Archive for Mirisch Corporation

Armed Farces

Posted in FILM with tags , , , , , , on October 5, 2019 by dcairns

And another thing —

Though a saucy bedroom farce might seem like a strange artistic response to the Allied invasion of Sicily in WWII, I do think Blake Edwards’ WHAT DID YOU DO IN THE WAR, DADDY? can be explained, in a couple of ways.

Firstly, since the end of the actual war, movies on military themes had been getting lighter in tone. THE GREAT ESCAPE plays like a romp, with tragic elements for added spice. And the service comedy, dealing with the non-combat-related activities of enlisted men, was a long-standing thing. Combine the two and you have something like WDYDITWD, as it is known for short.

Also, the Mirisch Corporation. A comfortable home for Blake Edwards and Billy Wilder, it otherwise specialised in large-scale war movies of the 633 SQUADRON variety. So they knew where to get the big toys, the tanks and planes. The rather excessive scale of Edwards’ production, apparent from the opening montage, is explicable only in terms of Edwards’ moneymaking success at a company familiar with military subjects.

After that, we get into the realms of allegory. The characters of the film represent the different neational factions if the war. Dick Shawn, though playing an American commander, stands for Britain: prissy and rigid, but devoted and dependable. James Coburn is the US: fearless, flexible and resourceful, but endeavoring to stay out of the fray as long as possible. Sergio Fantoni, though Italian, stands for all the surrender-monkey nations of Europe (we’re dealing in offensive stereotypes, here, you understand). The Germans, shockingly, represent the Germans (also the Japanese, I suppose, but only loosely: Edwards had already made his definitive statement on that nation via Mickey Rooney in BREAKFAST AT TIFFANY’S).

So now it all makes sense, right?

Things I Read Off the Screen in In the Heat of the Night

Posted in FILM with tags , , , , , , , , , , , on April 11, 2014 by dcairns

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NO LOAFING IN THIS ROOM … LADIES

For work reasons, been looking at Hal Ashby stuff, and this led me to pick up Mark Harris’s terrific book Pictures at a Revolution, which examines the stories behind the five Best Picture nominees from the 1967 Academy Awards. Ashby edited and helped produce one of them, IN THE HEAT OF THE NIGHT.

Norman Jewison is a solid middle-of-the-road journeyman, and his film sometimes gets kicked around for its well-intentioned liberal attitudes, but it should be admitted that it’s a satisfying detective story and that the treatment of race, which might seem very safe today, was a risky proposition at the time the film was made. Fiona remarked that it was shrewd of the filmmakers to wrap their story up in a cop show and make it acceptable to everybody, but I would assume there were plenty of drive-ins where the film wouldn’t have been welcome. Playing safe probably brought in an extra 10% of the audience who would have been scared off by something more radical, but it would hardly satisfy the hardcore racists in the South or the North. I guess Rod Steiger’s Police Chief Gillespie represents that 10% — possessed of some basic human decency at core, but reared in unquestioning racist attitudes. The hope is that the right stimulus, be it Sidney Poitier or a Sidney Poitier film, might awaken such a person. So maybe the film is naive?

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COTTON GROWERS’ COOPERATIVE Reference Calendar 1966 SEPTEMBER 1966

I think the other flaw is the suggestion of some kind of parity between the bigotry of the small town whites and Poitier’s desire to see the rich plantation owner arrested for murder. Being prejudiced towards those with more money and power, and who show prejudice towards YOU, may be a disadvantage to a detective and I guess it is an unworthy trait, but I don’t think it’s on any kind of par with white supremacy. And yet Steiger is allowed to say “You’re just like the rest of us,” and Poitier has to acknowledge the justice of the remark. Screenwriter Stirling Silliphant did have a weakness for simplistic messages, I think. On the other hand, this was probably an effort to prevent Saint Sidney from emerging as too perfect to be human.

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UP

Ashby cut together some snappy material, aided by Haskell Wexler’s photography and Quincy Jones’ score. I think some of the handheld work sticks out too much, but the filming is admirably loose for the period. Macro examination of a corpse displays pretty good makeup approximations of rigor mortis

Ashby’s direct cutting resists the softness of fades and keeps things taut. The flyblown diner where the film begins assembles itself out of grizzly details. The editing of the performances, an art rarely discussed, is especially impressive, with some reaction shots sprung on us by surprise (Steiger abruptly stops chewing his gum — uh-oh!) and some withheld until we’re aching for them (when Poitier first reveals he’s a cop, the delay on seeing Steiger’s reaction is delicious agony).

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Let us ALL be Alert We don’t want ANYONE Hurt … DANGER 200 VOLTS

From working under George Stevens and William Wyler, we can assume Ashby learned to gather lots of material. While Stevens typically shot the shit out of everything from every conceivable angle, he was perfectly content to let a whole scene play out in a single longshot with all the actors partially blocked from view, if that’s what felt best dramatically. Wyler shot few angles, often just changing lens for tighter shots, but he was equally relentless with his multiple takes, driving actors until they collapsed on the floor like unstrung puppets. Ashby may not have enjoyed his time as an assistant, but he was learning.

His first solo job was Tony Richardson’s THE LOVED ONE (also with Steiger), a film I like a lot. Reportedly Richardson, mad at UA for not upping his salary after the mega-success of his TOM JONES, punished the studio by gleefully wasting cash on this movie. Ashby’s adversarial relationship with his paymasters may have been picked up around this time, though no doubt it was part of his nature already.

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EAT … ICE COLD WATERMELON … SOUTHERN HOME COOKING … OPEN … DRINK

Harris reports in his book that Ashby was aware of the Mirisch Corporation’s similarly parsimonious attitude to Jewison, and it infuriated him. We note that Jewison produced THE LANDLORD, Ashby’s first feature as director, and the two fell out over the ending. Ashby had to place the producer in the role of bad guy. But also: he was right about the ending, his film is beautiful. And I don’t think Jewison has the sensibility to make a film quite that interesting. Harris’s book recounts the result of ITHOTN’s sneak preview, where Jewison was disturbed by the audience laughter at moments where Steiger got egg on his face. Ashby had to persuade him that the laughter was GOOD — that the audience really got the film. I almost suspect they understood it better than Jewison.