Archive for Odd Man Out

Dyspeptic in Elsinore

Posted in FILM, MUSIC, Theatre with tags , , , , , , , , , , on April 16, 2021 by dcairns

Asides from my making-of Caesar and Cleopatra book, I also have a lovely, if tattered volume entitled The film HAMLET, covering Olivier’s 1948 production. Various heads of department contribute short chapters about their work.

My late friend Lawrie Knight was only a 3rd AD on it, and only for a few days. His story doesn’t feature. Stop me if you’ve heard it before. Olivier, it seems, wanted the sound of a heartbeat to accompany the ghost’s appearance. In the end he used a drumbeat, but perhaps the story of Ruben Mamoulian recording his own heart after running up and down a flight of stairs, for the transformation scene in DR. JEKYLL AND MR. HYDE, was already well-known? Olivier, saving himself the strain, sent an assistant off to run around the studio, and then they pressed a mic to his ribcage.

“Nothing but indigestion!” reported Lawrie, with a chortle.

The book lacks that kind of engrossing detail. Olivier’s own piece is rather windy, and devotes a lot of time to justifying his choice to shoot in black and white, though he would later admit that he was having “a frightful row with Technicolor” which played a significant part in the decision. Still, it was a great choice.

Really lovely pic of Larry directing in costume and, it seems, in character.

Producer Anthony Bushell’s thoughts on the casting are more interesting. He starts by recounting an anecdote from his youth as an actor: he tried to secure a walk-on/spear-carrying role in John Barrymore’s London production of the play. Barrymore somehow misunderstood and thought he was angling for Laertes.

“Young man, it is your misfortune that the Hamlet in this production will never see fifty again. You cannot possibly play Laertes with me.”

(Barrymore wasn’t actually fifty yet, but maybe he felt it, or maybe he actually said forty.)

We learn that Stanley Holloway got the role of the gravedigger after “F.J. McCormick, the little Irishman who as the bowler-hatted Shell in ‘Odd Man Out’ enchanted thousands only to sadden them by his untimely death, was first to have played the role.’

I like what Bushell says about Osric.

Explosive Rod

Posted in FILM, Politics with tags , , , , , , , , , on November 5, 2011 by dcairns

Remember, remember the fifth of November 

Gunpowder, treason and plot

I see no reason

Why gunpowder treason

Should ever be forgot.

HENNESSY is a mostly pretty interesting terrorism thriller from the director of  THE FACE OF FU MANCHU (which had a big impact on me on TV as a kid) to the 1979 THE 38 STEPS (which I saw at the cinema a few years later) to the legend that is PSYCHOMANIA. Don Sharp was an Australian working in England, and he brought a rugged professionalism to everything he did — his films aren’t all good but they’re unapologetic.

In this one, Rod Steiger plays an ex-IRA man who sets off on a suicide mission after his family are (accidentally) wiped out by British soldiers during a riot. Traveling to London, he embarks on an elaborate plan to get access to the opening of Parliament, disguised as a cranky politician, and blow the Houses of Parliament, the Royal Family, the government and the opposition and himself to united kingdom come.

As you can see, the movie sparked some controversy (although possibly AIP are hyping it up for their promotional purposes). Back in 1975, any attempt to make entertainment out of the Troubles was regarded not only with suspicion (which would be natural and reasonable) but with hysteria — as Mike Hodges found out later when his A PRAYER FOR THE DYING likewise sparked a media shitstorm for daring to portray an IRA man who’s tired of violence in a sympathetic manner. While Carol Reed’s ODD MAN OUT was something of a beloved masterpiece, any attempt to treat similar ground provoked unreasoning fury from the tabloids. The subject WAS rather a grim one, and the horror WAS an ongoing scenario rather than safely in the past, but the frenzied denunciations rarely seemed to have anything to do with the subject under discussion. HENNESSY certainly isn’t an abhorrent film.

Rod and Lee, not being abhorrent.

In fact, the premise was the brainchild of co-star Richard “Who You Fucking?” Johnson, who plays a brutal cockney cop in the film, hot on Rod’s trail and sporting a Captain Haddock beard. He’s quite convincing as a thug, continuing the “violence to the shins” theme he originated in his Bulldog Drummond movies. And meanwhile, not only is Rod Steiger sporting a very convincing Irish accent, but so is Lee Remick, and both of them are really good.

Haddock to a tee.

Although the opening, which requires Rod to kneel and agonize by his slain wife and child (Patsy Kensitt, precociously attempting to justify the shoot to kill policy by her very presence NO! I don’t mean that I’m sure she’s very nice really), which is a red rag to a bull to a man with Rod’s histrionic tendencies, actually he’s 90% muted and restrained and underplaying and all that. Which is remarkable when you consider that this film was shot around the time of WC FIELDS AND ME, where he’s fairly flamboyant, and after the excesses of NO WAY TO TREAT A LADY, THE SERGEANT and WATERLOO, movies where the word “outsized” could fairly be deployed.

Only when Rod straps on the gelignite does an explanation suggest itself: clearly, Sharp stopped his star hamming by having him wired to explode should his acting exceed thirty Oliviers per hour. This clamps a lid on the tempestuous player: you can see him approaching conflagration point, but pulling it all in and down, broiling inwardly with the agony of not being a big show-off, radiating all that intensity through the eyes…

Special guest stars!

So that’s all going on. And then, at the climax, his ridiculous plan nearing fruition, Rod enters a studio mock-up of the Houses of Parliament, and Sharp pulls his cheekiest move: actual guest appearances by the Queen, the Duke of Edinburgh, Prince Charles, Princess Anne, James Callaghan and Margaret Thatcher… at the appearance of Mrs T, not yet elected to PM, I confess I did start to hope that Rod would heroically blow up and save us 11 years of right wing Tory rule…

Sharp is intercutting documentary footage of the real event, which an opening title shamefacedly admits was not shot especially for this film (but I bet it was, under false pretenses), with Rod and Richard in the Twickenham studios mock-up. To add further to the delirium, Sharp cuts to Steiger’s sweaty fingers connecting the wires within his clothing. Yes, this is doubtless the true reason the movie was banned: for daring to intercut images of our sovereign with images taken inside Rod Steiger’s clothing. These are, I think, the only photographic images recorded inside Rod Steiger’s clothing ever presented to the public. Some brief shots of his nipples chaffing against his shirt in IN THE HEAT OF THE NIGHT were deleted for pacing reasons, and although David Lean did consider shooting Steiger’s drunk scene in DOCTOR ZHIVAGO from under his furry hat, he decided against it (a decision he regretted to his dying day).

Inside Rod Steiger.