Archive for Toby Dammit

That’s Gratitude for You

Posted in FILM with tags , , , , , , on November 13, 2013 by dcairns

polidor

A late report from Pordenone Festival of Silent Film (Le Giornate del Cinema Muto) ~

The comic Polidor is most likely to be familiar from his late roles for Fellini (a clown in EIGHT AND A HALF, an elderly actor in TOBY DAMMIT) but he was a successful comedy star in his own right in the 1910s. Tontolini and Polidor were his screen names in most territories, but in the Dutch print of EXCESSIVE GRATITUDE screened at Pordenone he has been re-re-christened Flippie.

Flippie is suicidal because he has no money and it’s always raining (making this a perfect match for SYND in which Lars Hanson has the same problem). But when a good Samaritan gives him his wallet and umbrella, the clown’s exaggerated despair becomes equally disproportionate gratitude. The Roberto Benigni schtick soon drives his benefactor to thoughts of homicide. Failing at outright murder, he eventually shoves Flippie into the path of a slow-moving hand-cart, which graphically slices off both his legs at the knee, in an impressive Meliesian jump-cut trick effect. The Samaritan turned mutilator repairs to a roadside café triumphantly brandishing the amputated limbs, their trouser legs still miraculously attached, but is appalled by Flippie’s reappearance, perambulating around on his stumps like Lon Chaney in THE PENALTY, as infuriatingly upbeat and appreciative as ever.

Despite how it sounds (early Daffy Duck meets early Peter Jackson?) this was actually pretty funny — the product of an age when black comedy did not exist as a concept, it’s simply the product of filmmakers trying whatever struck them as funny or surprising. Nevertheless, if I’d seen this as the sensitive kid I used to be, the limb-lopping gag would have left me traumatized for DAYS.

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Polidor expresses his excessive gratitude in TOBY DAMMIT, Fellini’s episode of SPIRITS OF THE DEAD.

Spirits Of The Dead [Blu-ray] [1968]

Fortnight Elsewhere

Posted in FILM, literature, MUSIC with tags , , , , , , , , , , , , , , , , on March 22, 2013 by dcairns

I don’t know, I thought MISSION IMPOSSIBLE: GHOST PROTOCOL was pretty good for what it was.

The film is TWO WEEKS IN ANOTHER TOWN, in which Vincente Minnelli dives into la dolce vita with Kirk Douglas and Edward G Robinson shooting a euro-pudding super-film in Rome, 1959.

Here, they seem to have acquired the wallpaper from VERTIGO.

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Maybe it’s the fault of Irwin Shaw’s source novel, but the movie, often seen as a follow-up to the Minnelli-Douglas Hollywood melo THE BAD AND THE BEAUTIFUL, sometimes seems to lack logic — characters do whatever is required to bring on the next emotional frenzy. One second Robinson is scorning his desperate wife’s suicidal tendencies, the next she’s sympathising with him about his creative crisis. Their joint betrayal of another character at the end seems under-motivated or under-explained, but is nevertheless powerful — it’s a movie where power, exemplified by the jutting, dimpled Easter Island chin of Mr Douglas, is more important than sense. Just like the industry it deals with, in fact.

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George Hamilton is quite good, stropping about pouting, Rosanna Schiaffino is sweet, Daliah Lavi is a lot of fun as a luscious but fiery diva. We get a few minutes of gorgeous George MacReady, and Erich Von Stroheim Jnr plays an assistant while simultaneously BEING the real-life assistant director on the picture. Douglas does his usual muscular angst, amped up to eleven.

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In fact, everybody’s playing it big, broad, and on the nose, including composer David Raksin, who seems to be competing with Claire Trevor for the Volume and Hysteria Prize (given out every year at Cinecitta). I didn’t mind, though — there are acerbic comments on life and movies which sometimes feel accurate or at least heartfelt, and Minnelli trumps up an incredible climax as Kirk falls off the wagon and endures a long night of the soul in a series of Felliniesque night spots. As with SOME CAME RUNNING, Minnelli has saved so many of his big guns for this sequence that it almost feels like another movie, that other movie being TOBY DAMMIT. If Fellini influenced Minnelli, it obviously worked the other way too, as Terence Stamp’s nocturnal Ferrari phantom ride seems very much influenced by the screeching rear projection ordeal Kirk puts Cyd Charisse and his Lambourgine through.

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The Naked Lynch

Posted in FILM, Television with tags , , , , , , , , , , , , , , , , , , , , , , , , on January 19, 2010 by dcairns

David Lynch has generally presented himself as a kind of naif, and “no cinephile”, working more from inspiration than influence. While this is largely true, and offers a useful explanation of how his films end up in the strange and wonderful places they do, I’ve noticed over the years a few moments that definitely betray the influence of specific other movies, some of which are equally revealing of Lynch’s approach…

YOJIMBO — WILD AT HEART. The dog with the human arm in his mouth,whom I’ve named “Murdo“, trots out of Kurosawa’s evocation of a no-horse town in 19th century Japan, and into a Texas bank. Actually, since the arm is found in the bank, perhaps we need to posit the existence of a time-traveling hound who scoops up a banker’s forelimb and absconds back to Edo period Japan.

Could happen.

Complicating the matter is Murdo’s appearance in both THE NEW YORK RIPPER and the TV show Lost

EXPERIMENT IN TERROR — WILD AT HEART — TWIN PEAKS. This Blake Edwards thriller (!) is graced  by a wonderfully scary performance by Ross Martin, who has one intense scene intimidating a teenage Stephanie Powers which seems like an unmistakable influence on the “fuck me” scene between Willem Dafoe and Laura Dern in WAH. But the IMDb mentions other salient connections between this film and Twin Peaks which I somehow missed on my first viewing years ago — the score by Henry Mancini obviously strongly influenced the roadhouse theme in TP, and there’s an actual Twin Peaks road sign at the start of the movie. Furthermore, Martin’s psychopath character is actually called Lynch!

THE RAPTURE — LOST HIGHWAY. Robert Blake’s first, memorably unsettling appearance in LH sees him amble up to Bill Pullman at a party, dressed in black and with an air of Uncle Fester about him, and engage our hero in a strange conversation, during which the party music and background noise fade slowly to silence. Then he ambles off again and the normal sound resumes. In Michael Tolkin’s THE RAPTURE, Patrick Bauchau does exactly the same, only with different dialogue. His Uncle Festerishness is produced not by a close-shaved head and eyebrows, but by a priestly cowl, but his effect on the party atmos is identical. Everything that is said in the scene is quite different, but the general shape is the same. Of course, Lynch’s version is both scarier and funnier than Tolkin’s.

Incidentally, I once asked Lynch about The Mystery Man. He declined to say whether the MM, who turns up with a video camera late in the movie, was the one sending video tapes to Bill Pullman’s house. But he did say, helpfully, “He’s someone we’ve all met.”

This example feels like Lynch might have switched on his TV a few minutes into THE RAPTURE, caught this scene, become fascinated, and decided to use a variation of it in a movie somewhere, perhaps even switching the TV off and never learning the movie’s name… not wanting to spoil the intriguing little scene with context and explanation…

KISS ME DEADLY — LOST HIGHWAY. LH being a “twenty-first century noir,” movie references are perhaps more prevalent than in other Lynch films. The exploding shack which appears, destroying itself in reverse (creating itself) amid a retracting fireball during the striking sequence where Bill Pullman transforms into Baltazar Getty, seems to evoke the exploding house at the climax of Aldrich’s 1958 ne plus ultra of noir. In fact, Lynch’s decision to film the shack exploding was one of his last-minute on-set inspirations. Filming the climactic  reverse transformation later in the movie, which takes place in front of the shack, he suddenly flashed on the image of the building exploding. “So I asked the special effects guy what kind of really high-powered explosives he had. And he said that he had a lot, but that he could get more.”

THE KILLERS — OUT OF THE PAST — LOST HIGHWAY. LH repeats the noir plot device that when a man wants to disappear, he becomes a garage mechanic in a small town. Both Burt Lancaster, an ex-boxer, and Robert Mitchum, a former PI, manage this surprising career change. (A garage also features in BLUE VELVET, and both this film and LOST HIGHWAY feature disabled African-Americans among their staff. Not sure what we can make of that except that Lynch likes what he likes.)

THE WIZARD OF OZ — WILD AT HEART. This is really too obvious to need elucidating, and besides, the OZ references doubtless originate in Barry Gifford’s source novel. In fact, the Gifford-related movies tend to have more intertextual stuff than the others, however –

GILDA — MUHOLLAND DR. Not only does the amnesiac Rita derive her name from a poster for this movie, but the audition scene where Naomi Watts plays a scene of hatred as if it were a love scene is a clear paraphrase of a similar scene between Glenn Ford and Rita Hyaworth in the classic noir. SUNSET BLVD also seems to inform this film, but in a more diffuse way that’s hard to pinpoint through direct comparisons.

And now a weird one –

TALES OF HOFFMANN / KILL BABY KILL –Twin Peaks (last episode). In the spooky finale of his hit TV show, Lynch redeems the series from its second-season slump with a prolonged sequence set in the Red Room, or Black  Lodge. At the climax of this, the good Kyle MacLachlan is chase by a bad Kyle MacLachlan down a repeating series of red-curtained rooms and corridors. This seems to relate both to the chase through a single, endlessly looped room in Powell & Pressburger’s filmed opera-ballet exercise in pure cinema, but also to a chase through repeating rooms in Mario Bava’s delirious low-budget psychedelic period horror movie (which also inspired Fellini’s TOBY DAMMIT). The malevolent doppelganger also reminds me of the last episode of The Prisoner and the revelation of Number 1.

The one-armed man in Twin Peaks was originally written in as a throwaway nod to The Fugitive, but when Lynch realized what a great actor Al Strobel was, he enlarged the role greatly and made it (somehow) central to the series’ mythology.

Anyhow, these little references and influences point to a slightly different picture of Lynch than the usual one, although these examples are all from post-BLUE VELVET movies — I don’t think the earlier Lynch films reference cinema nearly so much. I suspect his childhood and personal fantasies supplied all the initial impetus he needed, and then the longer he’s worked in film the more movie quotations have seeped into his work in an osmotic fashion. The point is not to denounce him as a thieving swine, but merely to point out the more complicated relationship his cinema has with other movies.

Please jump in with any other examples you may have spotted!

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