Archive for Rex Harrison

Cleopatter

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , , on September 27, 2018 by dcairns

YES! The Cleopatra Papers is every bit as good as David Ehrenstein has suggested. Basically, two Twentieth Century Fox publicity men preserved and edited their correspondence accumulated during the production of Joseph L. Mankiewicz’s epic gabfest, CLEOPATRA, and the result is a unique window into the life of that embattled studio and production. Along the way, the authors, who are profoundly sympathetic to Mank’s approach and genuinely seem to think he’s making a masterpiece (we’ll agree to differ), get in pot-shots at the (other) turkeys on the Fox roster, including obscurities I’ve written about there.

LISA aka THE INSPECTOR is dismissed as a bunch of shots of people getting on and off barges on Dutch canals, which is a brisker dismissal than the one i managed HERE and hilariously accurate. Reductive in a way, yes, but as I look back on the film I can’t seem to remember much else. “What can I say? You won’t believe me if I tell you. All right, I’ll tell you. Dolores Hart and Stephen Boyd getting on and off barges in Amsterdam canals. Philip Dunne, on whom we can always rely, has directed one of Fox’s all-time stiffs. Charlie is readying an all-out sex campaign for the picture though, and if it doesn’t save the picture at least it’ll probably get him investigated by some congressional committee.”

Leo McCarey’s SATAN NEVER SLEEPS is viewed with appropriate through-the-fingers dismay. McCarey himself hated the film, and its true that William Holden’s (uncharacteristic) refusal to die onscreen harms it, but the whole thing is a disaster, a burning hay-cart of a film trundling ever so slowly and wretchedly forwards while torching the credibility of everyone involved and the entire medium of cinema itself. “I just saw the ad in the Sunday Times on SATAN NEVER SLEEPS, and it needs no comment. A Chinese girl raped in front of a priest and Fox is trying to tell the world it’s another GOING MY WAY!” And “The reviews are enough to begin bankruptcy hearings here.”

“It never stops. Yesterday we saw CALIGARI. Not the CALIGARI but the Bob Lippert reproduction. Charlie, deadpan, told the meeting that the picture was better than PSYCHO — which Martin Moskowitz thought it only as good as — and Charlie said the picture is baffling and therefore will be all the rage, just like LA DOLCE VITA and L’AVVENTURA. SPS said, ‘You’re right, Charlie. We’re better than all those Europeans and I don’t know why people talk so much about them.'”

Other movies I haven’t seen: “Saw THE COMANCHEROS last night. We may not make it to Christmas.” “We haven’t seen TENDER IS THE NIGHT as yet […] but saw the trailer today and it’s not to be believed — this middle-aged, twitching woman (a serious Alice Pearce) rolling on floors, on beds, on beaches, in clinch after clinch with world-weary, grat, lined and creased Jason Robards jr. (JUNIOR!) It’s going to hurt this company, I tell you!” Later: “It is so awful. Can Henry King have read the book? Don’t they know this in’t Fannie Hunt, man, this is Scott Fitzgerald?”On CLEOPATRA, the writers are of interest less for their middlebrow enthusiasm than for the gossip and observations about the central players. Rex Harrison gets off lightly, apart from a nasty jab he made at Roddy McDowall (how could ANYONE be nasty to Roddy?) — RM asked him to take his picture and Sexy Rexy is reported as replying, “I’m terribly sorry and everything but I just don’t like you.” Seems typical of Rex that he would be gratuitously offensive in an apologetic, polite way.

 

Of course it’s Burton and Taylor who come in for close analysis. It’s observed that Taylor has grown up in movies and so in a way hasn’t grown up at all, has a very strange, distant, starry view of reality. We learn that, when offered a script, she only ever looks at her part, which might help explain some of her later career choices. Though nothing can really explain the Losey films. I guess she doesn’t play her character as dying in BOOM! because the scenes where her illness is established are scenes where other characters are discussing her in her absence, and so she simply never knew that was the intention.

Burton confuses them a bit because he’s clearly both smitten with her and hitching a ride cynically on her fame. For a while it’s expected he’ll go back to his wife because he always has in the past. At some point, his career move became an amour fou, and maybe it always was.

ANYWAY — highly recommended. I got it for cheap in a reprint with a blank green cover and maybe you can too?

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Anglo/Saxon Attitudes

Posted in Fashion, FILM, Theatre with tags , , , , , , , , , , on March 10, 2018 by dcairns

Fiona was surprised to find a Kay Kendall biography in the library (see yesterday’s post for an evaluation of the Edinburgh library system’s limitations) and devoured it on sight, demanding supplemental viewing materials, stat. I had tried to sell her on THE RELUCTANT DEBUTANTE before, but this was now the perfect moment. She didn’t require quality, just so long as KK was prominently featured.

I’ve probably mentioned before my theory that Vincente Minnelli made Hollywood’s most nightmarish comedies — the best of them aspire to pure phantasmagoria, and are more oppressive that they are funny, though admittedly DESIGNING WOMAN is extremely funny and amiable. Often they rise to moments of surreal heightened anxiety, sometimes involving altered states of consciousness. One image from a dream sequence in FATHER OF THE BRIDE, of Spencer Tracy’s feet sinking through a carpet suddenly turned to quagmire was repeated without modification in A NIGHTMARE ON ELM STREET and served just as aptly in a horror movie as it had in a “family comedy,” Minnelli-style.This movie takes place during what turned out to be the last ever “season,” when society’s latest batch of debutantes (don’t known what it means) “came out” (don’t know what it means, in this context anyway). Sandra Dee plays the daughter of Rex Harrison, which is the first big laugh and the last for a while. Kay Kendall is the stepmother who sets about arranging the girl’s coming out ball, and trying to arrange her love life in a socially suitable way, hampered by S-Dee’s falling in love with a humble drummer played by John Saxon (very cute, and at times seeming to play the role on-purpose gay).This is John Saxon describing native love rituals witnessed in Africa.

“…and then he carries her off to his TENT.”

This is Kay and Dee reacting to him.(Kay dresses like Big Bird through much of the film.)

This kind of lighter-than-air stuff has to be very good to get by, because you’re trying to get laughs out of nothing. The play and its adaptation, both by William Douglas-Home, aren’t really clever enough to manage this, but laughs are still had, partly from the deft work of Kendall and Harrison, two of the best light comedians who ever lived, and partly from numerous moments where the script hoves perilously close to the foulest bad taste, due to dated sexual attitudes, stuff that could be dealt with lightly then but seems shocking today. And since surprise is part of laughter, we found ourselves laughing at Sandra walking in on daddy just as he plays the role of dastardly seducer to a sofa cushion (really, too complicated to explain) ~Harrison does a fantastic variation on the man determined to finish his sentence even though the changed circumstances make it quite unnecessary and his delivery of the words no longer carries any of the intended meaning. It’s a very familiar trope — think Baloo singing when his disguise falls off in THE JUNGLE BOOK — but Harrison has his own version of it that no one’s ever seen or imagined before. And Kendall has a great bit entering, being surprised, and folding up like a deck-chair as her limbs give way on her.

Peter Myers gives a very funny performance as an upper-class bore forever reciting elaborate tales of how he’s negotiated the traffic to get where he is — but he transformed into an inarticulate rape-hound when left alone with Dee. And here’s her adorable reaction when she quizzes daddy on his early love life and learns that his first amour was a French girl who worked in a house in Paris — a maid? — no, not exactly…The weirdest and best sequence is a hallucinatory montage of balls, with Harrison getting drunk at each one, suffering Deutsch-tilt hangovers in interstitial office sequences, and finally losing contact with reality altogether as his secretary, having just handed him a glass of bicarb, starts announcing guest’s names in a dubbed man’s voice — audio bleed from scene to scene as life literally BECOMES nightmare.It’s in his comedies that you sense that Minnelli was not an altogether happy man.

Rex rears his ugly head again

Posted in FILM with tags , , , , , on October 9, 2014 by dcairns

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The not-really-so-ugly Rex Harrison with the dashed lovely Peggy Cummins in ESCAPE. A few quotes/paraphrases from my telephonic chat with P.C. can be read in this week’s edition of The Forgotten (so soon!) over at The Notebook, care of MUBI. Peggy is unfailingly discrete, so expect no salacious gossip or shocking revelations, but there are some good jokes.