Archive for War of the Worlds

Welcome to Bottleneck

Posted in FILM with tags , , , , , , , on June 23, 2019 by dcairns

A day that ends with DESTRY RIDES AGAIN in a beautiful new 4K resotration pretty well HAS to be counted a success, doesn’t it? Add ice cream and you have something close to perfection.

Prior to that, I enjoyed Ford’s THREE BAD MEN all by myself, Litvak’s COEUR DES LILAS with Nicola, and George Pal and Byron Haskin’s THE WAR OF THE WORLDS and Rouben Mamoulian’s BECKY SHARP with Fiona. We’re at the point where things are starting to link up oddly, so not only did Cedric Hardwicke narrate TWOTW and appear as Lord Staines in BS, but the representation of Waterloo as a series of Technicolor splashes of light on a miniature diorama considerably resembled the depiction of HG Wells’ Martian invasion in the later movie.

I discovered a hige admiration for Gene Barry, who really brings unexpected qualities to his work in the sci-fi opus. The fact that he’s Professor Clayton Forrester, a name subsequently acquired by Mystery Science Theater 3000, added a welcome tickle. In his first vaguely romantic scene, it’s HE who takes his glassess off. Why Mr. Barry, without your glasses, you’re… you’re beautiful!

DESTRY RIDES AGAIN stars Scottie Fergusson; Lola Lola; Prince Nikita Starloff; Dr. Enoch Downer; Quatermass McGinty; Spudsy Drake; Twister McGurk; Mrs. Polly Peabody; Effie Perine; Joe Pettibone; and Gooper Politt.

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The Sunday Intertitle: A Gorilla in Every Port

Posted in Dance, FILM, Painting with tags , , , , , , , , , , , , , , , , on December 10, 2017 by dcairns

We were led to THE CHIMP by obscure means ~

Fiona got obsessed with Charles Gemora, Hollywood’s top gorilla impersonator, after seeing BLONDE VENUS with me, and discovered the existence of a documemtary, CHARLIE GEMORA: UNCREDITED. We paid to see it on Vimeo, and found it eye-opening indeed — though Gemora made the best gorilla costume in Hollywood, and performed in it with gusto (probably to the detriment of his health) there was much more to him than that.

CHARLIE GEMORA: UNCREDITED from Cloud Tank Creative on Vimeo.

The pint-sized Philippino came to America as an illegal immigrant, I guess you’d say, and his first job in Hollywood was as an extra in Lon Chaney’s HUNCHBACK OF NOTRE DAME. Seeing him draw sketches of his fellow extras (who must have included future director Tay Garnett, whose experience here led to the title of his autobiography, Light Up Your Torches and Pull Up Your Tights — words to live by), the bosses put him to work sculpting gargoyles for the cathedral set, “on the basis that if you can draw, you can sculpt.” Gemora didn’t even have any training drawing, and had never sculpted in his puff.

But soon he’s carving massive figures for movies, as well as getting into the gorilla work and special make-up effects, particularly for those curious jobs where it’s hard to say is it a makeup or is it a costume? Monsters, freaks, aliens. COLOSSUS OF NEW YORK, I MARRIED A MONSTER FROM OUTER SPACE, WAR OF THE WORLDS. An interesting early one is Benjamin Christensen’s horror comedy SEVEN FOOTPRINTS TO SATAN, in which Gemora plays ape, but may also have had a hand in the stunning, grotesque and ooky make-ups.

Thelma Todd (a frequent gemora screamer), “Sir Charles” himself, and director/wrangler Benjamin Christensen.

(I’m fascinated by this: Benjamin Christensen made HAXAN/WITCHCRAFT THROUGH THE AGES the same year as Chaney’s HUNCHBACK, pulling off the tricky feat of full-body make-up effects far more effectively than Chaney’s ambitious Quasimodo design, which relies on an improbably leonine mane of body hair to disguise the neck-join. No credit is given for the designer of HAXAN’s amazing demons and imps. But it’s possible Christensen, an actor himself — he plays Satan — was responsible. Making him the link to SEVEN FOOTPRINTS, though we can also imagine a Westmore or two being mixed in, with Gemora either helping out or watching and taking notes from inside his Ingagi suit.)

Gemora painted portraits of the stars (Stanwyck, Goddard) and forged Gainsboroughs for Mitchell Leisen’s KITTY. He played many of the monsters he designed, including the Martian in Pal’s WAR OF THE WORLDS. And he could play his apes straight (the affecting THE MONSTER AND THE GIRL; PHANTOM OF THE RUE MORGUE) but, and this brings us to THE CHIMP, could be hilarious when required.

THE CHIMP is a very minor Laurel & Hardy short, which transforms into a major Charlie Gemora short when viewed through the correct filter. It reprises the previous year’s “smuggle an animal past the landlord” plotline from the superior LAUGHING GRAVY but replaces the lovable pup with Ethel the chimp, played by Gemora in gorilla suit and tutu. Gemora’s very human gestures (shrugs, pointing, ballet dancing) had Fiona in helpless hysterics. This element of pure phantasie is somehow unsuited to Stan & Ollie’s world, I feel, but once you start watching Gemora’s performance for its own sake, it’s a thing of beauty in its own right.

Jason Barnett’s documentary is great for all this background, shining a light on Gemora’s incredibly varied and mainly uncredited contributions to Hollywood cinema. The story is assembled in a somewhat pedestrian way, and the attempts to bring the still images to life with fancy rostrum work are often clumsy: since the many of the photos, drawings and documents have presumably come from Gemora’s archive, I wanted to SEE the archive and make-up kit put in front of a moving picture camera, explored in the round, clues in a detective story. Scans give us a clear look at the contents of the Gemora papers but rob them of their personality as artifacts.

Nevertheless, don’t let me put you off — the film is incredibly well-researched and doesn’t shrink from the mysteries of Gemora’s extensive career — we will not see a better film about this fascinating artist.

Red Har-Fest

Posted in FILM, Radio with tags , , , , , , , , , , , , on February 22, 2017 by dcairns

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On Shadowplayer GSPegger’s recommendation we ran WHISTLING IN THE DARK, and that led us to watch the sequels, WHISTLING IN DIXIE and WHISTLING IN BROOKLYN.

We’re fans of the original WITD, which stars the superb Ernest Truex, a fleeting attempt to make a movie star out of the Kick the Can/HIS GIRL FRIDAY actor, so we weren’t sure how we’d take to Red doing the same material. Also, the casting of Conrad Veidt as villain gave us pause — would this be tragic and mortifying like John Barrymore playing stooge to Kay Kyser? In the end, no — the movie isn’t too heavily indebted to its source, swapping gangsters for a sinister cult, and Veidt gets to retain his dignity by playing it straight, while still suggesting that he might just possibly be having some fun. “We part in radiant harmony.”

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We overcame our animosity to Skelton — OK, he still mugs a lot and projects an over-eager “Like me! Like me!” vibe, but the writing MAKES him likable, and he is given a warm relationship with co-star Ann Rutherford.

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How to characterise these things? Well, they are a lot like Bob Hope’s comedy-thrillers. Films two and three are mainly written by Nat Perrin, of Bilko fame. In fact, many of the wisecracks are only so-so, with Skelton’s devotion sometimes putting over weak-ish material and sometimes trampling it. But the comic situations are good, and Rags Ragland is an effective, if gruesome foil.

All the films have spectacular brawls, which get more and more protracted as the series goes on. Rutherford gamely throws herself into these Donnybrooks — literally. A fight involving both Ragland and guest heavy Mike “the murderizer” Mazurki in BROOKLYN threatens to burst the screen with sheer plug-ugliness. Director S. Sylvan Simon isn’t too subtle with the slapstick, but gets laughter building by piling on energetic knockabout stuff until it reaches the ceiling. Similar to the excess of Preston Sturges or the furious chases at the end of some W.C. Fields flicks. 30s and 40s visual comedy just isn’t as elegant as the silent kind, but works by a kind of aggressive overegging.

Also, Simon is very good at the light-hearted spookshow stuff, aided by very good sets and lighting, so there’s plenty of the requisite old dark house atmosphere. He’s a director I’ll have to look into some more.

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If Veidt emerges with dignity intact in DARK, the same can’t be said for George Bancroft in DIXIE. It’s kind of pitiful — the big hambone, who’s been impossible to work with during his “glory” years, is actually trying to give a performance in this nonsense, complete with southern accent. For his pains, he gets stripped to his long johns in a flooded chamber and repeatedly punched unconscious. All of which is pretty funny, and it’s George Bancroft it’s happening to, so it’s, you know, acceptable.

What beats the wisecracking and even the punch-ups is the terrifying situations Red and Ann keep getting into — the flooding chamber is just one. An elevator threatens to crush them against an iron grid in BROOKLYN, and then they’re bound with chains and threatened with disposal down a dark chute into the sea. Quips are funnier when there’s an edge of hysterical panic to them.

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The bit that got Fiona in hysterics was Red having trouble with a set of joke shop false teeth while trying to pass incognito through a police station while wanted for murder. Best falsers gag since MIGHTY LIKE A MOOSE. But there are several hilarious and kind of nerve-racking bits in each picture. Later in BROOKLYN, Red has his head compressed in a vice, and his dramatic rendition of the sensation — talking in a deep, slurred voice like a brain-damaged boxer — is funny yet horrific.

Also, an addendum to my observations on HULLABALOO, in which MGM spoofed Orson Welles’ War of the Worlds broadcast, Skelton here is playing a radio sleuth perhaps modeled loosely on Welles’ turn as The Shadow, and at the end of the first film he manages to broadcast to the nation while held prisoner by Veidt’s cult. But the local police don’t believe anything they hear on the radio, having made fools of themselves the previous year…

(Fake news is not new.)