Archive for War of the Worlds

Vermithrax Laudative

Posted in FILM, Mythology with tags , , , , , , , , , , on December 28, 2020 by dcairns

DRAGONSLAYER is pretty good, should appeal to the Game of Thrones/LORD OF THE RINGS people. It’s better than bloody WILLOW or LADYHAWK. It’s interesting to me for the influences it displays, too.

Setting aside the very satisfying priest-frying, which stems from George Pal’s THE WAR OF THE WORLDS, there’s the death of a major character early on, falling out of close-up, then completing his tumble via stand-in) with a match cut that takes us into slomo — clearly a nifty SEVEN SAMURAI swipe. Matthew Robbins, like George Lucas, has learned his Kurosawa lessons well.

But let’s look at the main plot, which forms part of a strange, twisted trichobezoar of influences. Young Galen, the sorcerer’s apprentice, takes his slain master’s place, fraudulently presenting himself as the old man’s equal. He seems to score a success against the besieging dragon, but screws up and makes everything much worse. Then it’s up to him to make things right again. (Since he’s a white male and the hero, he repeatedly gets another chance, and another…)

An incredibly influential film, though you might not think it, is THE THREE AMIGOS, and not just for the title’s role in the Donald Trump impeachment trial. The movie is a comedy spin on THE MAGNIFICENT SEVEN, which is itself a remake of Kurosawa’s THE SEVEN SAMURAI (this gets more complicated). 3 AMIGOS has three movie stars being mistaken for real heroes by the people of a beseiged Mexican village, and hired to fight off bandits. They screw up, because they’re Hollywood phonies, as Chevy Chase might say, and then they have to put things right…

The guy in the right has been in more Polanski films than anyone

Is it possible that the earlier DRAGONSLAYER (not a hit) influenced THE THREE AMIGOS, perhaps by way of the shared Kurosawa influence? What about GALAXY QUEST, which is EXACTLY the same plot as THE THREE AMIGOS? What about A BUG’S LIFE, which is the same again? MYSTERY MEN is kind of similar too.

Fiona points out that DRAGONSLAYER has very strong female characters, by the way: the virgin who’s been disguised as a boy for her own protection is another SEVEN SAMURAI trope; the spunky princess meets a fate that probably cost the movie the STAR WARS crowd; and the dragon itself lives in a cave entered by a vaginal slit in the cliff face, and has a nest of eggs. Vermithrax Pejorative is a lady dragon. And a really good design! Not just her look, but her way of moving — she crawls like a bat.

A shame the climax is all matte lines, and nobody really being where they’re supposed to be. Thinking about it afterwards, I realized the deeper problem — apart from the sequence just not being exciting — is that it’s all about the execution of a perfect plan, in which the dragon is doomed and the hero once again doesn’t get to be heroic. Most of the time in this movie, its refusal to do the normal pseudo-mythic thing (real myths are much weirder than the Joseph Campbell/George Lucas versions) is thrilling, whereas here it’s flat.

But the political cynicism of the coda is pretty bracing.

DRAGONSLAYER stars Renfield; Simone; Supreme Being; Luro; Lord Halifax; Rory Poke; Diddler; Sarah Churchill; and Emperor Palpatine.

Happiness is no Lark

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , on June 30, 2019 by dcairns

Last full day of Il Cinema Ritrovato — I gave it a gentle start with Borzage’s STREET ANGEL at 11.15, entering Fox’s studio “recreation” of a smoky, crumbling Naples — 100% unlike the real thing but unbelievably beautiful. This was with a Movietone soundtrack, which at first seemed to impose a distance between me and the film, though having sat near the entrance I was also getting a distancing effect for free from all the latecomers stumbling in. (Cinema etiquette at Bologna is not quite as exemplary as one might hope.)

But, as with SUNRISE and TABOO, the music and film seemed to come closer together as the film went on, and the miraculous climax saw sound and image in perfect harmony.

Also: I think that was Josephine the capuchin monkey, star of THE CAMERAMAN and THE CIRCUS, nestling in Janet Gaynor’s arms, making this a hat-trick for the celebrated simian.

Lunch was followed by Dick Cavett’s Show — having failed to read the programme, we expected this to be a documentary about the eminent talk show host, but it was actually the episode where John Cassavetes, Peter Falk and Ben Gazzara turned into the Marx Bros. to promote HUSBANDS, which was screening in a new restoration. I think the sales tactic didn’t work because we didn’t rush over to the Cinema Arlecchio to see it, instead dropping in to three shorts by Franju, which seemed a nice circular way to more or less end a festival that began for us, more or less with his NOTRE DAME, CATHEDRAL DE PARIS.

I’d seen EN PASSANT PAR LA LORRAINE and found it weirdly boring — being an English-language version and a ratty print didn’t do the uninspired travelogue any favours. Joseph Kosma’s music was the only poetic element.

LES POUSSIERES, a short film about DUST, was not as dry as you’d expect. Jean Weiner, the reappearing pianist of Rivette’s NOROIT DUELLE, provides a spooky, beautiful soundtrack which I want to rip off someday. The subject is broad enough to allow Franju some room to be strange and poetic.

LE THEATRE NATIONAL POPULAIRE was a bit flat by comparison, but we got to see an extract of Maria Casares playing Lady Macbeth — every bit as intense as you might expect, and a revelation to me since my main references for the role are the Welles and Polanski film versions. In the hands of a powerhouse professional, the role is transfigured.

We SHOULD have stayed in our seats for SANGEN OM DEN ELDRODA BLOMMAN, a 1919 Mauritz Stiller with Lars Hansen, but we were fading, so we went out into the blazing sun, ate at the flat, and separated, Fiona finally managing to stay awake through WAR OF THE WORLDS (not an easy one to fall asleep in, you would have thought, but then have you experienced Bolognese weather?), me heading to the Piazza for LE PLAISIR, a favourite Ophuls now magnificently restored — the grain was imperceptibly fine, the images radiant and impossibly detailed. Each time I see it I’ve seen more French films, so actors like Gaby Morlay, Madeleine Renaud and Paulette Dubost mean more to me.

This was sort of the last Piazza Maggiore screening of the fest, so I forgave the loquacious Gianluca Farinelli his tendency to talk, untranslated, for twenty minutes at a time. A movie like LE PLAISIR makes up for a lot.

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.