Archive for Will Eisner

Mask Up, Curtains Down

Posted in Comics, FILM, Theatre with tags , , , on May 7, 2020 by dcairns

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I’ve raved about Paul Leni’s THE LAST WARNING before but this is quite an upgrade via Flicker Alley. Hey, I like tinting and toning when they’re done in a sensitive and historically correct manner, but maybe there should have been an embargo in the days of VHS because a big wash of colour makes it harder to perceive detail in the already-degraded image.

I enjoyed the film before but I could get much more involved this time. What remains of the play is a nonsense — a whodunnit where there are no clues, just sinister warnings, chases and murder attempts to disrupt the investigation — but there’s a great coup de theatre at the end, which must have been thrilling on stage. To unmask the masked killer, the fatal play during which he last struck is restaged, and at the crucial moment, all the set walls go flying into the air, exposing him. This is a movie, at last, where the stagehands are the heroes.

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But the rest of the time, the film is really Leni’s, and he seizes every opportunity to pull off exciting camera angles, with striking use of height, focus, lighting, and movement. It’s highly cinematic, but very comic-book also (the story is pure Michael Kupperman pastiche material, the images maybe Will Eisner).

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THE LAST WARNING STARS Magnolia; Colonel Weed; Vicomte Paul; The Woman From the City; Victor Moritz; Squire Bartlett; Big Jim McKay; Athos; The Duchess of Berwick; Tjaden; Dr. Kluck; Spirit of Christmas Future; and Sgt. Dickens.

A Noir is Born

Posted in Comics, FILM, literature, Television with tags , , , , , , , , , , , on January 14, 2008 by dcairns

 Front row centre

STRANGER ON THE THIRD FLOOR, 1940, seems to be one of the earliest pure films noir. Peter Lorre plays a deranged killer, Elisha Cook is a fall guy. There is a slightly awkward plot, driven by coincidence and tearing loose from logic, structurally odd, peppered with flashbacks and fantasies and capable of swift turns into unexpected territory. The photography by Nicholas Musuraca (CAT PEOPLE, OUT OF THE PAST) delivers all the expected noir tropes, and a lot more.

This is a year before THE MALTESE FALCON and far more of the expected genre elements are in place than in that film, and the style has a dreamlike expressionist hyperintensity — especially in the expressionist dream sequence.

The Patsy

The story isn’t up to much, perhaps, but it ticks so many boxes, boxes that don’t officially exist yet: it’s driven by irrationality and paranoia, like Cornell Woolrich’s pulp fever-dreams. The IMDb lists Nathaniel West as an uncredited script contributor, perhaps gathering Hollywood material for Day of the Locust.

Director Boris Ingster hardly directed anything else, being more active as a screenwriter and TV producer (THE MAN FROM U.N.C.L.E.). I’m inclined to assign the best qualities of this film to the great Nicholas “I think we all use too many lights” Musuraca. His dream sequence is like a Will Eisner comic strip: the shots are nearly all static and the actors strike poses, freezing in creepy tableaux vivants as soon as they have found the best dramatic effect:

The Prisoner

Only me.

I love these crazy cut-out images! Musuraca was a true shadowplayer. Few noir films have shots as exciting and stylised, it’s just a shame this one doesn’t create more compelling drama from its disjointed narrative. The two best actors in the film, noir icons Lorre and Cook, playing lunatic and patsy, have little screen time and never share a scene, so we have to make do with interacting with duller characters, and the plot moves in fits and starts, making no particular point, squandering its delirium. But at 64 minutes the thing is over before you know it, and its zigzag shadowshow hangs around your head like a haunted hat. It’s a twitchy little pulp that DREAMS of being a great noir thriller.

if the headline is big enough it MAKEs the news big enough

I read the news today oh boy

“Pope Killed by Inferior Wine!”