Archive for Valery Inkijinoff

Screening the evidence

Posted in FILM with tags , , , , , , , , , , , , on April 10, 2012 by dcairns

Watched LA TETE D’UN HOMME, Julien Duvivier’s Maigret film, made at exactly the same time as Renoir’s take on the Simenon sleuth, LA NUIT DE CARREFOUR, and based on the same book as the later Meredith/Laughton MAN ON THE EIFFEL TOWER. I essentially watched the film by mistake, as part of my researches into Pathe-Natan, based on a filmography that erroneously cited the film as shooting at Natan’s studio.

Nevertheless, it’s a mistake I can’t regret as I loved the film when I first saw it at New York’s Museum of Modern Art, and I loved it just as much this time. Harry Baur is a near-definitive Maigret. Impossible for the high-octane thesp to match the air of depleted nothingness Pierre Renoir brought to it, perfectly capturing the human, dour functionary of the books, but Baur dials down his towering charisma and actually seems to shrink into the part, despite being by some way the biggest man on screen. Duvivier helps by casting the gangling sunflower Alexander Rignault, with his big flapping orang-utan hands, so there’s one actor taller than Baur, if not bulkier.

Valery Inkijinoff is amazingly sinister as the psychopath Radek. A Russian with eastern features, he had a looong career playing Eskimo, Chinese, Japanese, Red Indian, and even occasionally Russian. Given the role of a lifetime, he manifests an incredibly compelling screen persona — his delivery seems a little overemphatic at times, but it really doesn’t matter, because his LOOK and his posture are so utterly hypnotic. We’re talking Peter Lorre levels of you-can’t-look-away-ness.

One very interesting effect — Pathe-Natan may be nowhere in the mix, but Natan’s friend the inventor Yves Le Prieur contributed his Transflex… let me explain. Le Prieur is best remembered as a co-inventor of the scuba, but he also came up with air-to-air rockets for WWI and a translucent movie screen called the Transflex which facilitated rear projection. If you use an ordinary movie screen, you can’t get a bright enough image on the reverse side, but the Transflex was opaque enough to hide the projector, but see-through enough to show a strong image to the camera.

Le Prieur declined to patent his invention, and it swiftly found its way to America where it was deployed on JUST IMAGINE and LILIOM. Of course, it was a huge help, after some Hollywood fine-tuning, on KING KONG, but sadly the inventor is rarely credited.

In this scene, one of Maigret’s assistants questions a series of witnesses. In fact, he’s standing in front of a Translux upon which the background and his interviewees are projected. In a series of dissolves which have already been produced in the lab, the backgrounds melt away into one another while the detective remains in place in one continuous shot, as if he were teleporting from one location to another. The process of the law captured in a process shot.

There’s also a sequence in which the desperate fugitive/patsy steals bread from a child, which seems very much influenced by James Whale’s FRANKENSTEIN, although the shots are actually entirely different ~

Wow. Click and enlarge any of these stills for your daily beauty fix.

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Amok Time

Posted in FILM with tags , , , , , , on March 23, 2012 by dcairns

Couldn’t resist posting another clip from Fedor Ozep’s AMOK. You can read the article and see the other clip here.

This one features the insane ethnic musical number — opening crane shot swooping from on high into a single, probably indirectly inspired by INTOLERANCE, which the Hollywood musical had not yet turned into a mannerism. It also features the bold intercutting of Inkijinsky the Amok’s death throes with the arrival of the second Inkijinoff, devoted manservant, with his mysterious veiled mistress. It’s like the death of Amok Inki somehow summons the second incarnation.

And throughout the film, whenever raddled hero Jean Yonnel looks at the second Inki, it’s like he’s thinking “Where have I seen you before?”

Of course, this is another great setpiece for Karol Rathaus’ world music score, too.

Actually, this scene partakes of the horror movie, jungle exoticism, and the musical, all at once, and you realize that exoticism is never far from horror and the musical anyways. But the only other sequence I can think of that mixes all three is Maria Montez’s sacrificial dance in COBRA WOMAN.

Admittedly, the effect is quite different in that one.