Archive for The Osterman Weekend

Spent Bullet

Posted in FILM with tags , , , , , , on December 3, 2013 by dcairns

vlcsnap-2013-12-02-16h50m31s230

Sam Peckinpah’s THE OSTERMAN WEEKEND doesn’t strike me as a  particularly good film, and credited screenwriter Alan Sharp didn’t think much of it either. It was one of these much-rewritten movies where nobody can really be sure afterwards who was responsible for what, and it’s based on a Ludlum novel anyway so what can we expect? And it’s a Peckinpah espionage movie which puts it in the same ballpark as THE KILLER ELITE, only more tired.

But as I recall, Sharp’s description of what went down on the movie was pretty illuminating — according to him, the film’s producers accorded Bloody Sam every respect and privilege, desperate to make him happy on what could clearly be his last film (he directed it on a drip) and to break the cycle of lousy relationships he’d had with the suits throughout his career. Sam treated them mercilessly.

And so, in post-production, the producers did what nearly every previous Peckinpah producer did — they shut him out of the cutting room and released a version which satisfied them, ignoring his bitter ranting. They did at least preview his unfinished cut — audiences were confused by the opening, which was seriously incomplete, so they decided to proceed with their own version. This is a shame, because a Peckinpah edit, no matter what the director’s raddled state, is automatically going to be superior to an edit by an army of eight execs. Because some kind of guiding cinematic sensibility is needed, rather than committee groupthink.

vlcsnap-2013-12-02-16h51m45s197

Fortunately for us, if we obtain the special edition DVD, the bonus disc contains a director’s cut, mastered on low-res video tape and rescued from a bin. Despite the poor image quality and the rough video versions of optical effects (Sam did love his cheesy opticals, bless his infarcted, drug-addled, misogynistic heart), it makes for interesting viewing.

At the film’s opening, we see hidden camera footage of a sexy tryst between Dr Who (John Hurt) and a naked lady (women in this film are either naked or dead: this one is soon both). While Hurt is out of the room (I presume washing his balls) and the lady is toying languidly with her nipples as ladies always do when men aren’t around, assassins burst in and inject a lethal overdose up her nose. It’s possible that somebody explains why later. What struck the Monthly Film Bulletin critic at the time was that this whole scene is covered from multiple angles, suggesting that not only did CIA head Burt Lancaster have spy-cams planted all over the room, panning and zooming at will, but that he also had Roger Spottiswode or Monte Hellman or somebody in a darkened room vision-mixing this footage live so Burt could always be seeing the best angle on his private espionage snuff film, with faster cutting for dramatic effect in the more exciting moments. It doesn’t really contribute towards an air of verisimilitude.

“Nasty piece of film, Stennings,” says Lancaster, in the film’s most self-aware line, just as the title naming the nasty filmmaker responsible appears (as is usual with Peckinpah, his name appears looong after everybody else’s credit has gone, as if some kind of quarantine was required to keep the rest of the cast and crew from being infected by his beady-eyed mania.

vlcsnap-2013-12-02-16h43m15s208

What we get in the director’s cut is layers of wooziness — shimmering ripple effects as if we’re sliding in and out of a movie dream sequence or flashback (I still can’t believe those eggy ripple-dissolves to flashback in THE WILD BUNCH, like the nouvelle vague never happened). I can’t see any possible reason for this effect. The DVD claims it was intended to show the John Hurt character’s warped point of view, but he spends most of the scene in the shower so it’s not his point of view anyway. But it does throw the question of verisimilitude out the window, leaking from blood capsules and squib damage as it plunges to earth.

The Peckinpah version then segue’s back into the edit we know — Lancaster has just watched the murder on tape, but it’s not implied that the events had been covered from multiple angles. So we can already see that whatever the problems with Peckinpah’s vision (and here I would cite the Lalo Schiffrin soft porn sax accompaniment high on the list), it at least made more sense than what eventually made it to cinemas.

In theory, the fuzzy video version could be used to restore Peckinpah’s intended approach — but that would depend on the original negative rushes having been preserved, which is unlikely. And it would depend on somebody with the money giving a rat’s ass, which is less likely still. I’d settle for a definitive cut of PAT GARRETT AND BILLY THE KID, whose restoration suffered from a common malaise — a restoration team convinced they knew better than the original director. But at least that DVD also contains two alternative cuts showing what they had to work with.

THIS is Peckinpah’s actual last movie ~

And his last day on set, I think, was shooting second unit of a truck crash for his old mentor Don Siegel, on what proved to be Siegel’s own final film, the Bette Middler comedy JINXED! Desperate to re-establish his professional reputation, Peckinpah organized detailed storyboards and shot everything with lightning efficiency. The pyrotechnics department provided him with a blaze of glory in name only.

 The Osterman Weekend – Commemorative 2 disc edition [1983] [DVD]
The Osterman Weekend (Two-Disc)

Advertisements

The Late Show

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 1, 2013 by dcairns

cropped-shadlate21.jpg

I created this second banner because Fiona said the dead Santa one was “horrible.”

Welcome to the blogathon! I’m going to sellotape this post to the top of Shadowplay using science, so it will be the first thing you see this week. But the new posts will be immediately beneath it, so keep scrolling.

If participating in the blogathon, this is the post to link to. You can add a comment below to let me know about the post, if you don’t have my email.

f-fakex1

SUNDAY

And we have a first entry — David Ehrenstein applies his wits to F FOR FAKE, one of Orson Welles’ last movies as director, and another that is sometimes cited as his greatest film. Here.

My own first piece deals with a truly hard-to-see, unconsidered final film, from the wonderful Frank Borzage. Here.

Christine Leteux was our researcher on NATAN, is Kevin Brownlow’s translator, and in her own right she’s the author of the first book on Albert Capellani and the splendid French-language film blog Ann Harding’s Treasures. She’s traveling at present, researching her next book, but gave me permission to link to a relevant piece from AHT — TUMBLEWEEDS was William S. Hart’s last directorial gig and feature starring role. Ici.

Eddie Selover casts a not-unsympathetic eye over two swan songs from 1930s divas, Marlene Dietrich’s JUST A GIGOLO and Mae West’s jaw-dropping SEXTETTE. Here.

Marilyn Ferdinand at Ferdy on Films looks at a film I only just realized exists, the 1934 version of THE SCARLET LETTER, which was Colleen Moore’s last feature. Here.

vlcsnap-2013-11-28-22h02m34s227

MONDAY

Every Shadowplay blogathon must contain an intertitle. Here.

Over at Mostly Film, Paul Duane raises the tone with an entry on EMMANUELLE V, tragically Walerian Borowczyk’s last gig, but finds some bizarre merit. Here.

Tim Hayes looks at SPAWN not as a naff superhero flick but as a late Nicol Williamson film and gets fascinating results. Here.

We have a scintillating line-up of guest Shadowplayers this year, and the first among them is Judy Dean, who looks at James Mason’s last screen appearance in THE SHOOTING PARTY. Here.

vlcsnap-2013-12-01-16h54m02s164

TUESDAY

Imogen Smith, a regular star writer at The Chiseler, revisits Anthony Mann’s last western, which is also a late Gary Cooper, and elegiac as hell. Here.

Regular Shadowplayer Simon Kane waxes mysterious about Tom Schiller’s first, last and only theatrical feature, aptly titled NOTHING LASTS FOREVER, also the cinematic swan song of Sam (“Professor Knickerbocker”) Jaffe. Here.

My own Tuesday piece takes a brief look at Peckinpah’s THE OSTERMAN WEEKEND, both version. And there’s a song! Here.

Gareth McFeely looks at the final feature of the late Georges Lautner, in a particularly timely tribute. Here.

vlcsnap-2013-12-03-20h05m56s46

WEDNESDAY

Filmmaker Matthew Wilder looks at Billy Wilder’s unloved BUDDY BUDDY and, uniquely, finds something to admire. Here.

From Scout Tafoya, a typically ruminative and emotive valediction to Raul Ruiz. Here.

My post deals with a late Richard Lester, the largely ignored/forgotten FINDERS KEEPERS, which actually has some great slapstick. Here.

Louis Wolheim’s last movie, the 193o railroad melodrama DANGER LIGHTS, is examined by The Man on the Flying Trapeze. Here.

897-oww

THURSDAY

Nobody Knows Anybody, the Spanish cine-blog, considers the career of Alfredo Landa in the light of his final work. Yonder.

As part of the ’68 Comeback Special, I consider a late film by Albert Finney, made early in his career. Confused? Now you know how CHARLIE BUBBLES feels. Here.

Critica Retro assesses the charms of Louise Brooks’ oddball last picture. In Portuguese — try auto-translate, or try reading Portuguese! Aquí.

Two from Jeremy Rizzo, on Howard Hawks last, RIO LOBO, and Kubrick’s semi-posthumous puzzle box, EYES WIDE SHUT. Here and here.

thatobscureobjectofdesire

FRIDAY

Michael Pattison on what MAY be Tsai Ming-Liang’s final movie. Here.

A tip of the hat to THAT OBSCURE OBJECT OF DESIRE at No Man’s Land. Here.

Our own David Melville Wingrove illuminates the trailing end of Rex Ingram’s mighty career. Down here.

John Greco tackles the knotty problem of William Wyler’s last work, a film I love unreasonably. Here.

Stacia at She Blogged By Night weighs in on HER TWELVE MEN and Douglas Shearer, brother of the more celebrated Norma. Here.

And Tony Dayoub offers a close reading of three scenes in GIANT, the last film of James Dean. Here!

Daniel Riccuito, editor of The Chiseler, considers Jean Epstein’s last short, LIGHTS THAT NEVER FAIL aka LES FEUX DE LA MER. Here.

prairie home.preview

SATURDAY

Dennis Cozzalio of the legendary Sergio Leone and the Infield Fly Rule joins the blogathon for the first time with a joint look at the final films of two old masters: Altman and Penn. Here!

Seijun Suzuki’s wild, pop-art penultimate pic inspires this Shadowplay gallery. Here.

Guest Shadowplayer Ted Haycraft reflects on one of the biggest, boldest and bloodiest final films, ONCE UPON A TIME IN AMERICA. Here.

Grand Old Movies tips the hat to Marie Dressler. Here.

Late Bresson via Philip Tatler IV at Diary of a Country Pickpocket. Here.

The Girl with the White Parasol covers Frank Borzage’s second-last film, CHINA DOLL. Here.

EXTRA TIME

Unable to recognize too much of a good thing, I keep going with John Frankenheimer’s last theatrical release, REINDEER GAMES. Here.

Chandler Swain revisits Losey’s STEAMING. Here.

Scout Tafoya’s second blogathon post details the last film to end them all, PP Pasolini’s positively final SALO. Here.

cropped-shadlate1.png