Archive for Sheridan Gibney

Freud Vs Marx in the World Series of Love

Posted in FILM, Mythology, Painting, Politics, Science with tags , , , , , , , , , on August 10, 2018 by dcairns

THE LOCKET is best-remembered for its Russian dolls structure, with a flashback embedded in a flashback inside another flashback. Like INCEPTION, we go in, and in, and in, then out and out and out. But there are more pleasures than that, as any decent marital guide could tell you.

Director John Brahm was great at what animators call “extremes” — he could frame shots in such a way that the composition alone created a skewed, intense emotion — see this shot of Larraine Day, filmed from INSIDE her wedding veil. The ending of his version of THE LODGER seems composed almost entirely of extremes — Laird Cregar brought out the be(a)st in him.

Screenwriter Sheridan Gibney told Patrick McGilligan about writing this one, and being forced to compromise the ending by the Production Code. He wanted it to end with Larraine Day walking down the aisle with new hubbie Gene Raymond. The censors said she couldn’t, as she was a thief who had driven one man to madness and another to suicide. Gibney’s argument was that we didn’t know this — we have only Brian Aherne’s word for it, and he’s maybe mad… An interesting test case: the censor decided that crime must not pay, even when it’s only maybe crime and maybe never happened.

The IMDb lists blacklistee Norma Barzman as co-writer — Gibney didn’t mention her. But it’s tempting to see the two writers as embodying warring stances, the Freudian and Marxist influences on the script. Larraine Day is crazy, afflicted with kleptomaniacal compulsions caused by a traumatic incident in her childhood when she was unjustly accused of theft by nasty rich lady Katherine Emery (maybe the film’s best performance, and a character who’s horribly convincing because she’s so certain she’s in the right). This sequence is buried in the deepest flashback of the set, the primal scene/inciting incident at the heart of Day’s, and the film’s, psychosis.

The Figure in the Carpet is Mitch!

Surrounding this traumatic memory is the Robert Mitchum section, and he plays an artist with a chip on his shoulder about rich folks, so the theme is continued, but kind of reversed, since in this story the rich people are nice and Mitchum is wrong to mistrust them. Mitchum’s story ends with one of the film’s periodic plunges into delirium and hysteria, and this sets up a similar freak-out in the Brian Aherne narrative (do keep up). Aherne’s story is less obviously about class, though he does continued to insist he has no money. He’s a psychiatrist who goes off his trolley as his doubts about his spouse — Day again — eat away at his nerves. At the climax of his breakdown, the art theme from the Mitchum storyline and the madness one from Aherne’s collide, in the movie’s most psychedelic image —

Mitchum’s crap Dali knock-off of an eyeless Cassandra suddenly acquires eyes — Larraine Day’s eyes!

Whew! And then we emerge, gasping, back into the present tense, where Day is about to marry the wealthy Raymond, completing a climb up the social ladder, and it turns out she’s marrying into nasty Katherine Emery’s family. The “stolen” locket that started the whole thing off is now hers by right. But this triggers a mental collapse, signified by flashbacks appearing in the carpet — the film has been so overstuffed with embedded narratives that they’ve spilled out and are now seeping into the furniture. Having swithered* between a cod-Freudian view of the problem, a superstitious one — Day’s madness infects Aherne — and the class-centred argument that social injustice screws us all up — the film now finds mercy for its demoness, with Raymond deciding to stick by her until she can be cured, despite Emery’s aghast reaction (good to see she really is the horrible person she appeared as in Day’s own flashback — but with this beat, the movie closes the door on the possibility of any of our various narrators being unreliable).

The above probably doesn’t make a lick of sense to you if you haven’t seen the movie. So see the movie! What am I, your mother?

*Your lovely Scots word for the day.

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