Archive for Rosemary’s Baby

It always happens

Posted in FILM with tags , , , , , , , , , on August 12, 2016 by dcairns


On a whim — I’m a whimsical fellow — I made a gif of a dummy Kim Novak falling past the mission tower window in VERTIGO.

Stare at it long enough and you will begin to get past the initial amusement. You will see that what is happening is not funny, but terrible.

The shot in the movie itself is bathetic rather than tragic, escaping a Bad Laugh only because it’s part of a powerful montage with good acting and music. What’s wrong with the shot?

I think Hitchcock is up against the fact that figures falling past windows are somehow comic. There’s a whole Monty Python sketch about this, and one also thinks of Charles Durning’s cartoony plunge in THE HUDSUCKER PROXY. Rigid dummies are also funny, though not as much as floppy ones. Did nobody think of manufacturing a realistically articulated dummy with a degree of stiffness in the joints? The expense of the exercise may have been a factor, but I bet I could knock up a better dummy in a day, if supplied with some mannikin parts and a wig and costume.

Are you actually reading this or have you become hypnotized by the perpetual motion falling Novak?

As often with Hitchcock’s less effective moments, the artificiality is an issue. He’s built a full-sized window and a big bit of background art, more of a cyclorama than a matte painting (we know this because it’s recycled in ONE-EYED JACKS). So there’s no reason I can see why the dummy has to be superimposed, but it appears to have been matted in afterwards. You could actually have placed a trampoline off the bottom of frame and dropped a real Kim Novak into it — it would have been hilarious when she bounced back into view, but George Tomasini would have cut by then. You could rely on George to get things like that right.

(Unlike Frank J. Urioste, who allows us to see a stuntman’s legs waving as he hits a crash mat just out of frame in ROBOCOP, even though he’s supposed to have been flung from a high window. Strange carelessness, in what’s otherwise a superbly cut film.)


Then there’s the pose. Of all the possible angles of descent, head first seems to me the most potentially comical. Because it shows the ersatz Novak full-figure, in her most recognisable aspect (although we’re not used to seeing her upside down), Hitch may have thought it would be helpful for clarity, since we would only have an instant to recognize the plummeting figure. But I think the context he’s set up would allow him to get away with being less clear, and a less perfect angle would enhance the sense of glimpsed reality. Basically any angle that’s not upskirt would be better.

(See Polanski’s POV shot in ROSEMARY’S BABY of Ruth Gordon on the phone in the bedroom. The cinematographer was astonished that Polanski chose to obscure most of the actor with the door jamb, but that awkward framing is what convinces us we’re seeing something through the eyes of a real-life onlooker who cannot be expected to have a perfect view.)


Anything else? Well, the dummy (and even in under a second we are in no doubt that it IS a dummy) seems to be falling at a very slight angle. I guess that’s possible if she stood on the edge and pitched forward, or did an Olympic-style dive, but it makes us wonder about things that aren’t relevant to the emotion of the scene.

Still, it’s been voted the best film ever made, so I guess Hitch was doing something right.



The Influence of Anxiety

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , on October 21, 2015 by dcairns


Fiona was WILDLY enthusiastic about Richard Ayoade’s THE DOUBLE. I wasn’t quite sure if I was or not. I really like his first feature, SUBMARINE. But, just as the overt HAROLD AND MAUDE stylistic references in that film, while appropriate, don’t really help it secure its own standalone identity, the complex filmography of influences that make up THE DOUBLE sometimes made it seem to me like it was Frankenstein’s quilt or something.

BRAZIL hangs heavy over the film, although Ayoade and his team haven’t really borrowed anything specific — office cubicles are now such a universal workplace phenomenon as to be inescapable. The dystopian vision of bureaucracy comes straight from Dostoevsky’s literary source, and the only point of connection is that Ayoade and co-writer Avi Korine have chosen to set their film neither in 19th century Russia nor modern Britain, but in a non-geographic fantasy conurbation mingling British and American (and Australian) accents, with a muted colour palette and a lot of retro stylings. Once you accept this similarity of approach, you won’t find many particular points of connection.


The movie manages to fold both Wilder’s THE APARTMENT and Polanski’s THE TENANT into its narrative. The titles of those films suggest an affinity, but they are in fact pretty different. The latter choice is intriguing because Polanski tried to adapt THE DOUBLE himself, only for star John Travolta to pull out over qualms about nudity — Steve Martin quickly stepped in as a replacement, at which point leading lady Isabelle Adjani (who was also in THE TENANT) fled, and the whole house of cards collapsed. Ayoade definitely isn’t setting out to make the film Polanski would have aimed for, but a recurring death leap, viewed from an opposing window, seems to have been transplanted almost intact from Polanski.

There’s business with an apartment key used to facilitate sexual liaisons — this is the APARTMENT connection. Ironic given Billy Wilder’s crude put-down — asked if he was going to see ROSEMARY’S BABY, he replied, “I wouldn’t touch it with a five-foot Pole.”

In resolving the story, a bit of FIGHT CLUB seems to have crept in — not anything specific, just a sense of “How can we make this dark yet somehow upbeat?”


Fiona howled at this shot, though: “It’s his signature image — a woman staring balefully over food! It gets me every time!”

The casting is great, if possibly too on-the-nose? Jesse Eisenberg can embody a hapless nerd in his sleep, after all. It’s when he shows up as his nasty doppelganger that the film lifts off, with a new kind of energy powering it. The horror of the completely confident man. The trouble is, this is a Zuckerberg cut in two, so both the lovelorn nebbish and the blank-eyed sociopath are slightly familiar perfs.

Mia Wasiskowski can do no wrong. It’s lovely seeing Craig Roberts and Yasmin Page (and indeed Noah Taylor), the stars of SUBMARINE again. Wallace Shawn is a bit typecast, James Fox is a big tease, it’s interesting seeing comedy people Chris Morris and Tim Key, though there’s the risk of Guest Star Syndrome setting in. But both justify their appearances by being remarkable. And Cathy Moriarty!

The Japanese pop songs are the one rogue element — you can’t pin down any specific reference that’s being made — they just add to the alien atmosphere and provide something jaunty amid the bleakness. I liked them all and would like to own the soundtrack.


Also, the film is brilliantly cut. The images sizzle against one another. This isn’t just a technical compliment, as in, “The editor has a good sense of timing/drama/comedy.” The shots are designed beautifully so that they smack together in a way that feels striking and genuinely original. Based on this alone, I’m prepared to call Ayoade one of our best and most exciting filmmakers, even if I can’t quite decide what I think of this film, a hesitation that would surely disqualify me from broadsheet film reviewing (although I get the impression some of those guys didn’t know what to make of THE DOUBLE either).


Sidenote: I recently asked Richard Ayoade to be in a film I plan to make and he was nice, considered it, and then respectfully declined. Now his agency is helping us find an alternative. Am I resentful of Ayoade for spurning me? Am I grateful to him for considering me? Which version of Jesse Eisenberg am I behaving like? Who am I?


All Of Them Witches

Posted in FILM, Mythology with tags , , , , , , , , on November 24, 2013 by dcairns


It always seemed strange that ROSEMARY’S BABY (1968) featured a character using the pseudonym Roman Castevet (anagram of his real name, Steven Marcato), and was directed by Roman Polanski and co-starred another director, John Cassavetes. Roman Roman Cassavetes Castevet. Also Marcato sounds like Mocata, the Crowleyesque leader of the Satanists in THE DEVIL RIDES OUT.

But it gets stranger. In TOO LATE BLUES (1961), directed by Cassavetes, Bobby Darin plays a musician called Ghost — and Polanski would later direct a film of the novel The Ghost, called THE GHOST WRITER in most countries but just THE GHOST in the UK, where it was assumed people would have read the book. In TOO LATE BLUES, Ghost’s romantic interest is played by Stella Stevens and her character is called Jess Polanski.

In ROSEMARY’S BABY, screenwriter/actress Ruth Gordon plays Minnie Castevet, and Cassavetes directed MINNIE AND MOSKOWITZ in which Gena Rowlands plays Minnie Moore.

TOO LATE BLUES has a supporting character called Skipper and ROSEMARY’S BABY has a character who is a ship’s skipper.

John Cassavetes’ OPENING NIGHT features Louise Lewis as a character called Kelly, whereas ROSEMARY’S BABY features a character called Laura-Louise played by Patsy Kelly.

Convinced yet? And of what?