Archive for The Cleopatra Papers

It’s a Weld, Wald, Wild World

Posted in FILM, literature, MUSIC with tags , , , , , , , on April 9, 2019 by dcairns

Did you know there’s an Elvis movie written by Clifford Odets? Because I did not know there’s an Elvis movie written by Clifford Odets. Nobody told me. Thanks a lot, my so-called friends.

WILD IN THE COUNTRY isn’t maybe as great as that makes it sound. Elvis actually acquits himself well, and gets to say “Hate’s a rattlesnake bitin’ his own tail,” the line he was born to say. But it clearly started life as just a straight drama and then they had to add songs when they cast the King. Fiona said, “Oh no, this feels weird,” when he first started in on the vocals. You needed Michael Palin in HOLY GRAIL guise to come in and shout, “No singing!”Inserting Elvis into a film opens up problems, it seems, despite him being a charismatic screen personality and a perfectly good, very natural actor. But the need to have him be Elvis on top of whatever he’s nominally supposed to be playing makes for an uncomfortable duality. And this bleeds over into the blurbs on the back of the DVD cases, which are a whole art form unto themselves —

Presley specialised in playing the bad boy, and this is Elvis at his baddest! ‘Wild in the Country’ features Elvis in one of his greatest and most overlooked roles; a rebellious backwoods delinquent gifted with a rare literary talent. Hope Lange is the sympathetic psychiatrist who tries to help Elvis […}”

That’s when I laughed out loud. I think the key to this form is to get Elvis’s name in as often as possible. I may try rewriting other movie synopses, inserting Elvis at every opportunity. If this Sunday [as I write this] continues to be so rainy, I may have to.

The Odets dialogue is not delivered quite as “hard and fast” as its author preferred (see SWEET SMELL OF SUCCESS for an example of how it should be done) but is quite effective, hampered only by director Philip Dunne (“who never lets us down” – The Cleopatra Papers) and his devotion to sluggishness.

“[…] that’s an eventuality that won’t be eventuatin’.”

andTuesday: “I wanna get out of here. I’m young. I want a good time out of life.”

[I want to hotcha-cha-cha!]

Elvis: “Then do it, hon. Paint your toenails red and run away.”

Tuesday: “It needs a man to go to Hell with, because that’s what I want. Hours and hours of Heaven that just slides on down to Hell and we don’t care how or when it ends. You’re wild, Glenn, just like me. Unhappy wild!”

God I love Technicolor.

Here’s Sheila O’Malley’s majestic appreciation of the Elvis oeuvre, a field so rich WITC does not even rate a mention. But this is a superb piece.

WILD IN THE COUNTRY stars Toby Kwimper; Joanna Kersey; Sue Ann Stepanek; Anne Frank; Cpl. Crump; Cherry Valance; Astronaut Frank Poole; and Alfred the butler.

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Cleopatter

Posted in FILM, literature with tags , , , , , , , , , , , , , , , , , on September 27, 2018 by dcairns

YES! The Cleopatra Papers is every bit as good as David Ehrenstein has suggested. Basically, two Twentieth Century Fox publicity men preserved and edited their correspondence accumulated during the production of Joseph L. Mankiewicz’s epic gabfest, CLEOPATRA, and the result is a unique window into the life of that embattled studio and production. Along the way, the authors, who are profoundly sympathetic to Mank’s approach and genuinely seem to think he’s making a masterpiece (we’ll agree to differ), get in pot-shots at the (other) turkeys on the Fox roster, including obscurities I’ve written about there.

LISA aka THE INSPECTOR is dismissed as a bunch of shots of people getting on and off barges on Dutch canals, which is a brisker dismissal than the one i managed HERE and hilariously accurate. Reductive in a way, yes, but as I look back on the film I can’t seem to remember much else. “What can I say? You won’t believe me if I tell you. All right, I’ll tell you. Dolores Hart and Stephen Boyd getting on and off barges in Amsterdam canals. Philip Dunne, on whom we can always rely, has directed one of Fox’s all-time stiffs. Charlie is readying an all-out sex campaign for the picture though, and if it doesn’t save the picture at least it’ll probably get him investigated by some congressional committee.”

Leo McCarey’s SATAN NEVER SLEEPS is viewed with appropriate through-the-fingers dismay. McCarey himself hated the film, and its true that William Holden’s (uncharacteristic) refusal to die onscreen harms it, but the whole thing is a disaster, a burning hay-cart of a film trundling ever so slowly and wretchedly forwards while torching the credibility of everyone involved and the entire medium of cinema itself. “I just saw the ad in the Sunday Times on SATAN NEVER SLEEPS, and it needs no comment. A Chinese girl raped in front of a priest and Fox is trying to tell the world it’s another GOING MY WAY!” And “The reviews are enough to begin bankruptcy hearings here.”

“It never stops. Yesterday we saw CALIGARI. Not the CALIGARI but the Bob Lippert reproduction. Charlie, deadpan, told the meeting that the picture was better than PSYCHO — which Martin Moskowitz thought it only as good as — and Charlie said the picture is baffling and therefore will be all the rage, just like LA DOLCE VITA and L’AVVENTURA. SPS said, ‘You’re right, Charlie. We’re better than all those Europeans and I don’t know why people talk so much about them.'”

Other movies I haven’t seen: “Saw THE COMANCHEROS last night. We may not make it to Christmas.” “We haven’t seen TENDER IS THE NIGHT as yet […] but saw the trailer today and it’s not to be believed — this middle-aged, twitching woman (a serious Alice Pearce) rolling on floors, on beds, on beaches, in clinch after clinch with world-weary, grat, lined and creased Jason Robards jr. (JUNIOR!) It’s going to hurt this company, I tell you!” Later: “It is so awful. Can Henry King have read the book? Don’t they know this in’t Fannie Hunt, man, this is Scott Fitzgerald?”On CLEOPATRA, the writers are of interest less for their middlebrow enthusiasm than for the gossip and observations about the central players. Rex Harrison gets off lightly, apart from a nasty jab he made at Roddy McDowall (how could ANYONE be nasty to Roddy?) — RM asked him to take his picture and Sexy Rexy is reported as replying, “I’m terribly sorry and everything but I just don’t like you.” Seems typical of Rex that he would be gratuitously offensive in an apologetic, polite way.

 

Of course it’s Burton and Taylor who come in for close analysis. It’s observed that Taylor has grown up in movies and so in a way hasn’t grown up at all, has a very strange, distant, starry view of reality. We learn that, when offered a script, she only ever looks at her part, which might help explain some of her later career choices. Though nothing can really explain the Losey films. I guess she doesn’t play her character as dying in BOOM! because the scenes where her illness is established are scenes where other characters are discussing her in her absence, and so she simply never knew that was the intention.

Burton confuses them a bit because he’s clearly both smitten with her and hitching a ride cynically on her fame. For a while it’s expected he’ll go back to his wife because he always has in the past. At some point, his career move became an amour fou, and maybe it always was.

ANYWAY — highly recommended. I got it for cheap in a reprint with a blank green cover and maybe you can too?