Archive for The Marrying Kind

Mail Anxiety

Posted in FILM with tags , , , , , , , , , , , , , , , on October 10, 2018 by dcairns

There’s this really interesting dream sequence in THE MARRYING KIND. Your basic anxiety dream, easy to interpret. Disgruntled postal worker Aldo Ray swept some loose ball bearings out of sight at work rather than clearing them up properly, and he’s worried they’ll cause an accident. Under the influence of too many cocktails, he feels his bed turn into a post office conveyor belt bearing him from his bedroom to the post office, which turns out to be an adjoining space —

   

That’s the best bit. The many ball-bearings that come scooting out to meet him are cute, but Cukor’s use of a single shot to travel from reality into dream, and the evocation of that weird spacial dislocation unique to the dream state (see also, Welles’ THE TRIAL, where the back entrance of the artist’s garret opens onto the law court offices; “That seems to surprise you,” lisps the artist, staring glassily).

It’s almost as good as the bed that becomes a car in Pierre Etaix’s LE GRAND AMOUR. Though our dreams typically see us leaving our bedrooms far behind with no hint of how way found ourselves elsewhere, movie dreams seem to benefit from keeping the idea of the bedroom in play — hence all those movies where the hero is in his pajamas to create surrealistic contrast with whatever scenario he finds himself wrestling with, and hence also Polanski’s use of bedroom sounds — breathing, the alarm clock’s tinny tick — to accompany his own uncanny dream sequences.

“If I ever had to do hell in a film,” Cukor told Gavin Lambert, “– no, not quite hell, let’s say purgatory — the New York post office would be the perfect setting.”

Cukor didn’t get to do many dreams, alas. He wasn’t likely to get many films noir, being a prestigious as he was, and the other genre associated with dreams, the musical, just didn’t lead him that way, unless you count his brief involvement with THE WIZARD OF OZ. A DOUBLE LIFE is his other hallucinatory one.

I really like that THE MARRYING KIND is a realistic comedy with a dream sequence. People in realist movies so seldom dream, and yet in ACTUAL reality, we all dream a lot. That’s why I like LOS OLVIDADOS better than anything by Ken Loach, even though it’s more depressing. Bunuel’s poor people still dream, though their dreams, as shown, are even more upsetting that Aldo Ray’s ball bearings.

Oh, maybe worth making a comparison to another Columbia picture —

   

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Our New Personality

Posted in FILM with tags , , , , , , on October 9, 2018 by dcairns

 

A Cukor project just landed in my lap, so we watched THE MARRYING KIND as research, which ends with the above statement. “I’ve never seen a movie end like that,” said Fiona. Which is true.

Cukor was hugely impressed by Ray, who he claimed had never acted before. “Absolutely fearless.” And strikingly handsome here — he seems to have immediately put on a few pounds after this, transforming from Greek god to something more human but perhaps more unusual.

His sandpapered whisky-voice is only there some of the time at this point, sometimes it smooths out — maybe it depended on what he’d been doing the night before. And a film in which Judy Holliday and Ray snipe and bray at each other for long stretches with those glorious, but at times slightly harsh voices, demands a little resolve from the viewer. But it’s fantastic. More than a touch of neorealism, da poetry of da streets (Kanin & Gordon), and a Bunuelesque dream sequence (probably via FATHER OF THE BRIDE).

PLEASE WATCH FOR HIS NEXT PICTURE.