Archive for Rouben Mamoulian

The Sunday Intertitle: Your sins shall find you out

Posted in FILM, Politics, Theatre with tags , , , , , , , , , , , on October 28, 2018 by dcairns

The reassuring smile of Boris Karloff

Weird coincidences. We have a great view of the moon from our front window, in the early evening. During the full moon, we had a double bill of John Carpenter’s THE FOG, which turned out to take place during the full moon, a fact we had forgotten (fun, and I hadn’t seen it since the days of my school film society) and PRINCE OF DARKNESS (not so hot), whose very first shot is the full moon.

Last night, looking for a spooky silent film to cull an intertitle from, I plumped for THE BELLS (James Young, 1926). Which turned out to have a much more disturbing contemporary relevance. I sort of thought I knew the story from having watched Bill Morrison’s THE MESMERIST, which is based around decayed fragments of the movie, but I’d forgotten, if I ever knew, that the plot (by fantasy writers Erckman-Chatrian, a sort of second-string ETA Hoffmann), centres on the murder of a Jewish traveler. The film’s attempt to find sympathy for the guilt-tormented murderer played by Lionel Barrymore fell on somewhat deaf ears, since I was preoccupied with thoughts of the anti-semitic terror attack in Pittsburgh.

The film attempts to enlist compassion for Barrymore from the start, even though he’s attempting to ingratiate his way into political office by giving away free beer. When this leads his finances to a desperate state, he murders the traveler on New Year’s Eve in order to steal the money belt full of gold the guy rather injudiciously shows off. Now, Barrymore has been depicted explicitly as NOT anti-semitic, as he welcomes the traveler at his inn when others are more hostile. But that sort of kindness only goes so far. With my sensibilities perhaps heightened by the day’s tragic and horrible news story, I couldn’t escape feeling that while Barrymore doesn’t hate the Polish Jew for who he is, he is able to see his way to murdering the guy because he’s Not One Of Us.

So I’m afraid I couldn’t really get behind his quest for redemption.

But my, it’s a beautifully made movie. And features an early exploitation of Boris Karloff’s unique physiognomy. And Barrymore is good. There’s also an early iteration of that trick with filters made famous by Mamoulian in DR. JEKYLL AND MR. HYDE (and also used in SHIT! THE OCTOPUS!), where Lady Macbeth-style phantom bloodstains appear and disappear on Lionel’s hands, all in one shot (revealed and concealed by a red filter. If you ever carried a Coke can into a dark room and watched half the design disappear when the red light made the red and white parts of the can look the same, you’ve seen this rather uncanny effect in action).

 

But a creeping discomfort about the film’s attitudes remains, and the intercession of a plaster Virgin doesn’t alleviate it.

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Hyde Perks

Posted in FILM with tags , , , on July 14, 2016 by dcairns

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Lots of limericks on the 1931 DR JEKYLL AND MR HYDE over at Limerwrecks. Some of them by me.

Dr. Jekyll and Mr. Hyde-White

Posted in FILM with tags , , , on February 26, 2016 by dcairns

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Film detective time again!

Arch-Shadowplayer Randy Cook sent me a discovery — what appears to be a nubile Wilfred Hyde-White in Rouben Mamoulian’s 1932 DR JEKYLL AND MR HYDE, spotted leaving Fredric March’s opening lecture.

This is Big News in that it;s unlisted on the IMDb and would put WHW in the movies two years earlier than the IMDb would have it — and making his debut in Hollywood rather than Cricklewood.

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Biographical info on the silvery one is somewhat sparse, but we are told he embarked on a tour of South Africa in 1932. Very well — either he decided to keep travelling and took a crack at the movie capital, or else South Africa was a cover story, something young Wilfred (!) thought sounded more respectable than moviedom.

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But hang on — is it him? It looks like him, and who else could? I also applied my forensic identification expertise, which consists of one helpful tip, acquired making NATAN, in which we had to differentiate, to our own satisfaction, between a distinguished French movie producer and a series of porno actors, one with a passing resemblance. The hint is that, socially, we concentrate on the middle of the face, the eyes nose and mouth, and the general shape. But the ears have much to tell us — though they grow throughout a person’s life, they do not naturally acquire or discard lobes, and the crenellations within remain broadly consistent.

This Hyde-White-alike not only has a similar elongated visage, with similar, distinctly shaped features, his ears are a pretty close match too. What are the chances?

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The only snag is the voice, which seems not to have yet acquired the reedy, fluting, querulous, nasal, professorial tone we know from later movies — I should hate to think it was an affectation! In REMBRANDT (1936), the earliest confirmed WHW movie I have to hand, he already has it, in rudimentary form anyway. Playing a medical student, he may have thought it unhelpful and suppressed it. Anyway, your views are welcome — if you have the DVD, the scene in question is right at the start, and it’s always worth revisiting this classic anyway.