re basically being asked to laugh at beggars. The way to enjoy this is to turn the laugh on the filmmakers, and laugh any time there’s a good joke but also laugh at the twisted nature of the endeavor, the tasteless, clueless approach to popular entertainment. There’s a contention that comedy is valuable when it punches UP and disagreeable when it punches DOWN. The Stooges shorts certainly contain a lot of punch-ups. But whereas Laurel & Hardy films have this strange duality (at least when Stan was in charge), where the boys are both the butt of the joke and the sole focus of our sympathy, in the Stooges films we are meant to laugh at the respectable citizens who get hurt and also at the idiots responsible, and we have no sympathy for anyone. I’m reminded of Fassbinder. Yes, I am: “I look to the left, and I look to the right, and I FIRE IN ALL DIRECTIONS.

Censored sequence from FIEND WITHOUT A FACE.

(Five) In POP GOES THE EASEL, a deaf dowager type is introduced. We wait for some kind of comedy based on her mishearing, or forcing people to repeat themselves, but no. She’s merely PELTED WITH CLAY. Her deafness is introduced (by writer Felix Adler, who also worked for Lloyd and Stan & Ollie) merely because it was assumed that smacking a disabled person with clay would be even funnier than doing it to a not-yet-disabled person.

(Six) In MEN IN BLACK (!), directed by Leo McCarey’s tragic brother Ray, the boys are turned loose in a hospital. They knock their boss unconscious with a hammer, transport him to the Operating Room, open him up with a road drill and then leave all their instruments inside him. Ha. Ha. Ha. J.J. Hunsecker’s line about “cheap, gruesome gags,” seems an apt one here.

(Seven) It would be wrong to traduce all Stooges fans. But anyone who likes the Stooges above and beyond other vaudeville-type comics, I would view with suspicion. Sam Raimi, Mel Gibson and the Farrelly Brothers are the main Stoogites I can think of, and I feel their preference tells us a lot about them. I simply won’t watch Farrelly films, they make me laugh a fair bit but there’s always something that depresses me for days. And they are not well-made films. Mel Gibson, enough said. I’m told he includes an hommage (“Spread out!”) in APOCALYPTO. Think of it. His films really are all set in a nightmare world of continuous mayhem, just like the Stooges. Raimi at least incorporates his stoogisms into a burlesque vision of grueling horror, which seems like the right place for them.

Is it a mistake that Moe is labeled with the chemical formula, not of water, but of hydrogen peroxide? Was that a well-known formula the audience would laugh at?

(Eight) Behind-the-scenes-of-chaos personages in the early shorts include Clyde Bruckman, ace gagman and Keaton’s co-director on THE GENERAL, who later shot himself with Keaton’s gun. See HORSES’ COLLARS and learn why. Then there’s the truly magnificent anti-talent of Jules White, co-auteur of the Dogville Shorts, which I kind of adore for their sheer horror. I showed the canine reconstruction of WWI to students and asked, “How did it make you feel?” “Just angry,” came the reply. White also presided over the destruction of Buster Keaton at MGM. Lou Breslow, misguided genius behind reincarnated dog detective movie YOU NEVER CAN TELL, is also in the mix. But it never seems to make much difference who is involved. If you’re in hell, which particular imp is stirring your pot may not matter too much.

The Easter Sunday Intertitle: Cross Words

Posted in FILM, Mythology with tags , , , , , on April 16, 2017 by dcairns

I.N.R.I. (1923), directed by Robert CALIGARI Wiene. I think it has the most disturbing crucifixion on record — the effulgent golden tinting doesn’t prettify it at all. Grigori Chmara’s performance, and his “look” courtesy of the hair & makeup dept, somehow surpasses all the frenzied bloodletting of Mel Gibson and co.

Chmara also played the lead in Wiene’s RASKOLNIKOV. Both films deserve to be released in opulent restorations — it’s long been a puzzle how Wiene’s cinema can be so clearly important and yet so undervalued and unavailable.

But would all the Christians run out and buy this? Alas, no. The stylised sets and slow pageantry make the events depicted seem more distant and alien — the opening really looks like a school nativity play only with a bigger budget and adults in the roles. Gibson’s PASSION OF was a big hit with the churchgoers because it seemed to offer the experience of time-travel, a front row seat for the torture and killing and resurrection — the violence and the modern filmmaking provided the illusion of “realism,” and it didn’t matter that the ancient languages were all wrong, as long as you couldn’t understand them — Gibson said he’d prefer people to watch without subtitles — it’s all aiming at a You Are There aesthetic.

Wiene’s film is the exact opposite — nothing looks quite real until Christ’s death. The moment when the film transcends its theatricality.

“It is accomplished! Father, into your hands I commend my spirit.”