Archive for The Ladykillers

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

Unbandaged

Posted in FILM, MUSIC with tags , , , , , , , , , , , , , , , on December 3, 2012 by dcairns

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The director had hiccups. A really bad case — they lasted days. It was a real problem because he might hiccup at any point, during a take, and ruin the sound. It became a running joke — the production hiccups.

Then one day he didn’t come in to the studio. He was dead. Apparently hiccups can be a sign of an approaching heart attack. Who knew?

With Seth Holt out of the picture, the picture was finished by the talentless Michael Carreras, the man who destroyed Hammer films with his terrible ideas and equally terrible ambitions to write, direct, produce, none of which he had the slightest knowledge of or capacity for. But BLOOD FROM THE MUMMY’S TOMB is still a pretty interesting show.

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It’s got Andrew Keir, the best film Quatermass, and James Villiers, and George “I was in CITIZEN KANE and now this” Coulouris, Aubrey Morris (Yay! P.R. Deltoid!) and Valerie Leon, known in the UK as the Hi Karate Woman. A fine actress with enormous juicy breasts.

The musique concrete is by Tristram Carey, who also scored THE LADYKILLERS, which Holt produced. He’s one of the very few filmmakers who worked at Ealing and Hammer, and he must have liked the dysfunctional family atmosphere — he might have fitted well into the BBC. Holt’s wife said that he and director Sandy Mackendrick should never have worked together, since rather than anchoring one another and compensating for their excesses, they hyped each other into a frenzy and made everything twice as crazy as it needed to be. Which is perhaps why THE LADYKILLERS is such a brilliantly extreme film. (Say, I’m writing a book about it, aren’t I?)

Kenneth Tynan wrote NOWHERE TO GO, consciously intended as the last Ealing picture (perhaps a good film to watch for this Blogathon!), a dark thriller which Holt served up with bracing savagery. TASTE OF FEAR, aka SCREAM OF FEAR, was Hammer’s best DIABOLIQUES knock-off, with the corpse sitting calmly at the bottom of the swimming pool destined to traumatize a young Tom Hanks when his mother, in a confused state, led him into the wrong cinema. Not BAMBI at all.

Holt’s best movie is surely THE NANNY, with a powerful and relatively controlled performance from Bette Davis, great work from the child actors, and a really gripping use of interior space — shot by Harry Waxman, who was always at his best in black and white (cf BRIGHTON ROCK). Davis described Holt as “a mountain of evil” or something, somewhat to the bafflement

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Late Hammer films are typically portraits of the disintegration of a stolid but efficient studio organisation, derailed by monumentally clueless management. TO THE DEVIL A DAUGHTER is actually really good, but the powers that be cut off the whole climax, leaving Christopher Lee and Satan apparently vanquished by a small pebble hurled at the Great Man’s dome by Richard Widmark. This one manages to hold back on the nudity apart from a couple of modest, not-too-distracting instances, and balances creepiness with camp in an unusual way. The asylum scene, with the maniacal flurry of canted angles and ludicrous toy cobra, was actually helmed by Carreras and it may be the only good thing he ever did — I’m inclined to credit Holt’s shooting plan or DoP Arthur Grant, who’d begun in quota quickies with Michael Powell and had worked at Hammer throughout their glory years –

UK: Blood From the Mummy’s Tomb [DVD] [1971]

US: Blood From the Mummy’s Tomb

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Shadowplay Year Zero

Posted in FILM with tags , , , , on July 9, 2012 by dcairns

Well, got my computer back from the repairman with next to nothing on it. Reinstalled some of the software that came with it, and some of the stuff that was floating around free, but to get the documents back will involve a specialist and likely set me back three hundred quid. Now, I’ve GOT three hundred quid, but if I spent it I wouldn’t have, so I’m not terribly keen on that option.

For a while I felt enjoyably light. Sure, four years of work was gone, but most of it is right here on the web, or else it’s in the possession of producers, publishers etc. It’s only when I started thinking about the stuff that wasn’t backed up anywhere, including one very good screenplay that never had a producer, and a lot of nice music, that I kind of felt that three hundred quid was as good as spent.

But there’s no immediate urgency. So what I might try to do is write an e-book and offer it for sale at 50p. If I sell 600 copies, I’ll have paid for the data recovery. Of course, that figure may be rather unrealistic. But I figure I ought to be able to shame SOME of you into shelling out, and I’ll make sure I give value for money. At least ten pages…

Of course, I’m making a documentary right now and I teach and occasionally I write for money, so I don’t know how long this will all take to organize, especially as I don’t quite know how to go about selling the thing. PayPal, I guess.

Oh, and I need a subject. I was vaguely thinking THE LADYKILLERS, the William Rose-Sandy Mackendrick version, of course. Should be plenty of fun to be had with that…

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