Archive for The Ghost Ship

Lost and Found Dept.

Posted in FILM with tags , , , , , , , , , , , , , on August 23, 2014 by dcairns

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Lots of interesting feedback on yesterday’s post, which was about the not-particularly-interesting Kay Kyser movie YOU’LL FIND OUT.

Via Facebook, Jason Hyde points out, “That gorilla got around. It also pops up in the Rathbone Sherlock Holmes film The Woman in Green. It was still getting work as late as 1971’s Escape from the Planet of the Apes. Somebody should write a biography.”

I replied, “In 1972 they opened it up and found Charles Gemora, full of buckshot.”

But Randall William Cook had more information. The spooky mansion in this movie turns out to be a real treasure trove — as recounted in this DVD extra from the Peter Jackson KING KONG, several models from the 1933 original KONG can be seen as props in the villains’ lair, including various sizes of triceratops and some spiders from the famous deleted “spider pit sequence.”

We even see the odd, two-legged lizard that climbed a vine to get at Bruce Cabot.

And elsewhere in the movie, some very recognizable gargoyles (bottom of frame), last seen posing beside Charles Laughton in THE HUNCHBACK OF NOTRE DAME.

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I imagine there’s stuff there from SHE and maybe THE HOUNDS OF ZAROFF, and all the Egyptian doodads are probably recycled from the Wheeler & Woolsey dud MUMMY’S BOYS — though it’s doubtful they were originally created for it.

The beauty of the studio system was that all this material was on call at all times, either in the (rubber) flesh or via stock footage. I previously investigated the bizarre rubber octopus (Steve) in CITIZEN KANE, dismissed reports of pterodactyls from KONG invading KANE, but found the ship from KONG reappearing in Val Lewton’s THE GHOST SHIP, heading in the opposite direction thanks to an optical flip that rechristens it from the Venture to the erutneV. Rechristening ships is said to be bad luck, and so it proves for the unhappy crew of the erutneV.

Much has been written about the reuse of the grand staircase from THE MAGNIFICENT AMBERSONS in various Lewton horrors.

One day, when I am bored, I will track down the ludicrous gargoyle that decorates the background of Hammer’s TWINS OF EVIL but can also be seen, with a fresh lick of paint, in THE ROCKY HORROR PICTURE SHOW.

Goodnight, and good luck.

The Sunday Intertitle: Blackfeet, red face

Posted in FILM with tags , , , , , , , , on September 25, 2011 by dcairns

Heap big thanks to Ihsan Amanatullah and the National Film Preservation Foundation for Treasures 5: The West, 1898-1938, a typically smashing box-set trove of films, fragments and ephemera. These collections are among my very favourite things.

One item of particular interest is Gregory La Cava’s third feature as director, and his first for Paramount. WOMANHANDLED is a romantic comedy from 1925 that pokes good-natured fun at the myth of the west, in much the same way as Doug Fairbanks did in WILD AND WOOLLY (reviewed here). The film is incomplete, but Treasures gathers enough scenes to form a reasonably coherent narrative.

In both films, a western community transforms itself into a fantasy vision of the past to fool a romantic visitor: in this case, it’s heroine Esther Ralston who has the hots for cowboys, and her beau, Richard Dix who sets out to live up to her fantasy.

Only the jaunty front wheels defy the frame’s robust squareness.

The whole film’s very pretty, with some flat-on establishing shots that are actually breathtaking in their graphic simplicity. It’s not especially hilarious: as other commenters have noted, neither of the stars is a particularly gifted comedian. Ralston is simply decorous, whereas Dix does try to get into the spirit of things, hamming it up a little at times. He’s a very sweet hero, though, smiling earnestly at Ralston even as her horrendous little cousin (and ancestor of the pint-sized monsters who would plague W.C. Fields, sometimes in La Cava films) sets about his achilles tendon with a tomahawk. You can’t associate him easily with the captain of THE GHOST SHIP, coldly threatening to shoot the hero “in the abdomen.”

Funniest moments are those that puncture the air of charming whimsy with some bracing nastiness, as above. When Dix orders some horses, the nags that turn up are virtual walking skeletons. Casually, without even seeming to think, Dix hangs his straw boater from the protruding pelvis of one shriveled mare.

Worse (and better) yet, Dix induces the “colored help” to don redface and impersonate Indians.

When Ralston naively asks what tribe this family is from, Dix improvises —

The friend I tried this line on went into a sort of strange loop of conflicted response — “That’s funny — but terrible — but funny — but terrible…” Join him in his world of pained amusement! As IMDb reviewer and legend F. Gwynplaine MacIntryre puts it, “At this point “Womanhandled” enters the delirious realm of double-decker racial stereotypes.”

This disc comes with copious notes and commentary tracks —  apparently, 1925 was the Year of the Western, with a third of all American movies going west. Esther Ralston’s career, it’s noted, is hard to assess since so many of her films are lost, including THE AMERICAN VENUS, whose trailer features in an earlier Treasures, and Sternberg’s THE CASE OF LENA SMITH. I know her mainly from a late-life interview in the documentary THE SILENT FEMINISTS: AMERICA’S FIRST WOMEN DIRECTORS, where she’s asked about Dorothy Arzner and goes into a protracted, unstoppable and very funny rant about how Arzner kept trying to get her to do sexy scenes until she complained to the studio boss. I get the impression this wasn’t the kind of insight the earnest documentarists behind the camera were after, but they cheefrully included it anyway, for which we can be grateful.

Buy: Treasures 5: The West, 1898-1938

Paranormal Inactivity

Posted in FILM, literature with tags , , , , , , , , , , , on November 22, 2010 by dcairns

I reported the slightly ungenerous opinion of my late friend Lawrie Knight, regarding filmmaker Vernon Sewell (“As far as I could tell, Vernon never had a brain in his head”) and then I heard from Sewell’s godson, advising me to look deeper. So I did.

It’s unfortunate that the three films I watched descended in quality from one to the next, but there was quality, and to correct that negative impression, I’m reversing the order and starting with the worst first.

GHOST SHIP (1952), starring Hazel Court and her husband Dermot Walsh, is a supernatural thriller — as were the other two films sampled. All three films use parapsychological explanations to fold their ghostly happenings into a scientific worldview, and all three feature cosy ladies who act as mediums (or should that be “media”?), as well as making substantial, and somewhat unconventional, use of flashbacks. This one was of particular interest to me because Lawrie had mentioned it — “He bought a boat, to use as studio. And I think he did make a couple of films on that boat.”

Unfortunately, Sewell hadn’t cracked a system for filming in the cramped quarters of his steam yacht: the result is lots of empty frames, into which characters protrude from the sides, before having discussions in lifeless flat two-shots, before exiting and leaving us with an empty frame again. Contrast this with Polanski’s dynamic use of even tighter environments in KNIFE IN THE WATER.

His story also takes ages to get going, with early manifestations limited to disembodied cigar smoke. Eventually a murder mystery is explicated via the medium’s intervention, and the middle-class couple can get back to yachting in peace. Best fun is the no-nonsense psychic investigator with his tuning forks, who realizes that the heat from the engine room acts as a trigger for spooky appearances ~

“The greater the heat, the more these vibrations are evident. Has it ever struck you how so many apparently inexplicable things only ever happen in hot countries? I mean, nobody’s seen the rope trick outside India. Voodoo’s only practiced in South/Central America. Firewalkers, fakirs, witch doctors: all in tropical climates. It’s like developing a photographic negative: the hotter the solution, the quicker the picture appears.”

Delightful. And all conducted with the aide of a set of tuning forks, too.

We also get a very young Ian Carmichael as a comedy drunk, holding up the action just as it gets promising, and a painfully young Joss Ackland. Having Danny Glover drop a packing case on his head in LETHAL WEAPON II was all in the future for young Joss.

A good bit better is LATIN QUARTER, also known as FRENZY, a tale of a murderous sculptor whose crime haunts his studio, necessitating the intervention of another pukkah psychic investigator and another mumsy medium. This movie integrates its flashbacks better, and it has Frederick Valk (the shrink from DEAD OF NIGHT) as the investigator, Joan Greenwood as a murdered model, Valentine Dyall (THE HAUNTING) as a prefect of police — lots of enjoyable players. The bad guy actor rejoices in the name of Beresford Egan, so we had to like him. Derrick deMarney is the hero, but you can’t have everything. Lots of Germans in this studio Paris, I guess because it was 1945.

Best of all was the modest HOUSE OF MYSTERY (1961), which reprises most of the plot of GHOST SHIP with a better, more involved flashback structure, more like THE LOCKET or The 1001 Nights. And the filming is MUCH better, with a mobile camera and slightly fogged style. The haunted cottage carries a genuinely intriguing mystery story which mixes ghosts, straightforward murder, and science fiction of the Nigel Kneale variety — lots of talk about buildings acting as recording instruments for the emotions enacted within them. Oh, and a really nice twist at the end. The cast here is very low-key, with Nanette Newman the best-known face, but the lack of star-power works with the film’s quiet, unfussed approach to the eerie. No wonder Sewell didn’t really thrive in the later world of British horror — his gaudy BLOOD BEAST TERROR, CURSE OF THE CRIMSON ALTAR and BURKE AND HARE aren’t a patch on these mild-mannered chillers.

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