Archive for Stephen Horne

The Battle of the Exes

Posted in FILM with tags , , , , , on May 30, 2018 by dcairns

Got my copy of THE AWFUL TRUTH from Criterion — excitingly, I have a video essay on this one, dealing with Cary Grant’s development from stage tumbler to great light comedian. I can’t entirely account for why we decided to call it Tell Me Lies About Cary Grant, but something about the phrase just seemed to click.

   

Stephen Horne did his usual magnificent job editing, and Danny Carr once more stepped in to create a title sequence (see also Ants in Your Plants of 1942 on SULLIVAN’S TRAVELS and On Transcendental Style and Flatulence on GOOD MORNING). I tentatively suggested replacing the words in AWFUL TRUTH’s main title with our own text, a task that proved to be more complex than expected — Danny basically animated everything you see here, the hand that turns the pages being the only moving element retained from the original shot.

Danny’s a genius, Kind of like Cary Grant in that way.

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The Sunday Intertitle: You Bad Ass

Posted in Fashion, FILM, MUSIC, Politics with tags , , , , , , , , , , , , , , , , , , , , , , , , on March 25, 2018 by dcairns

Movies from 10.30 a.m. until around midnight yesterday at the Hippodrome (and also at Bo’ness Railway Station). The one film I was unsure of, the recently rediscovered early ‘3-s Chinese film, STRIVING, turned out to be a highlight. For all its blatant propaganda content (“Bullets dodge brave soldiers,” one intertitle tells us — and we learn how the Chinese defeated the Japanese, which is pretty counter-factual), I actually like it better than the admired THE GODDESS. It’s in perfect nick, and Stephen Horne and Frank Bockius really brought it to life with their accompaniment.

Everybody’s favourite intertitle came from this film: “You bad ass!” a charming mistranslation which meant to come out as “You awful jerk!” or something. Difficult to find an idiom that carries the meaning and feels natural but doesn’t sound too, well, idiomatic.

The day began with Baby Peggy in THE KID DETECTIVE and Neil Brand at the piano. Neil told us that he’s actually played before B.P. herself. He asked her if they played music on set when she acted, and she said yes, there was one piece that would always make her cry. So when he accompanied her film he played it, and glanced into the audience, and sure enough, there were tears running down her face. I wish we’d had her with us yesterday. She was a big hit, especially in drag with tweed suit and inverted Hitler mustache.

Then there was the very peculiar SAVING SISTER SUSIE, a 1921 Christie Comedy with Dorothy Devore, who I hadn’t seen before. On the slenderest pretext, Devore is forced to dress as a child so she can’t steal her sister’s rich beau, but he falls for her anyway, the “Buster Brown” costume failing to put him off — maybe it even encourages him. This foretaste of THE MAJOR AND THE MINOR meant that the naive little farce stood out in a day full of imperilled virigins and sexual threat, as perhaps the most disturbing film of all.

DER SCHATZ (1923), the first film of GW Pabst, was impressive, but hampered by the score. The Hippodrome set like a good improvisation as much as the next silent film geek, but we like to feel the musician is improvising TO the film. Alois Kott had laid down a sound bed of strange noises, which sometimes changed in sync with the scenes, and then he added another layer of abstract musical noise with an amazing instrument that looked like a cross between a cello and a Curly-Wurly™. None of the sounds would necessarily have been inappropriate for this film, though the intergalactic computer twinkling was something you might want to be careful with. But none of them seemed to follow or reflect the action, tone, mood of the characters or create either tension or space. The effect became like watching a good film (with Werner Krauss and THE 39 STEPS’ Lucie Mannheim) through a thick pane of frosted glass: music as barrier.

We did learn that Kott has provided live improvised accompaniment to football matches, though. I like that idea — sounds like about the only thing that could make the experience of a football match tolerable to me.

Oh, somewhere in there I accidentally won a chocolate egg in a quiz, which I then shared with random audience members. Seemed only fair since I’d guessed half the answers.

Tom Mix and his Wonder Horse, Tony, starred in THE GREAT K & A TRAIN ROBBERY (1926), where the clean-cut hero pretends to be a bandit in order to thwart real outlaws. Heroine Dorothy Dwan (fresh from the ’25 WIZARD OF OZ) seems to be serious obsessed with bandits, fantastising Mix as Dick Turpin via match dissolve, and gloating lustfully over her big book of Romantic Highwaymen. Who knew that highwayman porn was a thing? Second favourite intertitle stemmed from this film, where an effete villain is introduced with the words, “if he’s a college man — it must have been Vassar.” It’s at 2.36 in the above YouTubing. The movie is impossibly innocent — six-shooters blast all over the Colorado setting, but nobody ever gets shot, but it IS a bit heteronormative, I guess you could say.

John Sweeney pounded the ivories to strong dramatic effect despite the chill of the open-air performance amid the Bo’ness steam locomotives.

Then came the double feature of THE PENALTY and SEVEN FOOTPRINTS TO SATAN, which I’d written programme notes for. Graeme Stephen & Pete Harvey provided a beautiful score for the former, quite light and airy for this sadistic gangster-horror melodrama, and maybe a counter-intuitive choice to use strings for a film about a mad pianist (Lon Chaney) — but it worked!

I’m biassed, but Jane Gardner’s score for SEVEN FOOTPRINTS, performed with Roddy Long on violin, was my favourite of the day. It started with jaunty tunes from piano and bow, then when the going gets spooky, Jane switched to electronic keyboard and Roddy added an array of filters to his violin for an eerie selection of drones, pulses, throbs, wails and screeches — but not forgetting the tunes. This movie originally had a Vitaphone soundtrack, now lost, and while it would be unlikely that Jane happened on any of the precise effects of the original (apart from the gong), I could well believe that her work complimented the film every bit as effectively. Director Benjamin Christensen must be looking up from Hell, smiling.

That Gumnaam You Like

Posted in Dance, FILM, MUSIC with tags , , , , on June 3, 2017 by dcairns

Teamwork! One of my regular editors, Stephen Horne, is a HUGE fan of GHOST WORLD and also of Bollywood cinema, putting me in the shade on both counts in spite of m immense enthusiasm for both. When he found out Criterion were going to release Terry Zwigoff’s modern classic, he was, to put it mildly, very keen to be involved somehow, anyhow, so I pitched the idea of us making a commentary for the clip from GUMNAAM, the Jaan Pehechaan Ho number that opens the movie. Stephen and his friends in Bollywood fandom provided the expert knowledge, and got us Roshini Dubey to do the velvety voice-over, I really just spoke to Criterion and compiled Stephen’s facts and insights into a piece, with him editing both words and pictures.

Here’s the best version of the song available outside of Criterion’s Blu-ray, again courtesy of Stephen. It will shake the cobwebs out of your head, especially if you Batusi along to it.