Archive for Robert Wise

Wise Boxes Clever

Posted in FILM, literature with tags , , , , , , , , , , , , , on July 19, 2018 by dcairns

Our viewing of THE DAY THE EARTH STOOD STILL of course demands a follow-up screening of something or other… I felt in a way less need to investigate this time, as I’ve already seen plenty of Robert Wise films, and even a few movies involving screenwriter Edmund H. North (IN A LONELY PLACE, SINK THE BISMARCK!, DAMN THE DEFIANT! and, ahem, METEOR). I’ve even covered STRANGER FROM VENUS. But THE SET-UP, directed by Wise in 1949, was overdue for a watch…

This one’s scripted by Art Cohn, from a poem (!) by Joseph Moncure March.

It’s alright… Percy’s here…

Really terrific filmmaking — I’m on record saying that Wise’s best cinematic effects usually hinge on editing, his métier, but this one has a lot of gorgeous push-in shots, moving deeper into the urban landscape of the film. The sweaty, shadowy feel of the movie is its best feature, aided by great noir faces — Robert Ryan, Alan Baxter, Percy Helton. Even Darryl Hickman, his fresh-faced appeal like a flower in hell, by which the surrounding inferno appears all the grimmer.

The big gimmick, that the story unfolds in real time, was a cause of frustration for the filmmakers since the audience turned out to be serenely oblivious to this. All those big clocks were for naught. But the excellent sound mix — there’s no score — does have great value, with the cross-cutting between Ryan and Audrey Totter tied together by devices like a streetcar blasting past, close-up for her, distant when we cut to him. The Aristotelian Unities may be quietly helping the film along, even if most of us don’t notice. After all, Hollywood style prided itself on invisibility. Why shouldn’t we consider this, and Wellman’s TRACK OF THE CAT, with its black-and-white-in-colour aesthetic, be regarded as roaring successes precisely because nobody at the time noticed?

Totter’s walk through town seems to very clearly prefigure what Welles wanted for his opening shot of TOUCH OF EVIL, in terms of sound design.

I was genuinely puzzled about how the movie would end, though I had a feeling it couldn’t be good. For a while, it looks to be as bleak as you can get. Bleaker. Audrey Totter has a near-impossible task, spinning the tragic denouement as a triumph, and she pulls all the stops out and then breaks them off and throws them in the air. A little too much, Audrey.

But it’s impressive how RKO got away with a crime story in which the guilty go completely unpunished, and indeed the law is entirely absent.

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Twomorrowland #4: Warning from Space

Posted in Comics, Fashion, FILM, literature, MUSIC, Mythology, Politics with tags , , , , , , , , , , , , on July 17, 2018 by dcairns

THE DAY THE EARTH STOOD STILL is another example of classy, big-budget sci-fi, though less luridly fun than FORBIDDEN PLANET. Its casting does suggest that the slightly flat acting of previous entries in this series was a deliberate choice, as if character quirks would be too much for an audience to take in a movie whose whole premise is quirky. This is the A-picture version of bad B-movie acting, so it’s not actually inept, just kind of flat. Except Patricia Neal, we can agree about that.

Michael Rennie arrives from space to deliver a warning to all of Earth, but all of Earth can’t agree on a meeting place to listen to him. It’s a film about stupidity. Rennie’s Klaatu has a high-handed, “What fools these mortals be” attitude, a loftier version of George Reeves’ Superman, characterised by tiny ironic smiles whenever any of us says anything stupid, which is most of the time.

This is, arguably, mainly a film about stupidity. This makes sense of Snub Pollard appearing as a cab driver. Planet Keystone. There’s potentially a good comedy to be made about an alien visitor thwarted by our dumbness, but somehow I don’t think VISIT TO A SMALL PLANET is going to be it.

I think as a kid I was riveted by the opening of this one, and I still am — it has very good FX work but it’s primarily an achievement of editing — Robert Wise shows his cutting-room origins in all his best sequences, whether the film is WEST SIDE STORY or THE HAUNTING or CURSE OF THE CAT PEOPLE. Though the three speeded-up shots of fleeing crowds are TERRIBLE. I think I was a little bored by some of the talkie bits, and some of the running around backlot streets, but perked up for anything involving the UFO and the robot. I still feel the same way. It’s a lovely flying saucer, especially the interior (motion-sensitive controls!) and Bernard Herrmann’s throbbing, electronically-enhanced score feels literally part of the control room’s feng shui. Maybe because a theremin, like this saucer, can be operated without touch. Also at times the score sounds exactly like CITIZEN KANE’s approach to Xanadu but with added electro. I want to bathe in it.

Fiona recalls being unimpressed by Gort, the titanic robot. A highly critical eight-year-old, Fiona. “I didn’t like the way his joints creased.” I would defend that by saying that if you coat your robot in a kind of flexible metallic skin, which seems to be what Gort’s got, you have to expect it to fold at the joints. But I agree there’s something not quite pleasing about the look of it. He’s a character who works great as a still image, on the poster, and indeed he spends much of his time as a menacing sentry, even immobilized in a plastic cube at one point. His first entrance is unseen — everyone looks up and he’s simply THERE, in the hatchway, like Mrs. Danvers. Wise shoots around awkward movements like picking up a fainted Neal, and pulls off effective forced-perspective illusions to make him seem bigger than he is.

   

Gort is dressed for the swimpool: shorts, goggles and wristbands — to store his locker-room keys — he needs two because he’s big. It would be interesting to see what he wears when he’s not going swimming.

Michael Rennie has a lovely broad-shouldered jumpsuit, cinched at the waist, with a helmet like a sea urchin, even though he can breathe our air fine. This is just so he can go on the run and be unrecognized later. Did he know he would need to do this? Incognito, our saucerboy goes by the name “Carpenter,” emphasising the Jesus effect — he checks into a boarding house like Conrad Veidt’s Christ-figure in THE PASSING OF THE THIRD FLOOR BACK  Later, he will rise from the dead for an unspecified interval before ascending to the heavens. On the other hand, I don’t recall Jesus having a hulking robotic sidekick who disintegrated his foes. And though Christ may have made the sun hide its face, he didn’t make the earth stand still. (Me as a seven-year-old, feeling cheated: “So it’s not REALLY standing still?”)

Crown of thorns?

I think the filmmakers may have missed a trick by not having the big outage occur at night, so you could at least have a dramatic blackout. Wise cuts to different countries around the world but it’s daylight everywhere. So all you get is stalled traffic and a stuck elevator.

Somehow the global power cut doesn’t kill anyone, but Fiona was sure some of the little animated figures in the park were directly UNDER Klaatu’s saucer when it landed — smushed to patê, the poor beggars, never to be seen again, their feet presumably curling up underneath, Witch of the East style.

Apart from Klaatu, Gort and Snub Pollard, the film features Dominique Francon and the High Lama.

Weird how other movies used this as an ur-text, even plagiarising the cast. Patricia Neal romances a space invader in the inferior STRANGER FROM VENUS (aka IMMEDIATE DISASTER, which is hilariously apt). Little Billy Gray, fifteen years later, is staunch in THE NAVY VERSUS THE NIGHT MONSTERS. Hugh Marlowe, Neal’s awful boyfriend, stars in EARTH VS THE FLYING SAUCERS, which is like the lamebrained twin of this movie — instead of visiting Washington monuments, the saucer-people disintegrate them. Despite my love of Harryhausen I’ve never really been able to love that film, it’s too much of a militaristic counter-response to TDTESS. I should also mention that this is really Gort’s second appearance in this season: Lock Martin, minus his robot costume, plays a circus giant in THE INCREDIBLE SHRINKING MAN. He’d also be a mutant in INVADERS FROM MARS.

I feel like Gort is also an important figure in terms of the whole look of Marvel Comics, somehow.

Ultimately, it transpires that Klaatu is here to deliver a blood-curdling threat, essentially treating the Earth the way the US treats other nations with regard to nuclear weapons: We’re allowed to have them because we’re civilised. You’re not, so you’re not. And then he buggers off.

The abruption of the ending is great — scifi/horrors that bring up their end titles as soon as the threat is dealt with are usually lousy — no subtext, no characterisation, hence no coda. But here, we don’t need any discussion as the climax of the film is actually a speech — it’s one of the few films outside of THE GREAT DICTATOR to go that way, and it feels like there’s a slight relationship between Chaplin’s anti-fascist film and Wise et al’s anti-nuke one. What worries me is that, having seen the way human beings think and operate in this film and in real life, we can be reasonably sure they’d immediately start trying to find loopholes in Klaatu’s unambiguous ultimatum, leading to potentially the shortest sequel in Hollywood history: THE DAY THE EARTH BLEW UP.

Rocky start

Posted in FILM, Sport with tags , , , , , , , , , , on January 26, 2018 by dcairns

SOMEBODY UP THERE LIKES ME is perhaps a better David Bowie song than it is a Robert Wise film, but it’s an interesting Robert Wise film. It’s hampered by being an unsuitable vehicle for Paul Newman, who seems to be trying awfully hard, which is of course a problem. I can believe him as a boxer. I can’t believe him as an Italianamerican (ironically, or crazily, Pier Angeli, a real Italian, plays Jewish while the half-Jewish Newman plays Italianamerican). And I can’t believe him as a mook.

Everett Sloane provides a bit of ethnic authenticity with screenwriter Ernest Lehman giving him the best lines. Sloane must be on or about his last nose reduction by now, but still looks like a guy with a big schnozz. Even though most of it’s been shaved off, you can still see it. The phantom nose.

Wise has a strategy for getting us immersed in the film before this becomes a problem, which is to hit ramming speed as soon as the main titles are over and maintain that for most of the first act. To the sheer speed is added tremendous force and, if you’ll excuse the expression, punchiness. Despite his low-budget beginnings, Wise developed a gift for making settings epic, and the New York scenes here have the same kind of breadth and dynamism he brought to WEST SIDE STORY and even THE SOUND OF MUSIC (it’s big and bloated but it MOVES). Wise, like fellow editor Mark Robson, did a lot of these overblown epics of the fifties and sixties but he was often able to put them on ball bearings and get some momentum going.

I thought it was funny that Sal Mineo stays a teenager as years go by. “Why isn’t he growing up?”

“I think he’s pretty well cooked,” said Fiona. “He’s not getting any bigger.”

I never quite got over Newman’s wrongness. Is it because I’ve seen him in too many WASP-y and articulate roles to buy this? I don’t think so. He can do the body language, in a slightly over-the-top way, and he can sort of make the sounds, but the rhythms seems way off throughout.

Cinematographer Joseph Ruttenberg earned his Oscar — you can see little stabs at the kind of furious expressivity RAGING BULL would introduce to the ring — this feels like the one Scorsese and Michael Chapman and Thelma Schoonmaker drew most from. But I still have to see THE SET-UP, shamefully enough.