Archive for Paul Stewart

A Woolrich Gallery #1

Posted in FILM, literature, Painting with tags , , , , , , , , , , , , on April 17, 2010 by dcairns

I once got into a silly argument with my friend Nicola about whether THE WINDOW was in colour or b&w. I clearly remembered the colours — proof, in fact, that sometimes the eye paints in what the film omits to record. I think also the all-American boy in a stripy top had formed a connection in my mind between Bobby Driscoll in THE WINDOW and little Tommy Rettig in THE 5000 FINGERS OF DR T, enabling me to “see” the colours of Bobby Dee’s shirt.

Maybe also the palpable sense of summer heat evoked by former DoP Ted Tetzlaff’s film (based on Woolrich’s juvenile Rear Window retread, The Boy Who Cried Wolf) added a wash of orange and red over my memories — although in fact, monochrome movies are often the best for making you feel a choking sense of humidity — see TOUCH OF EVIL for confirmation.

To threaten the life of a child, said Francois Truffaut (who filmed two Woolrich novels), is almost an abuse of cinematic power. THE WINDOW depends entirely for suspense on placing its miniature protagonist in peril, but we are reassured slightly by the fact that he’s the hero of the film, and he’s a star, so he’s probably going to make it through OK. Nevertheless, it’s disconcerting to find him playing in the ruins of a crumbling tenement in scene one, something modern American parents probably would tolerate, and which the city would take steps to render impossible. And when bad guy Paul Stewart punches the little mite unconscious later on, there’s a genuine sense of SHOCK.

Because the film is rooted in a fairly happy family, and the threat comes from entirely outside, and things are cleared up cosily by the end, perhaps we can’t call this true noir, but the visuals certainly fit. And Bobby looking up at the stars enables me to quote Woolrich’s memoirs. As an eleven-year-old boy, he looked up at the stars, and ~

“I had that trapped feeling, like some sort of a poor insect that you’ve put inside a downturned glass, and it tries to climb up the sides, and it can’t, and it can’t, and it can’t.”*

The other thing that haunts this film and gives it a darker edge is the melancholy fate of Bobby Driscoll. After his movie career did a slow fade in adolescence, he drifted into drug abuse. Apparently a talented artist, he hung out with Andy Warhol’s Factory crowd (he was apparently a promising visual artist), then vanished from view. An unidentified body found in an abandoned tenement was buried in an unmarked pauper’s grave on Hart Island. A year and a half later, his mother approached the police, wanting Bobby to see his father, who was close to death. A fingerprint search matched Bobby’s name to his corpse.

Bobby Driscoll, RIP.

*Excepted from Francis M Nevins’ introduction to Night & Fear.

The Window [DVD]

Citizen Kong — an appeal

Posted in FILM with tags , , , , , , , , on January 10, 2009 by dcairns

Shadowplayer Dan North got very excited just recently when I mentioned the oft-quoted fact that CITIZEN KANE uses stock footage culled from SON OF KONG (or KING KONG, according to some). He decided to pinpoint the exact shot that said footage originated from — but was unable to do so. And it’s not his fault, look —

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Charles Foster Kane takes his wife on a little picnic.

The actual sky and landscape not meeting Welles’ requirements, special effects supremo Linwood Dunn has matted in a new sky and jungle scenery to this shot. Now we get to the “picnic” itself (as Welles’ narration notes in THE LADY FROM SHANGHAI, “It was no more a picnic than… he was a man.” Grotesquely overblown but unsatisfying picnics are a mini-motif in Welles.)

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Here we see KANE star Paul Stewart glide about, all sepulchral-like, against a rear-projected background which features animated flying creatures, sometimes referred to by commentators as bats, sometimes pterodactyls. They also resemble storks (like the artificial ones seen in the magic carpet ride in Murnau’s FAUST). You can see them as angular black shapes in the upper middle of the frame. Now,  it seems incredible that anyone would take the trouble to add giant animated birds just to render the shot unconvincing, so it’s not specially created for KANE, we can assume (or can we? I would welcome any crackpot theories here). So, the argument that this material derives from one of the KONG films, also produced at RKO and featuring copious animation by Willis “Obie” O’Brien, makes sense. But is it actually true?

Note that the silhouetted bird-things appear to be 2D animation rather than animated puppets. Note also that they pass IN FRONT OF the tents — this means that the weird tents are part of the stock footage, whatever it is. Also, I think they’re actually a painting rather than real tents. The rippling water is, I think, part of the stock footage too, so it’s not all animated. There’s also a little curved Japanese-type bridge as part of that background.

It doesn’t look like Skull Island as I remember it.

So what is this? I don’t have a copy of SON OF KONG to check, but I’d be surprised if this scenery existed in it. It certainly doesn’t in the original KONG. Even THE MOST DANGEROUS GAME doesn’t seem likely. I looked around for other RKO films with a jungle theme, but didn’t find much. I looked at Obie’s other credits, and found THE DANCING PIRATE, which who knows, might feature some kind of encampment? It would be amusing if this were the film, since it features a very very young Rita Cansino, the future Rita Hayworth and future Mrs. Welles.

So, I’m appealing for help — an authoritative source explaining where the footage came from, or even better, a frame grab of the actual shot in the actual film that first featured those enigmatic flapping fellows. Let’s sort this out!