Archive for The Hunchback of Notre Dame

The Sunday Intertitle: A Gorilla in Every Port

Posted in Dance, FILM, Painting with tags , , , , , , , , , , , , , , , , on December 10, 2017 by dcairns

We were led to THE CHIMP by obscure means ~

Fiona got obsessed with Charles Gemora, Hollywood’s top gorilla impersonator, after seeing BLONDE VENUS with me, and discovered the existence of a documemtary, CHARLIE GEMORA: UNCREDITED. We paid to see it on Vimeo, and found it eye-opening indeed — though Gemora made the best gorilla costume in Hollywood, and performed in it with gusto (probably to the detriment of his health) there was much more to him than that.

CHARLIE GEMORA: UNCREDITED from Cloud Tank Creative on Vimeo.

The pint-sized Philippino came to America as an illegal immigrant, I guess you’d say, and his first job in Hollywood was as an extra in Lon Chaney’s HUNCHBACK OF NOTRE DAME. Seeing him draw sketches of his fellow extras (who must have included future director Tay Garnett, whose experience here led to the title of his autobiography, Light Up Your Torches and Pull Up Your Tights — words to live by), the bosses put him to work sculpting gargoyles for the cathedral set, “on the basis that if you can draw, you can sculpt.” Gemora didn’t even have any training drawing, and had never sculpted in his puff.

But soon he’s carving massive figures for movies, as well as getting into the gorilla work and special make-up effects, particularly for those curious jobs where it’s hard to say is it a makeup or is it a costume? Monsters, freaks, aliens. COLOSSUS OF NEW YORK, I MARRIED A MONSTER FROM OUTER SPACE, WAR OF THE WORLDS. An interesting early one is Benjamin Christensen’s horror comedy SEVEN FOOTPRINTS TO SATAN, in which Gemora plays ape, but may also have had a hand in the stunning, grotesque and ooky make-ups.

Thelma Todd (a frequent gemora screamer), “Sir Charles” himself, and director/wrangler Benjamin Christensen.

(I’m fascinated by this: Benjamin Christensen made HAXAN/WITCHCRAFT THROUGH THE AGES the same year as Chaney’s HUNCHBACK, pulling off the tricky feat of full-body make-up effects far more effectively than Chaney’s ambitious Quasimodo design, which relies on an improbably leonine mane of body hair to disguise the neck-join. No credit is given for the designer of HAXAN’s amazing demons and imps. But it’s possible Christensen, an actor himself — he plays Satan — was responsible. Making him the link to SEVEN FOOTPRINTS, though we can also imagine a Westmore or two being mixed in, with Gemora either helping out or watching and taking notes from inside his Ingagi suit.)

Gemora painted portraits of the stars (Stanwyck, Goddard) and forged Gainsboroughs for Mitchell Leisen’s KITTY. He played many of the monsters he designed, including the Martian in Pal’s WAR OF THE WORLDS. And he could play his apes straight (the affecting THE MONSTER AND THE GIRL; PHANTOM OF THE RUE MORGUE) but, and this brings us to THE CHIMP, could be hilarious when required.

THE CHIMP is a very minor Laurel & Hardy short, which transforms into a major Charlie Gemora short when viewed through the correct filter. It reprises the previous year’s “smuggle an animal past the landlord” plotline from the superior LAUGHING GRAVY but replaces the lovable pup with Ethel the chimp, played by Gemora in gorilla suit and tutu. Gemora’s very human gestures (shrugs, pointing, ballet dancing) had Fiona in helpless hysterics. This element of pure phantasie is somehow unsuited to Stan & Ollie’s world, I feel, but once you start watching Gemora’s performance for its own sake, it’s a thing of beauty in its own right.

Jason Barnett’s documentary is great for all this background, shining a light on Gemora’s incredibly varied and mainly uncredited contributions to Hollywood cinema. The story is assembled in a somewhat pedestrian way, and the attempts to bring the still images to life with fancy rostrum work are often clumsy: since the many of the photos, drawings and documents have presumably come from Gemora’s archive, I wanted to SEE the archive and make-up kit put in front of a moving picture camera, explored in the round, clues in a detective story. Scans give us a clear look at the contents of the Gemora papers but rob them of their personality as artifacts.

Nevertheless, don’t let me put you off — the film is incredibly well-researched and doesn’t shrink from the mysteries of Gemora’s extensive career — we will not see a better film about this fascinating artist.

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Ding Dong Merrily on High

Posted in FILM with tags , , , , , , on December 15, 2016 by dcairns

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Alex Cox was impressed by Alain Cuny in EMMANUELLE, particularly his ability to say “Let me take you to les dernier limites d’erotisme” with a straight face. But I guess when you have a face like Cuny (left) it can’t help but be straight. His anguished granite slab might, in other circumstances, have made a great basis for a Quasimodo, but he instead gets the plum role of Archbishop Frollo, watching as Anthony Quinn chews up the even meatier part.

Last Forgotten of the year, over at The Notebook!

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, video essay, 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.