Archive for Polanski

Cut the Cheese: or, Dino’s Mighty Wind

Posted in FILM, weather with tags , , , , , , , , , , , , , , on November 13, 2017 by dcairns

A week of posts inspired by my recent reading. Here’s an excellent book by Sam & Bobbie O’Steen — Cut to the Chase: Forty-Five Years of Editing America’s Favorite Movies.

Sam O’Steen cut THE GRADUATE and ROSEMARY’S BABY and became Mike Nichols and Roman Polanski’s go-to editor. His book, “as told to” his wife and edit-room assistant, is full of good creative advice, often encapsulated in handy mottos — “Movie first, scene second, moment third,” — and also full of terrific gossip and anecdotes, as O’Steen was frequently on-set and witnessed the activities of a lot of very strange, talented, obnoxious people…

Some of the best stories arise from one of the worst films O’Steen was involved with, HURRICANE — Dino De Laurentiis’ epic turkey remake of John Ford’s group jeopardy potboiler, which was already not very good, despite sharing a lot of credits with Ford’s next film, STAGECOACH. The rehash was planned by Polanski but dropped due to his legal difficulties — it’s tempting to say that Polanski dodged a bullet, but you can’t really say such things, can you?

Jan Troell landed in the hot seat, with Lorenzo Semple on script, Sven Nykvist shooting, Danilo Donati designing, and stars Mia Farrow, Timothy Bottoms, James Keach, Jason Robards, Trevor Howard, Max Von Sydow and non-star Dayton Ka’Ne. And with all that talent, it’s deadly dull to watch. David Wingrove disagrees with me, and suggested that the film was a promising one that had been butchered in the edit, as evidenced by awkward jumps in the story and huge sets that are barely used. But O’Steen’s account makes it clear that many scenes were never actually filmed, and the imposing but underused sets are a regular result of Donati’s work — the crew on FLASH GORDON also complained that Donati never read the script, just a breakdown of scenes, so he would spend his budget freely on whatever interested him, building vast interiors for scenes that might only play for moments in the film, and skimping on others so you might find yourself shooting twenty minutes of action in a broom closet.

Many of the problems O’Steen was vexed by didn’t strike me as terribly serious — Mia’s hair and makeup may not be flattering, but I’ve seen worse. O’Steen had to create passion between the leads where none existed — Farrow eschewed any on-set romance with her unknown co-star, instead bedding Troell, then Nykvist, then (it’s heavily implied) Bottoms, leaving a trail of broken hearts in her wake. And they were all stuck in Bora Bora for six months while this was going on. There’s a big swimming scene which isn’t sexy or romantic (because it’s not there in the script or performances) but sure looks nice. It’s bloody looong, though. I guess O’Steen had to lay it on thick to compensate for the chemical inertia.

The crew arrived at a specially built hotel… that was still being built.

Franco Rossi was leading a second unit shooting waves, but they all got drunk and left their film cans to get flooded on the rocks.

Mia was seen at dinner with her beautiful son Fletcher on her lap… and all her adopted kids sitting on the floor, ignored.

Jan Troell’s love for Mia resulted in him ignoring the scenery and the story and shooting endless close-ups of his adored star. In the final film, O’Steen must have used every camera move he could find, because he complains Troell wasn’t shooting any.

Bottoms urinated on De Laurentiis’ shoes in a fit of pique, then hastily wrote an apology, in fear for his life.

Troell was promised final cut… then paid off with $25,000 to stay out of the edit room.

When Mia was feeding poor Dayton lines for his close-ups, she wouldn’t bother looking at him. She could read lines and do crosswords at the same time. Well, he’s no Jon Hall.

“Four down, nine letters, a mighty wind.”

She was also reportedly heard to refer to him as “the animal.”

Dino: “All directors are stupid. Anybody who gets up so early every day to say ‘Good morning’ to all those sons-of-bitches has to be stupid.”

Symbolism! God caber-tosses a crucifix at Trevor Howard!

With all this, and the drink and drug consumption, the VD outbreak (“You’d be surprised who has it,” said the unit nurse) and the malfunctioning toilets, plus all the grade-A talent, it’s amazing how dull the film is. The actual hurricane is good, especially as it wipes out a lot of the characters who have been boring us for two hours, but the natives are used as colourful cannon fodder, as usual, so it’s also kind of offensive. When our young lovers are left alone on a lifeless, flattened atoll at the end, it’s questionable whether we’re meant to expect them to survive or not, though we don’t actually care one way or the other.

Worse than KING KONG. But the behind-the-scenes action might make a good movie.

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The Schlong Goodbye

Posted in FILM, literature, Mythology with tags , , , , , , on December 4, 2010 by dcairns

Extract from an unwritten novel ~

“Say, what is this Golden Lingam anyway?” asked Sam Spayed.

“It’s an artifact of supreme occult power. Both the Temple of Satan Arisen and the Order of Lucifer want it for their rites,” said Gluttman.

“What is it with LA and these crazy sects? I thought this was about Anton LaVey’s Church of Satan? The guy’s a devil worshipper, AND movie crazy. Played his Satanic Highness in that Polanski flick, didn’t he?”

“These parties aren’t official Church of Satan. Too crazy for that. Splinter groups, and they’re both gunning for the Linga. If you’ve got your hands on it, you can name your own price.”

“How would I know it if I saw it?”

The fat man rolled his cigar and began to expand — on his subject, that is. “The Golden Lingam started as a golden statuette cast from the erect penis of Rudolph Valentino. The actor’s early death and the resultant mass hysteria charged the item with power.”

“You don’t say.”

“But I do say!” Gluttman puffed a blue plume of smoke across the room. “Purchased by another Latin lover, Ramon Novarro, the item acquired further energy when Novarro was murdered by rough trade, who either bludgeoned him with its onyx base, or choked him to death with the shaft — accounts vary. Sex and death and public adulation make for powerful voodoo, Mr. Spayed. The year was 1968. Polanski was making Rosemary’s Baby, and LaVey told him about the Lingam. The director purchased the item, intending it to go towards LaVey’s fee, but the men quarreled and LaVey is rumoured to have cursed the filmmaker — a serious matter, since an earlier curse had resulted in the death of Jayne Mansfield. Within a year, Polanski wife and several friends were dead, slain by a gang that included one former disciple of LaVey’s church, and one star of magician Kenneth Anger’s film Lucifer Rising, Bobby Beausoleil. It was sheer chance that Polanski had delayed his return from Europe and wasn’t at home, but still official accounts discount the significance of satanism and cinema (though the Manson family lived in a ranch formerly used as a movie studio) and claim that Polanski was not an intended target.”

“Holy smokes,” remarked Spayed.

“Very UNholy smokes, dear boy. The original five-foot Pole must have figured something out, because he offloaded the Lingam on a business partner, Victor Lownes, smuggling it through customs in his pants. But Lownes got wise to the very unheimlich aura around the thing, and mailed it back, writing, ‘I am returning this life-sized statue of yourself. No doubt you can find some other “friend” to shove it up.’ When Polanski returned to LA to shoot Chinatown, he offloaded the cock on Donald Cammell, a Kenneth Anger crony, just to spite LaVey. Cammell tried to tame the dark forces around the penis, and he was the right guy to do it: sex and magic and cinema combined. Born under a camera obscura. But he wound up blowing his brains out, reenacting a scene from his own movie, PERFORMANCE.

“The gold prick dropped from view. Some say LaVey had it, some say Forrest J Ackermann. Either way, both are dead now and the Lingam is back in circulation. Sometime in the last few years it acquired a coating of black lacquer, and was being passed off as a likeness of an erect Jimi Hendrix.”

“And this is the reason three people are dead? The movie exec, the Hollywood madam and the body double?”

“Why certainly! Power like this accrues in very few objects. Valentino’s manhood was worshipped by millions, and the statuette is a real totem of that. Then blood was spilled, legends gathered — all anyone wants in this town is power, fame, the love of beautiful men and women. The Lingam promises all that. Sex magic is the ladder to the top. The stuff wet dreams are made of.”

To read more of Camera Obscena, simply pass into the next parallel universe and order a copy from Amazon.

Halloween Film Club: Sick Building Syndrome

Posted in FILM, literature, MUSIC with tags , , , , , , , , , , , , , , , , , , , , , , on October 28, 2009 by dcairns

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The revelation in watching THE HAUNTING for me this time was that while Robert Wise’s filmmaking still holds up, and there’s a lot to say about that, the things that popped out most in the screenplay were the tin-eared blunders. Nelson Gidding (THE MAN WITH THE GOLDEN ARM) has done a good job compressing the incidents and realigning the characters from Shirley Jackson’s uncanny classic The Haunting of Hill House (wherein, for instance, Eleanor is attracted not to the investigating doctor but to the spoiled heir), on a structural level, but he really doesn’t have anything like the prose style or ear for dialogue he needs. Here’s Jackson’s opening —

No live organism can continue for long to exist sanely under conditions of absolute reality; even larks and katydids are supposed, by some, to dream. Hill House, not sane, stood by itself against its hills, holding darkness within; it had stood so for eighty years and might stand for eighty more. Within, walls continued upright, bricks met neatly, floors were firm, and doors were sensibly shut; silence lay steadily against the wood and stone of Hill House, and whatever walked there, walked alone.

Feel the goosebumps? Gidding has given the job of transferring Jackson’s intro and history lesson into the voice of Dr. Markway (Richard Johnson), which means jettisoning some of the flourishes and sometimes injecting an unwelcome note of jocularity which is one of Markway’s least appealing traits ~

An evil old house, the kind some people call haunted, is like an undiscovered country waiting to be explored. Hill House had stood for 90 years and might stand for 90 more. Silence lay steadily against the wood and stone of Hill House, and whatever walked there… walked alone.

That first sentence, I think, does little but deaden the overall effect, whereas Jackson’s abrupt change of direction between sentence 1 and 2 is deliciously jolting. After the credits (simple sans-serif font, with a big spooky production number for the main title — why?) Then the narration continues, with Wise providing spectacular visual accompaniment — absolutely gorgeous cinematography by Davis Boulton, whose career seems otherwise quaintly undistinguished: I like CHILDREN OF THE DAMNED, but IT! and SONG OF NORWAY?

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Bad stuff in the VO: there’s no equivalent in Jackson’s book for the awful phrase “big tree,” which sounds comically awkward even with Richard Johnson’s manly tones behind it, although Jackson is responsible for the equally uncomfortable “ah, lifeless, I believe is the phrase they use,” and she also gave us the name of the builder of Hill House — Hugh Crain. Sounds like Ukraine, not good. Gidding changed many of the character names, aimlessly (Vance becomes Lance, Montague becomes Markway) but saw fit to leave that one. And we learned he “died in a drowning accident,” a horrendously clunky phrase.

Great stuff in the visuals: the slow lap dissolve transformation from childhood to senescence:

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And all those ANGLES. Wise asked Panavision if they had a good wide-angle lens. They said they were working on one, but had rejected all their prototypes so far because they caused too much distortion. “Perfect!” said Wise, “That’s just what I want.” “No no no,” advised Panavision, “We really think these are a bit more distorted than you’d like.” “I assure you that’s impossible,” stressed Wise. Panavision were insistent. They were really embarrassed by these warped bottle-bottom things. In the end, Wise had to sign lots of documents promising he wouldn’t sue Panavision for sending him funhouse lenses.

vlcsnap-797819The convex mirror is one of Wise’s little jokes about his unconventional lens kit.

Emerging from this sensational, moody tape-slide presentation opening, we get Fay Compton (Emilia in Welles’ OTHELLO), one of my favourite old ladies, although she does say “Ho ho ho!” once too often in this scene. And here we meet Richard Johnson, a bluff, plummy actor who can do solemn without getting sepulchral. An actor friend of Fiona’s attests that Mr Johnson, who is still extant, greets old acquaintances with a loud cry of “Who’re you fucking?” It’s a lovely image.

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Johnson, as anthropologist Markway, is off on a ghost-hunting jaunt, and is forced to take Compton’s delinquent young nephew along — Russ Tamblyn, imported by Wise from WEST SIDE STORY. Tamblyn’s legendary physical prowess will come in handy on a couple of occasions: a very intelligent actor who thinks with his body.

Now comes the plunge into despair as we meet Eleanor (Julie Harris), the deeply unhappy protagonist who is the key element in this film that could not exist without Shirley Jackson’s imagination. In researching haunted houses, Jackson tells us that she discovered a book by some parapsychologists investigating an old house, and the accounts of spookiness they recorded were unmistakably, to her modern mind, the products of their own neuroses. Eleanor is Jackson’s tool for unleashing the horrors of Hill House — if we take this little behind-the-scenes tale at face value we have to accept that there are no ghosts, only the demons that haunt Eleanor, manifesting through her latent telekinesis.

Eleanor’s horrible home life is sketched in economically, but still feels unbelievably oppressive, which may be a result of all that damn internal monologuing she does. Not my favourite movie device, but it works well here, draping a curtain of gloom over the events and reminding us of the story’s interior nature.

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This movie always seems to get away with being shot in Britain, dragged up as America, rather lightly. The street scenes are less than fully convincing, and then the housekeepers, Valentine Dyall with his ludicrous attempt at a New England accent by way of Kentucky, and Rosalie Crutchley who’s just English. Hill House itself is English, and now a hotel, real name Ettrington Park (anybody stayed there?).

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Hill House — the exteriors are mainly shot on infra-red stock, so the sky is black and clouds are white, giving the whole image a strange feeling. As Jackson puts it ~

No human eye can isolate the unhappy coincidence of line and place which suggests evil in the face of a house, and yet somehow a maniac juxtaposition, a badly turned angle, some chance meeting of roof and sky, turned Hill House into a place of despair, more frightening because the face of Hill House seemed awake, with a watchfulness from the blank windows and a touch of glee in the eyebrow of a cornice. Almost any house, caught unexpectedly or at an odd angle, can turn a deeply humorous look on a watching person; even a mischievous little chimney, or a dormer like a dimple, can catch up a beholder with a sense of fellowship; but a house arrogant and hating, never off guard, can only be evil. This house, which seemed somehow to have formed itself, flying together into its own powerful pattern under the hands of its builders, fitting itself into its own construction of lines and angles, reared its great head back against the sky without concession to humanity.

Wise’s chief tool to create an equivalent in images to Jackson’s anthropomorphism is his editing, and to facilitate the work of invocation he has furnished himself with many many angles. Wise was an editor (CAT PEOPLE and CITIZEN KANE of course, but also THE DEVIL AND DANIEL WEBSTER, our first Film Club film) before he was a director, and the trait that lifts his best work out of the journeyman class, it seems to me, is his mastery of visual rhythm. The gunshot at the end of WEST SIDE STORY is a great example. Here, although Eleanor’s VO cues a lot of the eerie sensations, it’s the multiple shots of watching windows and statuary that confirms to us her impression that the house is alive and maleficent.

Fiona points out that as soon as Eleanor enters, we see her reflected in the floorboards (a beautiful shot) and in a decaying mirror, “as if she’s already being absorbed into the house.”

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Theo! The last of our adventurers. Claire Bloom adds to the insistent Englishness of the thing, but her character is so enticingly exotic that her country of origin counts for naught. A mindreader AND a lesbian, as she keeps frantically signalling to us, Theo is not so much a telepath as an empath, like Persis Khambatta in Wise’s later plunge into turgidity, STAR TREK: THE MOTION PICTURE. And she uses her powers for evil: what IS it with Theo? She’s constantly noising up poor Eleanor, then running after her to make friends. Needy bitch. It’s as if Gidding has decided that lesbians are inherently alien and nothing they do makes sense, so he can just have her blow hot and cold at random and call it characterisation. Bloom doesn’t seem to have any particular interpretation in mind, she just plays it dead casual and chic in her Mary Quant (pre-mini-skirt) costumes. One can’t help but enjoy her.

(At the wonderfully obsessive eleanor-lance.com, the theory is put forward that Theo has a crush on Eleanor, and so her bitchy reactions would be triggered any time she sees Eleanor getting too cosy with Markway. I guess I always discounted this because the chic Theo doesn’t have much cause to be enticed by this dowdy spinster type, but I suspect it’s the correct interpretation.)

The remainder of the film, now that we’re in situ, can be divided into set-pieces and pontification, held together by Eleanor’s slow decline into madness. Julie Harris is Hollywood’s idea of a plain jane, and she’s quite affecting. She has that pale mole along from the corner of her mouth that always looks like a teardrop. And she gets that terrifying line about sleeping on her side to wear her heart out quicker. If Gidding invented that then I forgive him everything and prostrate myself at his feet.

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Something at the door! A symphony of sound effects, and the starting-point for Polanski’s great REPULSION. I have a hard job choosing a favourite between the Wise and the Polanski, both of which seem heavily flawed in ways that don’t matter, and deeply great in ways that do.

Again, Wise covers the scene with a zillion angles, trying his damnedest to always pop out of a different door and surprise us, hardly ever repeating a  shot. His crew must have thought him crazy. If he was shooting this for Lewton he’d have to do it in about eight set-ups. Compared with anything in CURSE OF THE CAT PEOPLE or THE BODY SNATCHER, THE HAUNTING has big-movie gigantism alright, but the guiding intelligence is so shrewd that the lumber of epic bloat is dispelled: it’s a graceful colossus.

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“Whose hand was I holding?” Another great set-piece, with astonishing sound and the world’s most sinister wallpaper. What are the great wallpaper movies? Anybody want to try a Top Ten?

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Then Miss Moneypenny turns up. Lois Maxwell was one of these Americans who came to live in England and scooped up tons of work whenever an accent was required. Like William Sylvester in a skirt. Inserting a new character at this point, one whose existence has been established but not revealed to Eleanor, adds new energy, dashes Eleanor’s romantic dreams, and accelerates us into the climax, with Mrs Markway vanishing and Eleanor starting to act very strangely indeed. The balancing act required here is prodigious: if Eleanor goes utterly irrational, no amount of VO will help us stay with her, and if she stays rational, there’s no movie. And if the other characters become too distant and unsympathetic, that will hurt the plausibility, but they must seem a bit distant if we’re to feel Eleanor’s alienation. I think the movie manages this well.

The drama of the swaying spiral staircase is pretty tense, and I wonder if Wise has been looking at THE RED SHOES — those fast tracks of Julie Harris’ feet running, and the spiralling journey up the stairs… plus the idea of a heroine pulled along by forces beyond her control.

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Fiona is very anxious I should talk about THE SOUND. Uncredited electronics wiz Desmond Briscoe seems to be a key name here. A founder of the legendary BBC Radiophonic Workshop, Briscoe is no doubt responsible for the very odd resonant poundings, and maybe some of those other, less identifiable noises. I seriously dig the weird mumbling prayers, with their mis-stressed phrases, that perfectly catch the sense of hearing something without being able to hear it — a psychological phenomenon that’s very hard to reproduce in a movie soundtrack, where something is either audible or not. Interestingly, THE LEGEND OF HELL HOUSE, an inferior but nonetheless enjoyable spook-house melodrama which is majorly indebted to this one, features a score by Delia Derbyshire, another Radiophonic alumnus (who wove the electronic tonalities of the classic Dr Who theme tune).

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In cinema, which exploits only two of our five (or is it more?) senses, anything which is not visible must be audible — unless it’s implied by what happens when you’re not looking. In Hill House, where doors close unaided, but only when unobserved, the unseen presence is constantly evoked by the restless camera and the shifting of camera angles, which prevents us getting orientated. Apart from big features like staircases, we never have any sense of the shape of a room, and even size seems unreliable. While Alexander Mackendrick built a house for THE LADYKILLERS (scored by yet another Radiophonics man, Tristram Carey) without a single right angle or true vertical, Wise and his designers creates more a sense of vast space, populated by a bewildering variety of animate mirrors, statues, and pictures. Accelerating the pace of cutting when we least expect it, he keeps us on our toes by forcing us to reorient ourselves with each fresh angle. One shot, an ECU on the eye of a cooked fish (a pun on those warped lenses?) always throws me completely.

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The End. The idea of Eleanor joining the spirits in the house seems like a big influence on THE SHINING, while the other idea, that the house was not actually haunted until now, is bleaker. Rephrasing the VO from the beginning and giving it to Eleanor (making this another entry in the series of films, beginning with SUNSET BOULEVARD and continuing through THE SEVENTH CROSS to AMERICAN BEAUTY, to be narrated by the dead) is a lovely idea, although once again the screenplay fumbles the correct sense of things — “and we who walk here, walk alone.” The pluralisation makes nonsense of the aloneness. As Joel McCrea protests in SULLIVAN’S TRAVELS, “How can I be alone if you’re with me?”