Archive for The Ghost and Mrs Muir

Captain X

Posted in FILM with tags , , , , , , , , , , , on December 25, 2019 by dcairns

It was DER REST IST SCHWEIGEN that gave me the idea of re-watching THE GHOST AND MRS. MUIR. Kautner steals the image of the painting seen in a dark room which looks like a person — his swipe is a nicely done variation, though: the room is all dark, but the painting has its own illumination, which comes on a second before the rest of the lights.

But Mankiewicz did it first in this, perhaps his most visually beautiful and imaginative film.

JLM is sometimes criticised for prioritising words, and there are places in each film where this maybe becomes a slight issue. THE LATE GEORGE APLEY, an underrated film I think, makes a big thing of Peggy Cummins’ wedding dress — but then never lets you see it properly. And here, Natalie Wood is delighted as her name is carved in a marker at the beach, with the man telling her he’s made the lettering big so the ships can see it. But it’s facing the land! Yes, I’m a pendantic swine, but I always hold that kids are pedantic too.

It’s a very funny film too, but it always brings a tear to my eye. First time it happens is Gene Tierney saying “It’s hard to imagine you as an ordinary anything,” to Rex Harrison’s ghost and the LOOK he gives her — an indefinable mixture of pride, complacency, tenderness and adoration. And Bernard Herrmann’s score is part of it, and all the rest.

Tierney was supposed to be Katharine Hepburn, who would have brought more eccentricity — from the outside, it’s the story of a crazy lady — but Tierney makes it sexier, I think. She’s not the actress Hepburn was, but she really grows into it — her old-age acting is very understated and effective. Harrison is playing a character where he has to put on a voice for the whole film — and he can do it. He’s one of the two greatest light comedians the screen has known (Cary Grant’s the other) and so if you make things hard for him, he just gets better — or that’s the impression he gives here.

Also, BLITHE SPIRIT has given him invaluable experience of spiritism cross-talk.

“What we’ve missed… what we’ve both missed,” is the second teary moment. The climax of a Grand Speech (do we suppose Mank rewrote Philip Dunne’s script a fair bit?)

It’s also an interesting test case of Bernard Herrmann’s scoring — how he can do stuff that is, in theory and by any logic, too heavy and overpowering for the material, and make it absolutely right. So that I don’t know that I believe Elmer Bernstein’s thing about how Herrmann would have overwhelmed MURDER ON THE ORIENT EXPRESS by treating it as “a Train of Death” rather than as a cosy and nostalgic romance of steam. Herrmann seems to demonstrate consistently that he can make stuff work in better and less expected ways by taking it much, much too seriously. It would be awful if he wasn’t so brilliant.

“With Captain Gregg? With the ghost of Captain Gregg?” That one caught me off-guard. The ghost has been an imaginary friend to Mrs. Muir’s daughter, who still remembers him now she’s grown up. (Wipes away manly tear.)

The film does something really lovely with fantasy — the idea that we may have fantastical characters in our lives, only we’re not allowed to remember them, or entirely believe in them.

And then the ending.

THE GHOST AND MRS. MUIR stars Laura Hunt; Professor Henry Higgins; Addison DeWitt; Flying Officer Bob Trubshawe; and Daisy Clover.

The Sunday Intertitle: Rated “Arrr.”

Posted in FILM with tags , , , , , , , , on November 29, 2009 by dcairns

So, I first saw Douglas Fairbanks sliding down a ship’s sail he’d skewered with his short sword in THE BLACK PIRATE when I was a teenager, and the clip was in Kevin Brownlow and David Gill’s monumental series Hollywood. Accompanied by information on how the filmmakers cheated so that Doug could do the impossible. It’s taken me, I guess, twenty-nine years to actually see the movie. I can’t think of anything else in my life that’s taken that long to achieve. Oh, except all the things I’ve yet to achieve.

Very good Fairbanks movie — the story is essentially two parts: (1) an introduction to piracy —  in which it swiftly becomes clear that these guys are utterly unredeemed villains, so how can Doug play The Black Pirate? — followed by (2) a single protracted suspense sequence: to avenge his slain dad, our Doug inveigles his way into the pirate mob, destroying them from within. It’s like YOJIMBO, but with only one gang. A very simple story, with some quite dark and grisly material. When one hapless pirate victim swallows a ring to keep it from being swiped, the evil captain makes some explanatory gestures to a henchman, who draws a dagger and walks offscreen. He returns a few seconds later and hands over the ring, which the captain wipes clean on his sleeve… One another occasion, a bad guy takes a sword from a captive, and runs the guy through just to test the blade…

Lots of good pirate slang: not just “scurvy” and “me bullies,” but “labnacker,” a term I had not previously encountered. Also, a comedy Scotsman who comes over to Doug’s side, played by Donald Crisp (born in London but he must have had Scottish roots: he’s in Disney’s GREYFRIARS BOBBY). His history of looting and murder is conveniently overlooked. Highlights include Doug capturing an entire merchantman vessel single-handed to impress the gang, and the invasion of Doug and his shark-finned soldiers, swimming underwater in  a vast special effects shot: they’re all suspended from wires, with superimposed bubbles drifting upwards in the foreground.

(Unfortunately, I was watching the UK DVD which is sepia-tinted. The movie was originally released, and still exists, in two-strip Technicolor.)

Donald Crisp, who achieved immortality by coshing Lillian Gish in BROKEN BLOSSOMS, has another shipboard role in Buster Keaton’s THE NAVIGATOR. Somebody thought it would be a good idea to pair Keaton with Crisp as co-director, so that there was somebody to look after the dramatic side of things. According to Keaton, Crisp immediately got obsessed with gags. In one scene, Buster is terrified by a scary portrait that swings past his porthole, like some horrifying nocturnal apparition. (This could conceivably have inspired the spooky portrait in THE GHOST AND MRS MUIR, which likewise appears to be a real figure at first.)

The man in the portrait is Donald Crisp.

UK: The Black Pirate [1926] [DVD]
US: The Black Pirate

Pin-Up of the Day: Gene Tierney

Posted in FILM with tags , , , , , , , , , , on October 16, 2008 by dcairns

“Without any question the most beautiful woman in the history of the silver screen,” said Darryl Zanuck, or words to that effect, and he ought to know, having slept with most of them. (He HAD to sleep with several at a time, honestly, otherwise he could never have racked up such a total. It’s not troilism, it’s just efficiency.)

Gene Tierney moved from early incompetence as an actor, through decent performances, and into really good work, aided by a truly amazing face that made her a pleasure to watch even when she sucked. Those distinctive features could suggest madness and evil in LEAVE HER TO HEAVEN, innocence and decency in HEAVEN CAN WAIT, wisdom and goodness in THE GHOST AND MRS MUIR.

I now list the features, and excuse me if I get overcome and have to go lie down:

The eyes: large, long, and very wide apart. I have a vision of walking up to Gene and putting my hand over the centre of her face, and of her looking back at me from around either side of my palm. THOSE EYES IS WIDE APART.

The big pale moonlike forehead. I am a man who likes a forehead. (Paulette Goddard, what a forehead that is! An eighthead, in fact.)

The nose, apparently hand-shaped from some soft, wonderful material — butter, perhaps — by tiny master craftsmen.

The cheekbones, beautifully defined, as if constructed especially to receive Von Sternberg’s light.

The mouth, completely redesigned by ambitious lipstick in these images, but in reality a wide, full and elaborately flared labial sculpture, balancing the eyes, and containing slightly erratic teeth which add charm to what could otherwise be chilly perfection.

In THE SHANGHAI GESTURE Tierney has moments of strange, erratic, embarrassing emoting that rival Elizabeth Berkeley’s mad flailing in SHOWGIRLS, but who’s to say what’s appropriate in a Sternberg menagerie such as this? Her perfect nose tilting under the lights, which seem to be dissolving into a dew the all-butter mannequin that is Victor Mature, she shows no trace of the control and grace that focus her best performances, but she certainly throws herself into the spirit of the thing. A gutsy, dynamic, original and deeply dreadful performance that’s never less than eye-catching. More decorous work was to come, but with the high frontal key-light shading her cheekbones, and the very hot backlight on the top of her head, Tierney showed she could be lit like Dietrich and come out just as well.