Archive for The Ladykillers

How the West was Not

Posted in FILM, literature, MUSIC with tags , , , , , , , , , , , , , , , on November 23, 2018 by dcairns

So, I got Netflix for THE OTHER SIDE OF THE WIND, which of course meant we could watch THE BALLAD OF BUSTER SCRUGGS, so we did. I used to indiscriminately like all Coen Bros movies, with a slight preference for the early, funny ones. The tendency towards emptiness did start to nag at me a little as early as MILLER’S CROSSING and BARTON FINK. The nasty sense of humour didn’t — I have a fairly dark S.O.H. myself. But then came INTOLERABLE CRUELTY and THE LADYKILLERS which I disenjoyed so thoroughly it made me retroactively question even my favourites, and proactively question subsequent films.

I suspect the following will make David E. impatient, since he was onto the Coen’s combo of snark and misanthropy from the start.

Here’s my run-down of the episodes in this latest western compendium. Not too many specific spoilers, but plenty of comparisons with the Bros’ earlier offerings, good, bad and ugly.

1. The Ballad of Buster Scruggs. The ballad itself is practically a proper musical, except that, as with OH BROTHER, WHERE ART THOU? the songs are all sorta diegetic. We have the welcome return to the fold of Tim Blake Nelson, and the unbelievably crisp cinematography of Bruno Delbonnel, who they got acquainted with on PARIS JE T’AIME and used again to even better effect on INSIDE LLEWYN DAVIS, a flm with a unique look in the Coen oeuvre. It’s fascinating to see iconic western imagery shot in an ultrasharp digital way. When people start by telling you they liked the photography it reliably indicates they hated the film, and I hated this episode. The “humorous” violence is mean and squicky: the severed thumb from THE LADYKILLERS is back. Remember how funny it is when Travis blows the guy’s hand off in TAXI DRIVER? That’s how funny the mutilation gag is here. The saving grace is Carter Burwell’s music: this whole movie is the best showcase he’s had for a while.

2. Near Algodones. Or, One Damn Thing After Another. A pretty good Leone imitation in places, this is nevertheless just as pointless and unpleasant as Part 1. James Franco as a bank-robber is given no appealing qualities, so his Really Bad Day is neither a nightmare we can empathise with nor even a justifiable punishment. These two episodes look to have been written in an afternoon. Both end, kind of, with The Last Sight You’ll See, harking way back to BLOOD SIMPLE’s grotesque yet kind of poetic plumbing close-up final shot.

3. Meal Ticket. Here’s where I start to wonder if the ordering of the stories is a problem. As soon as we meet the armless, legless “protagonist” of this one, we expect that something terrible will happen to him. Which means viewing the whole film in a queasy suspense, and not being surprised. The wintry, nocturnal look is really gorgeous and the reason for the story being told, as with the previous installments, is inscrutable. Shit happens, you say? No shit. Fiona was on the point of bailing at this point… but got drawn back in.

4. All Gold Valley. Things take a turn for the better here, maybe in part because we have a story by Jack London. It’s no TO BUILD A FIRE but it’s good. All the episodes are magnificently cast from both a dramaturgical and a physiognomic point of view, but here Tom Waits is actually given sympathetic traits, and though we suspect we may be being set up for a fall, this is not entirely true. This was the first yarn that didn’t make me feel horrible, and the nature photography ascends to new heights of loveliness,

5. The Gal Who Got Rattled. Another adaptation, this time from Stewart Edward White. whose stories have been used by the movies a fair few times, but not since 1941. A really grand evocation of a wagon train. Likeable characters. “I’m really worried about this girl,” said Fiona of Zoe Kazan’s nervous young frontierswoman. There’s a cute dog. This one’s a proper story, very strong, strikingly presented. It would play even better if it weren’t following a trio of sick joke blackout sketches: we need to believe the Coens are sincere here, for the yarn to play emotionally. It COULD be taken as another set-up/punch-line bit of cynical manipulation, and of course if we can give the Coens more credit than that and actually embrace the apparent warmth of feeling and sympathy, the film will play MUCH better. It’s a great little film: Kazan is terrific, and Bill Heck and Grainger Hines ought to be stars.

Also, by this point, the use of pages turning in a book of wild west yarns, with coloured illustrative plates, is really paying off. It’s something I don’t believe we’ve seen before in a film: the illustrations pluck a moment from the narrative, often from near the end, and then we wait for it to turn up and make sense in context. It can add a little extra touch of inevitability to a tragedy, an added twist of irony to a joke.

Also also, it’s nice to finally meet a girl. I know westerns have traditionally been male-dominated, but watching this one’s like going to prison (if you’re a man). Only with less sex.

6. Mortal Remains. OK, Tyne Daly is here so you’ll get no complaints from me. Well, maybe a few. This is DR. TERROR’S HOUSE OF HORRORS only on a stagecoach instead of a train. I mean that literally. I liked the misty cut-out buildings that nod both to NIGHT OF THE HUNTER and the whole history of the western movie set. A bunch of facades with nothing behind them seems an apt metaphor for something or other, but what? Oh yeah.

The garrulous English character is hard to process as anything other than a riff on THE HATEFUL EIGHT, and it does feel like the Coens have been treading familiar ground: Tarantino already gave us a western full of talk, with epic iconography but an oddly intimate, enclosed locale, and a lot of unpleasant characters doing horrible things we cant possibly care about. The mysterious, even mystic quality the Coens aim to evoke here certainly adds a new flavour, but as this one fades out I realize why anthology films usually have a framing structure. It’s hard for one episode to deliver an ending satisfying enough for all six.

Maybe the Coens need to stick to adaptations. Their two strongest films, the ones that feel most like they have a reason to exist, are NO COUNTRY FOR OLD MEN and TRUE GRIT. The brothers are experts at pastiche, and their delight in language, both verbal and cinematic, is a kind of redeeming feature (they do care about SOMETHING), but what they get from an original author with world experience and an interest in people seems to be something they struggle to achieve by themselves.

Dissenting views are welcome.

THE BALLAD OF BUSTER SCRUGGS stars Delmar O’Donnell, Harry “Oz” Osborn, Ruby Sparks, Oskar Schindler, Dudley Dursley, R.M. Renfield, Mary Beth Lacey, Colonel Oates and Alastor ‘MadEye’ Moody.

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Swiss Cheese

Posted in FILM with tags , , , , on January 3, 2015 by dcairns

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Actors: when your director asks you to do this, refuse politely.

DUSTY ERMINE — why IS it called that? — is an early thirties Hitchcockian light thriller helmed not by Hitch but by the considerably less-renowned Bernard “Mad” Vorhaus, celebrated for THE LAST JOURNEY in Britain and later THE MYSTERIOUS MR X in America. Helped by considerable, impressive and frequently dangerous-looking location work in the Swiss Alps, he makes a fun show out of a slightly rambling yarn about forged banknotes, a lovable ex-con uncle, and strong-willed filly and an equally pigheaded but rather incompetent Scotland Yard detective. I’d rate it as highly as a minor Hitchcock thriller of the same period, say THE SECRET AGENT (also Swiss-set in part).

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But what provides most interest is a couple of actors better known for later roles. Katy Johnson, the tiny Mrs. Wilburforce from THE LADYKILLERS, looks much the same but is considerably sturdier. One always knew that Mrs. Lopsided had steel in her hunched old backbone, and she makes quite a formidable matron here, moving about with disconcerting speed and forcefulness.

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The chief villain — well, the shambolic story doesn’t quite have one, but a junior one with quite a bit of screen time is played by Margaret Rutherford, in her first credited role. It’s a surprise to see her as a baddie, so beloved was she in harmless eccentric roles from BLITHE SPIRIT on. Her method of adapting her particular instrument to this challenge is fascinating. Her habit of straightening her back and sinking her head into her “chest” while ringing her hands enthusiastically, can be performed, with only slight change of emphasis, so as to create a peculiarly disagreeable effect, cockroachlike in its repulsiveness. Perhaps what’s most peculiar is the thought that such strange posturings, in other films, are extremely appealing.

Can be bought: Dusty Ermine [DVD]

The Greengrocer’s Apostrophe

Posted in FILM with tags , , , , , , on October 20, 2013 by dcairns

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From Robert Siodmak’s CRISS CROSS. “Employee’s only.” No wonder their armoured car gets robbed, they can’t even use basic English grammar.

Bunch of idiot’s.

Showed this one to students and was struck by how it really wants to be a portrait of a terrible love affair (trust is gone) and has to force itself to be a crime movie. Fortunately, the crime movie it’s forcing itself to be is a damned good one, even if the crime masterminded by dopey hero Burt Lancaster is a magnificently dumb piece of self-destruct planning. I mean, it doesn’t so much carry the seeds of its own destruction as the whole damn tree. Which is itself in bud.

The sub-sub-genre of armoured car robbery movies deserves a pamphlet of its own, from the shambolic overthinking of Lancaster’s scheme and its Soderbergh remake, THE UNDERNEATH, to the factual comedy of THE BRINK’S JOB (note the correct apostrophe) to Richard Fleischer’s self-explanatory ARMORED CAR ROBBERY and climaxing with the Mackendrick-Rose-Ealing-Guinness THE LADYKILLERS.

Philip Kemp’s Mackendrick bio, Lethal Innocence, has a good story about that heist. Mackendrick had a tendency to go all-out for authenticity in small matters, which he later identified as a diversionary measure to take his mind off the more intractable problems of the narrative at hand. Anyhow, in quest of realism he consulted the Metropolitan Police, appraising them of his fictional caper and asking if such a scheme could possibly work.

The detective took a long breath. “I’m very glad you decided to become a filmmaker, Mr Mackendrick. It would work only too well.”

The Best Of Ealing Collection [DVD]
Criss Cross (1949) Region 1,2,3,4,5,6 Compatible DVD. Starring Burt Lancaster and Yvonne De Carlo