Archive for The Good the Bad and the Ugly

Men without Legs

Posted in FILM with tags , , , , , , , , on August 29, 2020 by dcairns

In the troop of beggars we see in Capra’s POCKETFUL OF MIRACLES, along with Angelo Rossitto, newspaper salesman and small actor, we have a guy with no legs, propelling himself about on a flat cart. I was curious to see what his other credits were, but the IMDb merely listed him as “Shorty,” and when I clicked on that, it said “Shorty is an actor” and gave POCKETFUL as his only movie. But now, as I meticulously fact-check this piece, I find that he’s vanished, perhaps reunited with his phantom lower limbs in some celluloid limb-o.

(The internet is a Heraclitian river or a Borgesian Book of Sand.)

Two more Shorties feature in THE GOOD THE BAD AND THE UGLY. One is a guy nicknamed “Shorty” because he is short, though not as short as Angelo Rossitto. He gets hanged. The actor’s name was Jose Terron and he only just died last year. Sorry, Shorty.

But some online sources misidentify Terron as the legless, alcoholic ex-soldier, walking Johnny-Eck-fashion with the aid of wooden blocks, who feeds Angel Eyes (Lee Van Cleef) information. This guy, referred to as “half-soldier” by a sneering Angel Eyes, seems to be a Spanish amputee discovered by Leone on location, and nobody knows his name.

BUT — he has a filmography — I’m almost positive he’s also see among the limbless veterans in Cottafavi’s I CENTI CAVALLIERI. Same face, same lack of legs, same mode of ambulation.

A Spanish Civil War war veteran, or an accident victim, or what? We may never know. Unless Sir Christopher Professor Frayling has winnowed out the facts.

Crime Jazz

Posted in FILM with tags , , , , , , , , , , , , , , , , , on July 19, 2019 by dcairns

JAZZ BOAT, seen and enjoyed and wondered at thanks to Talking Pictures TV. Ken Hughes directed this boggling jazz musical crime comedy thriller, a star vehicle for Anthony Newley, who pretends he’s a master thief knows as The Cat, and gets mixed up with a criminal biker gang led by James Booth. Every scene depending on the anticipation of violence between these two “toughs” cracked me up.

Booth’s gang also features David Lodge in a beard and specs that make him resemble Nick Frost — his character, Holy Mike, is a kind of ironic religious maniac in black. Added muscle is provided by Al Muloch from the openings of THE GOOD THE BAD AND THE UGLY and ONCE UPON A TIME IN THE WEST, as a real gone thug, maybe the most substantial part of his tragically shortened career. And then they’ve got Bernie Winters as back-up, and busty Anne Aubrey as “the Doll,” whose going with Booth but somehow can’t keep her hands off Newley. He must have had something, I suppose.

“He was quite good as the Artful Dodger,” admits Fiona.

“With a walnut up his nose,” I remark.

“What?”

“A walnut.”

“WHAT?”

“He played the part of the Artful Dodger with a walnut up his nose.”

“WHAT?”

“Anthony Newley. Played the Artful Dodger. With a-“

“Whose idea was that?”

“David Lean’s, I suppose.”

“But that’s child abuse!”

“No it isn’t. Kids love shoving things up their noses.”

“But it might have gotten lodged, and gone deeper…”

“Well they could just have got… Mark Lester to go in after it.”

“Why Mark Lester???”

“Well, he was little…”

“But he was in a different film. He was in OLIVER!”

“Oh yeah… Well, that’s ideal. He’d have been REALLY little…”

Shoving aside the thought of an unborn Mark Lester being injected up Anthony Newley’s nostril in some grotesque nasal parody of FANTASTIC VOYAGE, we return to JAZZ BOAT. Lionel Jeffries plays a tough police inspector, and this oddball casting works great, because he’s a really good actor. All the oddball casting is defensible except that Newley and Booth are the same type, and Newley can’t suggest his character’s innocence.

The film opens in Chislehurst Caves where Ted Heath and his Band are playing and we meet all the characters, and a fight breaks out.

Then there is some quite decent storytelling where we see how Newley gets mistaken for the Cat, and how he’s honest, really, and then gets roped into doing a crime with Spider’s gang.

There is, eventually, a jazz boat, but it has little to do with the plot. Within minutes, it seems, the film is showing us Newley in drag trying to escape the gang’s revenge, then showing Booth and poor Aubrey slashing each other with razors. Then the boat docks at Margate and we may remember the Archers’ bit of doggerel about that town, and there’s a chase through Dreamland, the funfair immortalised by Lindsay Anderson in his free cinema documentary — a film which now looks a bit worrisome in its aghast depiction of working-class entertainment.

We never find out who the real Cat is, which seems like a big loose end. But then, this whole film, handsomely shot by Ted Moore with Nic Roeg operating, is a giant, marvelous blunder, a skull-throbbing offense against taste and tone and logic and genre — put together by professionals, so the bits don’t quite fall apart even though they might do better if they did.

I really want to see IN THE NICK now, made the same year of our Lord 1960 by mostly the same culprits, many with the same character names, but it doesn’t seem to be available anywhere.

JAZZ BOAT stars Heironymous Merkin; Prof. Joseph Cavor; Pvt. Henry Hook; Jelly Knight; Knuckles; and Clang.

The Good The Burt and the Gary

Posted in FILM with tags , , , , , , , , , , , on April 18, 2018 by dcairns

So, it was a Robert Aldrich double feature, in fact. I wanted to re-see VERA CRUZ, having always enjoyed it and having recently acquired a second-hand copy on DVD. Fiona’s not big on westerns, generally needs them to have a female element. This is disorienting to me since my mum loves westerns, so I grew up thinking, Yeah, westerns, women’s pictures, right. Not right, apparently!

My mum’s view of it does make sense. Westerns are full of things women often like to see. Scenery, animals, men, activity, travel, justice. By getting the female characters well out of the way on the sidelines, it makes it easier to ogle John Wayne or Richard Widmark (her favourite). But this logic doesn’t seem to hold up for a lot of female viewers.

So, the presence of Denise Darcel was my means of persuading Fiona to try this (plus, she was well up for an Aldrich double). Darcel (“Why was she always in westerns?” asked Fiona, thinking of WESTWARD THE WOMEN, which she loved) was a French actor burlesque dancer and starlet with a husky frame and stereotypically Gallic delivery. Here she plays a pure noir character, a scheming betrayer. She doesn’t win in the end, but she gets away with it.

Almost as gratifying from the female interest perspective was the presence of Sara Montiel, previously enjoyted in SERENADE. Mainly she brings astonishing beauty and glamour to a role that sees her doing a lot of double-crossing too, but on the side of good.

But of course the men do most of the hard riding. Great support work from Cesar Romero, George MacReady (the Emperor Maximilian!), early supporting villainy from Jack Elam, Ernest Borgnine, Charles Bronson (still going by Buchinsky at this point). Gary Cooper in the lead, hiring himself out to the wrong side, an early indication of the moral complexity/confusion engulfing the western hero, and Burt Lancaster turning a bad guy role into a star turn. You could imagine an earlier film where his grinning brute turns round and shows a heart of gold — he could do a Captain Renault. But not here. His heart is merely set on gold. This is a proto-Leone hero. When the villain is allowed to get more charismatic and interesting than the villain, a big reversal may be imminent.

Sergio Leone (no women’s director, he) would act as AD for Aldrich on SODOM AND GOMORRAH, and so he must have seen this. Besides, I think he saw every western there was to see. The quest for concealed gold, though far from unique to this film, seems to inform THE GOOD THE BAD AND THE UGLY. Burt starts to say “Why you dirty son of a b–” and is cut short by a blast of music (diegetic in this case), as Eli Wallach would be at the end of that film. The Mexican setting suggests DUCK, YOU SUCKER, as does the presence of a stiff-necked Prussian officer.

There’s also a “shoot when the music stops” scene directly informing the musical watch duels of FOR A FEW DOLLARS MORE…

Best of all is the bit I remembered most clearly — Burt and Gary and Cesar and almost everyone else find themselves outgunned by juaristas, who have crept up silently in Red Indian manner and in vast numbers, surrounding them. As the camera circles Burt, we see them rising slowly from every rooftop, their appearance timed precisely to sync with the camera movement itself.

We get a good chunk of the shot at the start of the trailer.

Leone picks this shot up and carries it forward in time to ONCE UPON A TIME IN THE WEST, but here, as the camera orbits Frank Wolff, the movement reveals — nothing. Only the eerily silent prairie, a space from which enemies WILL come, but are as yet invisible. The shot has been transformed from a very flamboyant but typically American conception — a movement displaying the actions of characters — to a European (specifically Italian) one — exploring space, both geographical and psychological, motivated by something purely internal…

Shot starts at 5.39 in this clip.