Archive for Pal Fejos

The Man with the Mondrian Wheels

Posted in FILM, Painting with tags , , , , , , , , , on July 1, 2016 by dcairns


9 a.m. HER MAN (Tay Garnett). Proto-Wellesian tracking shots, and Phillips Holmes looking Greek-godly in a shredded sailor suit. “That was practically a bdsm costume,” said Meredith Brody.

11. a.m. BROADWAY (Pal Fejos, whose very credit drew applause). “You’re seeing all sorts of fresh-minted clichés,” observed Mark Fuller.

16.00 MAS ALLA DEL OLVIDO (BEYOND OBLIVION, 1955) Argentinian Gothic melodrama which draws from REBECCA and GASLIGHT while harking forward to VERTIGO and even THE HORRIBLE DR. HICHCOCK. See it if you ever get the chance.

21.45. THE HIGH SIGN (music by Donald Sosin), COPS (music by Timothy Brock) and THE KID (music by Charlie Chaplin adapted by Timothy Brock). Orchestral accompaniment. The Piazza Maggiore. Sublime.

A rare “golden” print of REFLECTIONS IN A GOLDEN EYE was displayed. Andrew Moor observed of the movie, “It’s a sort of mash-up of BILKO and EQUUS.”

Saw a man in a very cool wheelchair — it had Mondrian wheels. “We should compliment him on his chair!” Moving a little closer: “We should compliment him on his career!” Bernard Bertolucci, in the flesh. But the towering bodyguard maintaining his privacy as he chatted to Scott Foundas barred all compliments.

Forgotten Fantomas

Posted in FILM with tags , , , , , , , on May 12, 2011 by dcairns

No, Princess Danidoff! Fantômas will never be Forgotten!

Pal Fejos’s 1932 FANTÔMAS is only part of the show over at The Daily Notebook today — check it out.

Among the many interesting and weird aspects of the movie, is the extent to which the master-criminal’s  Mastery of Disguise is deployed. Here’s the aftermath of a murder scene. A detective has been stationed to see that nobody leaves the room, even though to all appearances, nobody is IN the room. Do watch the clip before reading on ~

“How many Indians are hiding in this room?” went the old-time western saying, the answer being “As many as want to.”

In Bob (THE MYSTERY MEN) Burden’s surreal superhero comic The Flaming Carrot, there was a villain known as “The Chair”, owing to the fact that his one superpower was the ability to transform himself into a chair. Eventually, supervillain work dried up for him, we’re told, and he now earns a meagre living impersonating background furniture in other comic books.

Of course, since Fantômas is a world-class desperado, he disguises himself as a nicely-upholstered armchair. No rickety stool, he.

And somewhere in 1932, Edogawa Rampo watched with a notepad…


Posted in FILM with tags , , , , on May 5, 2011 by dcairns

Pal Fejos’ miraculous and deeply weird MARIE LEGENDE HONGRIOSE gets the Forgotten treatment over at the Daily Notebook, so hurry on over! Staying with this week’s editing theme at Shadowplay, I touch a little on the filmmaker’s unusual cutting patterns: he’s really not like anybody else. Mesmeric repetition is a big part of his approach, I’d say. With variations. Mesmeric repetition with variations is a big part of his approach. A big part of his approach is mesmeric repetition with variations.