Archive for The Goon Show

French Farce

Posted in FILM, MUSIC, Painting, Radio, Television with tags , , , , , , , , , , , , , , , , , , , , , on November 25, 2014 by dcairns

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Things done –

Pere Lachaise Cemetery – people kept asking me if I knew where Jim Morrison was, but I was avoiding him. Also Edith Piaf. The only famous person I met was Ticky Holgado, whose terrifying sepulchre, depicted above, evokes the awe and horror of death better than any of the more tasteful tombs.

Charcuterie. With two ex-students: one is working as a nanny and being bitten all over by small children while pursuing her documentary career, the other was attending a fantastique film fest (but they weren’t showing LET US PREY so I’m safe).

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Coffee at the Hotel du Nord, from the film of the same name, avec Phoebe Green, who sometimes appears in these pages as La Faustin, and who was our translator on NATAN. You can’t get a view of the hotel through the bridge as Marcel Carne manages in his film — having rebuilt the whole neighbourhood in the studio he could shuffle things around, lose a few trees, and arrange things to the camera’s advantage.

Lunch at the Cinematheque – boeuf bourgignon where I bought many postcards, also some awesome KING KONG flipbooks. It’s quite something to have Kong waving his arms about in the palm of your hand.

There’s a lovely Truffaut exhibition on just now, with letters and photos and other souvenirs – not the Jeanne Moreau letters, she’s sitting on those – and it was a chance to nod sadly at the image of Marie Dubois, one of our recent departures for realms unknown. Truffaut ought to feature in the Late Movies Blogathon, come to think of it – I have a soft spot for VIVEMENT DIMANCHE! And THE GREEN ROOM is one of the most apt late films of all.

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Truffaut’s boyhood notebook — LE CORBEAU, he recorded later, was the first film he saw twice. But what caught my eye, of course, was the Pathe-Natan LE MISERABLES, which must have been on its post-war re-release, hopefully with the Jewish names restored to the credits which were removed under the Nazis.

St. Sulpice, a large church featuring some impenetrably dark works by Delacroix.

Many many bookshops, where my inability to read French prevented me from making many an extravagant purchase, like the giant book of stereoscopic images of diabolical tableaux – little dioramas with miniature imps and demons frozen in the act of cavorting with pitchforks and other accoutrements — co-authored by Brian May of Queen. The kind of book one SHOULD own. But I couldn’t walk away from the little pamphlet by Samson Raphaelson, his memoir of working with Lubitsch. It was only four euros, and reading the first few sentences I was pleased to discover that my schoolboy French did not leave me wholly in the dark. Actually, I need to modify the expression “schoolboy French” lest I be seen to traduce the educational system. Some qualifier like “concussed schoolboy French” or “sleeping schoolboy French” gives you a better idea.

Now, since I need to see a movie, obviously, and I need a movie I have a chance of understanding, preferably, I have been drawn to the Cinema Desperado, whose Romy Schneider season is featuring WHAT’S NEW PUSSYCAT. I’ve never actually seen the whole thing. TV versions were always pan-and-scanned and just TOO SMALL to allow Richard Williams’ elaborate titles to be enjoyed… the documentary series Hollywood UK more or less accused this film of ruining British cinema, since it led to the excesses of CASINO ROYALE and the belief that throwing enough gaily coloured, fashionable shit at the screen would be enough to attract and keep an audience. And I have a complex, mostly abusive relationship with the works of Clive Donner, though it’s never been entirely clear whether it’s abusing me or I’m abusing it. Here goes nothing…

(Typed at 17:41 in a café with no internet.)

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Later – well that was highly enjoyable. Can’t remember the last 35mm projection I saw – probably THE BOFORS GUN at EIFF. The cinema belongs to Jean-Pierre Mocky and shows all his films, a different one every day.

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The film is a hot mess, as expected, but there are very funny, silly bits, and some clever bits too. The editing is all over the place – continuity is appalling, but that is sometimes evidence of a cutter following the rhythms, or creating them, and saying the hell with making stuff match. But there are clear signs of whole sequences having been moved about on a whim (probably that of increasingly erratic producer Charles K. Feldman), characters show up out of the blue (not Ursula Andress, who does so literally, as a deliberate gag, but people like the bomb-throwing anarchist, who the script must have intended to set up earlier as Paula Prentiss’s boyfriend), and Paula Prentiss’s early scenes appear to have been set upon with a meat cleaver – the conversations have been hacked into nonsensical soundbites, set-ups for gags that never come or punchlines to gags never set up.

Fortunately, Peter O’Toole is usually able to find his way through a scene if it’s allowed to proceed in sequence, dragging co-stars behind him, and Peter Sellers augments the best lines of Woody Allen’s script with nonsense of his own (therapist Fritz Fassbender curses upon soaking his thighs with petrol: “Geschplund!” A straight Goon Show quote if ever there was one).

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It’s a shame about the messiness because feckless dithering in the control room is the last thing a tight farce needs, and there’s some evidence that Allen had constructed such a farce. The idea is a sound one – a shameless philanderer decides to get married and be faithful, and suddenly he’s besieged by beautiful women. Capucine’s nymphomaniac Mrs. LeFevre is possibly the funniest actor in the film, despite not getting any actual jokes. She just has beautiful timing and emphasis, and makes the other actors funnier in turn (Sellers: “You look ravishing in zat whistle”). The colossal beach whore from EIGHT AND A HALF, dressed as a Valkyrie, is also good value.

The whole cast gets assembled for a climax at a country hotel, with a rampant Andress in dropping into O’Toole’s lap from the heavens (“I yam a paris-chew-diss!”), stripping off her aviatrix jumpsuit to reveal a seductress jumpsuit underneath, then ditching that too. Oddly, despite the crummy continuity, Andress running through the hotel in her undies always has her undies disarrayed the same way from shot to shot, left butt cheek bulging out.

Disappointingly, after scene after scene of stunningly beautiful, chic Parisian sets by Richard Sylbert, the hotel is mostly a dowdy location, and rather than giving us a satisfactory conclusion there’s mere chaos, and O’Toole getting nagged by his new bride at the fade-out. Still, as she accuses him of looking at another woman (Francoise Hardy!), O’Toole enunciates acidly: “I *had* to look at her, she was *speaking* to me. I Turned in the Direction of the Sound.”

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The Sunday Intertitle: Goony Toons

Posted in FILM with tags , , , , , , , , , , , on January 30, 2011 by dcairns

ALF, BILL AND FRED is probably my favourite Bob Godfrey cartoon — I encountered it on Channel 4 sometime as a kid, back when Channel 4 would run unexpected surprises like this. It’s a simple, even twee, rags-to-riches type story, enlivened by a disrespectful approach to “style” and “production values” — Godfrey creates a style by ignoring or celebrating the clashes of mixed media, and doesn’t bother about things looking cheap.

There’s a strong resemblance to Terry Gilliam’s cut-out approach, which is also anticipated by Walerian Borowczyk’s collaboration with Chris Marker, LES ASTRONAUTS. WB supplies the persistent air of surreal nightmare that haunts Gilliam’s Monty Python work, while BG gives us the jokey blokeyness.

Godfrey also created KAMA SUTRA RIDES AGAIN, which I believe was the short screened with CLOCKWORK ORANGE on its release. I presume Kubrick approved it. Sex, violence and broad comedy: it could serve as a clue as to how Kubrick wanted his audience to react to his movie. I’ve really hate KSRA though — essentially a slapstick tour of various preposterous sexual positions, reimagined as Evel Knievel-style stunts. The cartoon lead’s wife becomes progressively more encased in plaster casts as the film goes on.  I’ve always disliked plaster-cast comedy: I howl with laughter at Laurel and Hardy’s COUNTY HOSPITAL, but that’s precisely because it doesn’t force one to think of pratfalls causing broken bones. Olie’ leg is in plaster from the very start, and we never get told how it happened. The movie is true to a scared principle of slapstick, which is that serious injury never results. I think even giving somebody a black eye is pushing it.

On the other hand, Godfrey also gave us THE DO IT YOURSELF CARTOON KIT, narrated by Goon Show alumnus Michael Bentine, which is pretty good. The Victoriana theme certainly seems like it must have influenced Gilliam’s work ~

Of course, what makes Gilliam more than a mere imitator is the wildness of his invention and the excellence of his timing, which owes little to anyone. Cut-out animation was merely a means to an end for Gilliam, in the same way that CGI FX and troubled mega-productions are now.

This one gave rise to a catchphrase in our house — whenever we have to lift Tash, our Siamese cat, out of trouble (a routine occurrence), grabbing her under the front legs and hoisting her until she is extruded into a long, vertical shape like Gilliam’s marauding mutant, we remark, in shrill, stentorian tones, “But at what cost?”

A Love Bewitched

Posted in FILM with tags , , , , , , on December 29, 2010 by dcairns

I’m glad this is up on YouTube, and in such pristine form. Hope whoever posted it is the rights holder, I stuck a bit on YouTube and got my account closed for my troubles.

And when are we going to get to see this (deeply flawed, intermittently brilliant) Powell movie? The film that really killed Powell’s career (you don’t wind up making a slasher movie for Anglo-Amalgamated if your career hasn’t been killed)…

I recently saw THE QUEEN’S GUARDS, Powell’s follow-up to PEEPING TOM — he had Hollywood studio backing for it, as the damage of PEEPING TOM hadn’t happened yet. But THE QUEEN’S GUARDS, as Powell ruefully admits in his autobio, is a bad film. As such, it may have done more to hurt him than PT’s critical reception — at least many of the reviewers admitted TOM was made with Powell’s usual skill (this seemed to make things worse). That can’t be said for GUARDS.

At any rate, the idea that PEEPING TOM was the sole cause of Powell’s fall should be laid to rest.

HONEYMOON is startling because the bad bits are so bad and the good bits — see above — so good. It certainly gives the impression that Powell without Pressburger needed a strong collaborator (like Leo Marks) to shape his ideas. The story meanders, never acquires depth, and ultimately fails to resolve itself at all. Even some of the dance sequences are bad: Powell film’s Antonio’s first impromptu dance in medium shot, cutting off his feet, a shocking thing to do in any dance, but especially a Spanish one. Some of the problems no doubt stemmed from a last-minute alteration: Powell felt he hadn’t got enough of Spain into the movie, so he made a quick whistle-stop tour of the locations in his car, filming out of the window. This footage was more or less dumped into the movie, with a treacly song by Wally Stott (musical arranger for The Goon Show, later transexual) laid over it — the result is that the film seems like it’s never going to get started, and when it eventually does, it’s regularly interrupted by tedious travelogue. If Powell had lived with the edit for just a few more days, I have no doubt he’d have hacked some of this filler out.

Still, as you can see from the amazing action above, while it’s not quite THE RED SHOES ballet, the El Amor Bruja number is stunning, and makes the idea of a restoration exciting indeed.

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