Archive for Vincente Minnelli

Stab Me, Sugar

Posted in Dance, FILM, literature, MUSIC with tags , , , , , , , , , , , , , , on October 27, 2014 by dcairns

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Vincente Minnelli’s THE BAND WAGON, which Fiona had never seen, was a big hit with us — viewed with friends Nicola & Donald. It has just enough story — it doesn’t plummet into an endless ballet like AN AMERICAN IN PARIS. Too much narrative might be a problem — musicals seem to exist in an unusual relationship to plot, with progress essentially halting for each number, which freezes a moment of happiness or sadness and extends it and wallows in it. This being a putting-on-a-show story, it has license to depart even further from the spine — especially since, as in most movies where a show of some kind features, the play being staged, inexplicably called The Band Wagon, seems to be a mishmash of disconnected songs, a revue of sorts, even though we’re TOLD it has a story, which is even summarised for us at the start. When you try to make the songs fit the outline, however, you find that they don’t, except the big one ~

The Girl Hunt, choreographed by Michael Kidd, spoofs Mickey Spillane, and allows screenwriters Comden & Green to extend their satiric twinkliness into a song-and-dance for once. We were particularly impressed by the various book titles displayed at the start, (KILL ME CUTIE, STAB ME SUGAR, THE BODY WITHOUT A HEAD) and by the surrealism of it all — it pinpoints the hysterical sense of nightmare that permeates noir, and which usurps any sense of reality in Aldrich’s Spillane adaptation, KISS ME DEADLY, and boils to the surface in the work of David Lynch.

In fact, if The Girl Hunt ballet were somehow to be a new production, everyone would be talking about how it plunders Lynch’s movies for imagery.

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Syd Charisse plays dual roles, like Patricia Arquette in LOST HIGHWAY. “She came at me in sections. More curves than a scenic railway.”

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Giant fireball like in WILD AT HEART — also LOST HIGHWAY, and others. Lynch, on how he got the idea for the exploding shack in LOST HIGHWAY, which seems like a clear echo or the blazing beach house in KISS ME DEADLY: “We had finished at this location, and then I suddenly got this image in my mind, and I called the effects guy over and asked him what kind of really powerful explosives he had. And he said that he had A LOT, but that he could GET MORE.”

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The clue of the shiny rag — obviously a reference to Dennis Hopper’s titular sex-swatch in BLUE VELVET.

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Nothing in this sequence specifically relates to the red room in Twin Peaks… but the general effect evokes it in every way.

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The fight amid the mannequins — now it’s Kubrick and KILLER’S KISS that seems to be the target. The pre-perfectionist Kubrick rather screws that scene up with some egregious eyeline-crossing, causing each piece of store dummy to change direction as it’s hurled. Minnelli and Kidd and Astaire have no such trouble.

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Back to Lynch, with the Greek sculpture and b&w floor irresistibly evoking Twin Peaks again. The palette is different, but you wouldn’t want red curtains in a bathroom — not restful.

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Lynch’s sets don’t usually have this level of stylisation, but in THE GRANDMOTHER he painted all the rooms black and then chalked in the edges in white for an abstract, graphic effect (painting his cast’s skin chalk-white too). Here, the highlight is the minimally-rendered skyscraper, it’s lower storeys obscured by other buildings that aren’t rendered at all.

vlcsnap-2014-10-26-21h21m03s218It’s the cursed ring from FIRE WALK WITH ME!

I guess what this sequence has in common with Lynch and particularly the world of Twin Peaks (returning to out screens next year), apart from some imagery, is that both exaggerate the incomprehensible plotting of the pulp mystery into abstraction — these mysteries can never be solved because their terms aren’t clearly defined. Suspects, clues, leads and corpses multiply absurdly, and Comden & Green mock these conventions by amping them up while Lynch pushes them further in order to enjoy the mysterious as an end in itself.

As I tell my students, never solve an intriguing mystery with a boring explanation.

 

Another Fine Mesopotamian

Posted in Dance, FILM, MUSIC with tags , , , , on September 11, 2013 by dcairns

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Minnelli’s KISMET — for some reason Fiona was reluctant to watch this, despite being a confirmed fan of  choreographer Jack Cole and having enjoyed a ton of Minnelli recently. Maybe because she generally prefers his melodramas to his musicals. About ten minutes in she pronounced this “great” — maybe by the end it isn’t quite up there with the very top films of the Freed unit, but the witty lyrics, zesty playing, strong plot based around improbable reversals of fate, and some bracingly disrespectful use of Borodin results in something very enjoyable.

Weirdly, it starts out looking kind of cheap — interior exteriors often have that effect, however lavish they may be. The “Not Since Ninevah” number is a riot, and a moving mass of gaudily coloured costumes make the eye rattle around like a pinball, but it’s all happening against a Star Trek cyclorama in a sand pit.

What makes the film start looking suave is the slow fade to dusk and night — the story has an unusual 24 hr runtime and Minnelli takes the gradations of the day seriously — the later it gets, the more beautiful Joseph Ruttenberg’s cinematography becomes, and the better E. Preston Ames’ sets look.

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The Kerrs of this world

Posted in FILM, Theatre with tags , , , , , , , , , , on July 9, 2013 by dcairns

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TEA AND SYMPATHY — my goodness. I have so lightly sampled the works of Vincente Minnelli. This one is particularly handy because it ties the uniquely oppressive qualities of his comedies — domestic hells like FATHER OF THE BRIDE and THE LONG, LONG TRAILER, whose natural analog is nightmare (FOTB features a renowned expressionist nightmare scene whose image of Spencer Tracy’s feet mired in a floor swamp got quoted in the first NIGHTMARE ON ELM STREET) — to the quieter parts of his melodramas. The movie resists exploding, and so winds its audience up into quite a state. “I’m starting to find this hypermasculine environment extremely claustrophobic,” observed Fiona.

At one point Kerr claims he’s reading “Candida.” “Does he mean Candide?” I ask. “Candida is a yeast infection,” says Fiona.

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Gay man or huge woman?

I recall an online discussion between two film-lovers, I think both gay, as to whether the first of this film’s Kerrs, John Kerr, was meant to be seen as gay. Although the whole story hinges on his being regarded as sexually suspect by his fellow collegians, until the second Kerr, teacher’s wife Deborah Kerr, sleeps with him, I honestly don’t feel it matters.

The script, adapted by Robert Anderson from his own play, is careful to make clear that for purposes of censorship, Kerr’s character is straight, but unconventional and therefore regarded with suspicion in the conformist campus where the story unfolds. Both script and direction are careful to keep their options open, however — we are free to assume that some light alibiing has been applied to the scenario and that if you strip this away, Kerr’s character is gay.

On the other hand, even at face value the lesson is progressive — as with DESIGNING WOMAN, Minnelli is able to present a gay-seeming man who is “really” (according to the dialogue, the element of a film which carries the least weight of conviction) straight. The lesson is that you shouldn’t judge a book by its cover, and by extension, you shouldn’t queer-bait and queer-bash because you don’t know. Society, and schools and other institutions, would get a lot more civilized by following such a suggestion, and the true elimination of prejudice might follow more easily.

I feel like Minnelli is also crying out in this film — “Don’t you see how crazy all this is?” The homosocial world of the film is deeply closeted and strange: one of the things that marks Kerr out as potentially deviant is that he enjoys the company of women. Male activities include sweaty contact sports, talking about sex, and a nocturnal, firelight ceremony in which boys tear off one another’s pajamas (an aggressive fire ballet to match those in numerous other Minnelli films).

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Part rites of passage, part Rites of Spring.vlcsnap-2013-07-09-08h51m55s181

Furthermore, the film’s two most vociferous spokesmen for manliness are Deborah Kerr’s husband and John Kerr’s father, both of whom are peculiar arguments for normalcy. Hubby Leif Erickson can’t bear to touch his beautiful wife, cannot discuss emotions with her, and responds to her friendship with young Kerr with hysterical jealousy, so that one comes to wonder who exactly he is jealous of? His hatred of the isolated young student who rooms in his house and whom he should be protecting seems pathological.

Edward Andrews as the dad is just odd.

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Right after this shot there’s a glaring continuity error as the door opens and he’s suddenly in a completely different position, as if the movie is screaming You Didn’t Just See That! That Never Happened!

Nervous, sweaty, prissy and eager-to-please, he comes across as frantically overcompensating and desperate to be one of the boys. One senses the other men regard him as less that 100% virile, but give him a pass because at least he’s trying. Really hard. One could simply argue that Minnelli’s vision of straight men is camp-inflected and inaccurate because of who he was, but I prefer to see this as barbed satire, and carried out in a visual language too subtle for the censors to grasp, to sly for them to comment on without feeling silly.

Kerr, so good in THE COBWEB, is excellent here — I wonder if he gave up acting because typecasting in the role of sensitive, vulnerable youth gave him few options in movies of the fifties. At any rate, he made a go of lawyering instead.

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The point in the movie where it has to furiously back-pedal is the ending — the movie can coat homosexuality in plausible deniability, but it has to cop to adultery. But this is handled graciously — we learn that the Kerr-Erickson marriage was destroyed by her infidelity, which is supposed to be a sop to morality, but I think most viewers would think GOOD — maybe Debs can find happiness elsewhere. There’s a line of VO about her husband’s life being ruined, but Minnelli cannily plays it over a shot of him working away, same as always, seemingly perfectly happy without the ball and chain. And we’re told that John Kerr now has a wife — yay, she straightened him out! — or, Yay, she cured him of his insecurity! — or Yay, he got himself a lavender marriage to pacify social expectations! I think it doesn’t matter. I think it’s fine. The movie does a marvelous job of telling a story it was absolutely forbidden from telling.

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