I came to Edward Dmytryk’s TILL THE END OF TIME via Bernard Dick’s Radical Innocence book on the Hollywood Ten, which spoke highly of it. I slightly disagree with the author when he says that Wyler’s THE BEST YEARS OF OUR LIVES has become a classroom text on deep focus and can no longer be enjoyed as a film (paraphrasing — maybe he doesn’t quite say that). No doubt it’s true for him, but I came to the film late, never saw it in a class (at “film school” we saw very few films in class), and the superb (and strange) Gregg Toland photography is only one aspect of what I enjoy in it.
Anyway, Dick says that Dmytryk’s more modest film is more human, and therefore a greater success. The comparison is certainly apt as both films follow three soldiers returning to civilian life, dealing with problems of adjustment, and suffering from injuries both physical and mental.
The Dmytryk trio are Guy Madison (handsome, a tad bland), Robert Mitchum, and Bill Williams as the amputee — Wyler scores far above this film by casting a genuine amputee (I wonder if poor Harold Russell was subjected to the usual infinite series of Wyler takes — I somehow suspect he wasn’t, as he would have actorly tricks to strip away). Dmytryk writes that Williams couldn’t act at all, had to be told exactly what to do — “It made me feel rather Teutonic but not particularly comfortable.” But the results are just fine. Perhaps Williams’ slowness is why the personable lead’s career never caught fire, though.
Since this one ISN’T three hours long, it focuses more on one vet than the others, and unfortunately the one it chooses is Madison. In fact, he’s fine, I wouldn’t normally mind spending time with him, but when the way-more-interesting Mitch is lurking offscreen somewhere one gets antsy.
Also along is Dorothy McGuire, who as Dick notes is an unusual character for this time period — a war widow who hasn’t necessarily been faithful to her late husband’s memory, may have been playing the field (the film throws up this suspicion only to deny it — we aren’t wholly convinced by the denial, though). So she’s a maybe-loose woman who’s still alive and relatively happy at the end of the movie, an unusual proposition for the forties.
The other main girl is the second Mrs Dmytryk, Jean Porter, a little firecracker who looks about twelve but is meant to be perhaps nearly eighteen? When she started jitterbugging I suddenly recognized her from Esther Williams musicals where she also pops out of the chorus, a magnetic solar presence.
Like the heroes of IT’S ALWAYS FAIR WEATHER the war-damaged protags finally resolve their troubles with a massive Fordian donnybrook. What makes it OK is they’re fighting fascists. I’m dubious about the healing power of violence but anything where fascists get punched has appeal. I guess this is another example of Dmytryk’s leftism creeping in, but as with the Wyler film the movie is deep-down patriotic, more so if anything. We’re regularly reminded that help is available for American casualties of conflict.
Video link
The most cinematically radical scene occurs early on — as the men go through the demob process, Dmytryk’s camera (cinematographer Harry J. Wild — I’m Wild about Harry) first rushes down a line of men as they give their names, then, far more unusually, swishpans between interviews, filming each with a curving dolly shot that circles the interviewer then pans onto the interviewee, still rotating, then ZZZIP off to the net pair. Very exciting stuff.
I asked myself WHY this was being done, beautiful as it is. I guess to make a dry bureaucratic process seem exciting (OK, we meet some personable folks, but it’s PROCESSING…) — but whose excitement is this? Not the men’s — presumably for them it’s fairly boring, with a slight perking-up when they reach the head of the queue. No, the thrill must be the army’s, we’re experiencing the joy of a machine, not the slomo trudge of the participants but the well-oiled ball-bearing smoothness of a system where everything may be subjectively slow to the men but it’s as fast as it can be made to go, which registers as top speed to the army.
So it’s pro-America propaganda, without a trace of subversion. America DOES seem to look after its injured better than other countries. It just isn’t enough — how could it ever be?
You wait ages for a Doris Kenyon film, and then two turn up at once. Our little online film club (which is free to join, all welcome) ran a William Wyler double bill of DODSWORTH and COUNSELLOR AT LAW, which was also an Elmer Rice double bill — I don’t know why Wyler didn’t keep him around as a screenwriter, except maybe he didn’t have many stories in him — both these movies have high-powered professional men in thrall to awful wives (even if DODSWORTH stems from a Sinclair Lewis novel). Doris Kenyon is the awful wife to John Barrymore in COUNSELLOR AT LAW.
I’d decided to seek out more Maurice Tourneur for this week’s intertitle, since I plan on running his later CECILE EST MORT!, the middle film in Continental’s Maigret trilogy, and I thought that’d be a decent link-up. And here’s Doris again, in A GIRL’S FOLLY (the story of her life, it would seem) from way back in 1917. And she’s joined by Robert Warwick, who I’d enjoyed in ALIAS JIMMY VALENTINE as well as his later Preston Sturges films. Further down the cast is an early appearance by Leatrice Joy.
This one might spread out over a few weekends’ blogging. Though it appears incomplete: the above intertitle is bracketed by two shots of youug Doris, and her touted mother does not show up until later. Possibly, though, it’s just a case of one or two titles coming loose and being inserted at the wrong points?
The story is a behind-the-screen tale which affords us a precious glimpse of movie-making in Fort Lee, New Jersey.
Immediately we get some Tourneur experimentation, as a squabble between farmgirls is presented Ozu-fashion, the characters performing right down the barrel of the lens at one another. Saves worrying about eyelines, I find.
Lots of atmospheric print damage in our surviving copy, but it clears up a bit later. Our heroine fantasises about a translucent troubadour:
I think this is going to be fun! The shots of the studio at work are to die for. Robert Warwick is clearly going to try his hand at comedy, self-spoofing his own matinee idol persona.
We get to see a set assembled in seconds out of flying flats, the revolving stage (to follow the sunlight). I do believe I’ve seen at least part of this before, and probably blogged about it, but now I’m going to do it properly and hopefully not forget all about it afterwards, as I clearly did last time, if there was a last time.
Another familiar face: Johnny Hines, who was also in JIMMY V.
All very exciting and there’s not even a story yet! More soon.
I’m unhappy that my Toshiba isn’t big enough to show off the grain, which I recall quite clearly from my own cinema experience of this movie, at the late lamented Odeon Clerk Street (where I also saw STAR WARS and two KING KONGS). Apparently the camera negative was smooth as a baby’s bottom, so the grain was something we are to presume Kubrick wanted. Although on the other hand, he wasn’t around to supervise the prints with his usual rigour, being as he was dead, and his heirs do their best to follow his wishes but they’re not him, of course.
The movie is EYES WIDE SHUT. Meet the Harfords, played by Tom Cruise and Nicole Kidman.
Right from the start, after we get over gaping at Nicole’s splendid bottom, I’m amazed at the slow dissolves. Once had a student tell me he thought dissolves were old-fashioned, which I thought was silly. But THESE dissolves are old fashioned.
Kubrick told Michel Ciment he didn’t even LIKE dissolves, but sometimes they were the simplest way to get across a change of time and place. By that standard, they’re completely unnecessary here, as is the sitcom-like exterior view of the Harfords’ apartment building. But, when you’re unable to do principal photography in New York, you settle for second unit, and then those shots become, I guess, immovable blocks in your continuity.
“My name is Sandor Szavost. I’m Hungarian.”
“This dialogue!” gasped Fiona. “This film was written by an artificial intelligence!”
“He taught me to write a screenplay,” I said in sloooww mmmotion, “Would you like to hear it?”
The Cruiser flirts with two Anglo fembots. Nicole and Tom are suddenly very drunk. Tom saves a girl who has O.D.’d. This is where Kubrick and his camera crew were reflected in the shower screen, originally, but this has been digitally removed. Now, either Kubrick wanted this done, in which case Warners disobeyed him and released the film at the cinema with the unintentional cameo intact, or else Kubrick was happy for it to stay, in which case they violated his wishes by scrubbing him out of his own movie.
While we’re on the subject, it should be noted that the only director-approved digital version of EWS is the 4:3 DVD, because at the time apparently SK had no faith in widescreen TVs. In fact, for one as particular as Kubes about how his films were watched, the widescreen TV would be a nightmare, since many many people are content to watch films in any old aspect ratio, usually erring on the side of filling up as much of their TV as possible, regardless of how much of the original image they might be cropping out, or how badly distorted they’re making it.
Then the already-familiar Shostakovich takes us through a superfluous montage of Nicole’s bum again, Tom treating another busty nude, domestic stuff with the Harford’s daughter, and then the looong scene where the marriage is thrown into jeopardy by the revelation that Nicole once fantasised about another man. Here, Kubrick and cinematographer Larry Smith go for a sort of Leon Shamroy effect, with warm yellowy interior light and blue night exterior. But I don’t know that New York has blue streetlight, and moonlight isn’t blue, so Kubrick is following a movie convention here. Which is inconsistent with his real candlelight fetish in BARRY LYNDON. But that’s OK.
So, this dialogue. Kubrick hadn’t lived in New York for a long time. Had Frederic Raphael ever? And had either of them heard a human conversation? Raphael hadn’t had his name on anything that got made for quite a while. But I’ve always found his writing impossibly arch. I quite like NOTHING BUT THE BEST (Alan Bates leans into the archness) but DARLING and TWO FOR THE ROAD give me the pip.
Still, he was a distinguished expat American-born writer living in Britain. It was a convenient match. And we got an interesting book out of it, Eyes Wide Open, FR’s memoir of working with SK, whose rapid publication caused the Kubrick clan to close the iron door on him.
On meeting Kubes, Freddie can’t decide how intelligent he is. John Fowles said exactly the same thing about that other one-take wonder, William Wyler. Perhaps directors have a different FORM of intelligence from novelists?
Half an hour into the film it settles into a pattern: thrown into a rit of jealous fage by Nicole’s confession, Cruise starts cruising, encountering a series of available women and failing to have sex with them. It’s noticeable that Kubrick’s Steadicam basically just follows Tom around, or tracks back as he advances. The most basic kind of movement. After the twitchy bereaved woman, there’s the student/sex worker, and more brill dialogue.
“What do you want to do?” “What do you recommend?” “What do I recommend?”
It’s the beginning of the echolalia that will reverberate through the rest of the film. Dr. Bill may escape catching HIV from the girl he shies away from crewing, but he catches the tendency to repeat whatever’s said to him.
Oh, and he’s being haunted by blue-tinged monochrome fantasies of Nicole getting it on with her fantasy figure. His fantasy of her fantasy. But why do we need the special grading? It has no equivalent in any other Kubrick film. Alex’s fantasies in A CLOCKWORK ORANGE weren’t photographically different from the rest of the film. The trick seems cheesy.
I suppose though the blue echoes the light behind Nicole during her confession. It’s quite a colour-coded movie: the sex worker has a red door for passion, and a green lobby for disease. That kind of thing.
Oh, and Tom does a bit of palm-punching, to show he’s angry. Emulation of Jack Nicholson’s crazy walk in THE SHINING, or did Kubrick just give him the same direction: think of the crazy people you see on the street, ranting at nobody?
Dr. Bill gets queeerbashed by fratboys, a change from the source book, where the doctor is Jewish and his persecutors are anti-semites. Raphael proposed to Kubrick that Bill could be Jewish. “A doctor in New York?” “I don’t want him to be Jewish,” said Kubrick, apparently not giving any reason. And then saying to Raphael, who was also Jewish, “We don’t really know what they say about us when we’re not around, do we?” In which case, wouldn’t a Jewish protagonist be easier to write?
He also didn’t want the story to be a dream. “There’s no movie if it’s all a dream.” FR, by his account, offered logical arguments as to why it was pretty inescapable that Dream Novel is a dream. SK just said no.
The New York street sets are impressive, and arguably the film’s most dreamlike aspect is the way the production took hundreds of Polaroids of Greenwich Village and environs and then built a set in which all the familiar places are jumbled up.
Somewhere in here, too small for me to detect on the Toshiba, is a neon sign saying Vitali’s, a rare Kubrick in-joke.
Apparently Kubrick hired every yellow cab in the UK (a dozen or so) and tied them up for fifteen months, inconveniencing several other shoots. You never see more than two yellow cabs in a shot.
The piano bar interior is lovely. “Nick Nightingale” is an impossible character name, though. It’s a straight anglicisation of the name in the Schnitzler original, and gives a clue to the weird affect of this film: it’s a dream narrative played in realistic-fake environments, a Viennese fin-de-siecle sex story transposed to modern America and in the hands of men who don’t know modern America very well. I presume the adaptors thought “Nick Nightingale” sounded convincingly showbiz, but in what era?
Rade Serbedzija and Leelee Sobieski’s scene kicks things up into what passes for high gear. Thing always get better when the good actors come on. RS seems to be under the impression he’s in a comedy, something SK seems to have hinted to Alan Cummings also, but not to anyone else. This could be quite a funny film if anyone knew it’s what was wanted. Kubrick did consider casting Steve Martin in the eighties, but it’s not certain he would have asked him to be funny.
What does Leelee whisper to Tom? It’s like Twin Peaks all over again.
She recalled that Kubes always wore the same black smock to work, “But he must have had lots, because he didn’t smell bad or anything.” Clearly, he was following the practice of Einstein, who had multiples of the same suit so he didn’t have to expend any extra mental energy deciding what to wear. He had already adopted Napoleon’s practice of eating soup, main course and dessert all at once, so he was clearly susceptible to emulating his fellow geniuses.
(The smock had many pockets, making it very practical.)
“Orgy! Orgy!” in the wise words of Dyan Cannon. The masked ball is cinematic, at least. It has my favourite dissolve, and the follow-cam actually becomes atmospheric. And then we get circle-cam too. It’s a corny and incredible set-up, but the colours are nice.
This was, apparently, the trickiest thing, in SK and FR’s minds, to translate to a modern setting. Raphael typed up a fake document purporting to be an FBI report on secret sex cabals within the Democratic Party. Kubrick FREAKED, got very paranoid. “This is classified material, how’d you get hold of it? I need you to tell me.”
This I find very funny. But the pair decided that this would indeed be the unstated backstory of their big daft sex party, resulting in BELATED RESONANCE. Sidney Pollack as Jerry Ziegler as Jeffrey Epstein, ladies and gentlemen.
“Is the orgy so banal because that’s how this unimaginative character would dream it?” asked a friend of the friend I saw the movie with first time. I hadn’t felt the orgy was imaginary, and Kubrick seems to have not wanted it to be, but obviously in the book it is and that’s sort of crept into the film even if he didn’t want it. I think, when Kubrick was at the height of his powers, things wouldn’t creep into his films without his allowing it. But then, I did write this. Raphael has said he felt Kubrick wasn’t really on form — he was, after all, heading towards death.
Fiona wonders “Where do they find all these identical women?” Apparently such women couldn’t be found for A CLOCKWORK ORANGE, where we see various types of body, but they could in 1999 for EYES WIDE SHUT.
Kubrick tried to figure out what the maximum level of sexual explicitness allowed by the MPPA, but still ran afoul of their arcane rules about how many pelvic thrusts were permissible in a single shot, so had to digitally superimpose voyeurs to blot out the action. What he needed was Clive Barker’s List,
When Clive was shooting HELLRAISER he got to a point in discussions with lead Clare Higgins where they felt they needed to define what the character’s sex life was like with her former lover Frank. The days of Dorian Gray, where you could keep it on the q.t., were gone. “I think she’s into spanking,” declared Higgins. “Great!” replied Barker.
They shot a scene. The producer cabled him the next day. “I’ve just seen the rushes. Fan-tastic stuff. We can’t use any of it.”
Barker protested that he needed guidance, in that case, as to what would be acceptable. He was sent a detailed list of the dos and do-not-dos. “It did wonders for my sex life,” he said later. “I now knew exactly the point where I was crossing over into obscenity.”
Part two: Tom retraces his steps, at great length.
Alan Cummings plays, essentially, Mr. George Swine, hotel receptionist, from LOLITA (just as Leelee Sobieksi played Lol). He’s funny. Cruise is retracing his steps, trying to work out what’s really happening. This part of the film is quite slow and plodding. We’ve been to all these places and met all these people, and the film doesn’t seem to know how to condense or elide. We follow Tom into and out of various rooms, down various streets. He revisits the fancy dress shop, he revisits the orgy house, revisits the sex worker and learns from her flatmate… well, first she comes onto him in a stilted fashion, then she tells him the girl from the other night has tested positive for HIV. They both pretend to be upset about this.
Tom leaves and buys a newspaper that says LUCKY TO BE ALIVE. A sinister man is stalking him. The only new location here is the morgue, where the OD girl from the first party, who we guess is the girl from the orgy, lies dead (and naked, of course).
Finally he meets Ziegler again, who tries persuading him there’s nothing sinister been going on here. He doesn’t do it very convincingly, but Dr. Bill clutches eagerly at this as a way of returning to normal life and forgetting all this weirdness. “This is the only detective story I’ve ever seen there, when they warn the guy to lay off the case, he DOES.”
Mind you — Red Cloak at the party (Lord Bullingdon himself, Leon Vitali) warned Dr. Bill not to pursue any investigations, OR ELSE he and his family would face dire consequences. And then they had a terrifying manservant hand him a threatening note. Now, anyone who threatens you with dire consequences should you do something, and then merely warns you again when you do it, is not serious and can be ignored. That’s my advice to you. So maybe these guys really are harmless lechers.
Tom finds his party mask on the pillow beside a sleeping Nicole (good whip-pan). He tells her the whole story (but the movie remembers to leave this out — though I wouldn’t be surprised to learn Kubrick shot it).
“That was a very sad story,” says Fiona, filling in for Nicole, “It made my Touche Éclat come off.”
Christmas shopping scene in Hanleys. I’ve heard podcasters (Chapo Trap House, Death is Just Around the Corner) suggest that, while the Harfords are making up, their daughter is being abducted in the background by evil Ziegler minions, but I think there’s not even a subliminal suggestion of this. The bald guy standing there isn’t a minion seen earlier, and he’s apparently shopping with another man. I would love to have discovered a macabre Easter Egg like that, but all I’ve done is discover it isn’t there.
So I’ve finally done a Late Show on EYES WIDE SHUT, a late film, a final film and a posthumous film. It didn’t seem to reveal anything new. Frederic Raphael was never really able to work out why Kubrick wanted to make it. Kubrick wouldn’t or couldn’t tell him. The honest thing to do would be to turn down the job under those unpromising circs, but who would refuse Kubrick? Maybe the writer he needed was Jean-Claude Carrière, who described his remit as “helping the director understand why he wanted to make the film.”
The film is strange, and I should give it credit for that. I don’t know what to DO with the strangeness, though. Basic screenwriting books warn against having characters constantly repeat what they’re told. Bill picks this up 45mins in, and by the end, his wife is doing it too. The French New Wave taught us that we don’t have to see every step of a journey, we can jump from spot to spot and let the audience catch up. It’s fine to break those rules if you have a better idea. But if the result is… plodding and repetitive… maybe you need to rethink. Kubrick made slowness work brilliantly in some of his previous films. But here, when Dr. Bill says “Was she the woman at the party?” Ziegler pauses for ten full seconds (“THIS SHIP HAS ONE HOUR TO LIVE!”) then says “Yes,” then pauses for another five seconds and says “She was.” It’s not a dramatic pause, in my view, if it reveals no new dramatic information. “Yes” has already given us everything, and “She was” is pathetic redundancy.
I don’t feel I don’t get the film — it’s about the balancing of fidelity and fantasy life. The ur-text may be John Baxter’s Kubrick biography where the Great Man’s collaborators talked about Kubrick’s fondness for casting couch head games. He DID get all the actresses in A CLOCKWORK ORANGE to take their tops off while he videoed them (save for Adrienne Corri, who refused: “Suppose we don’t like the tits, Adrienne?” “Tough.” Kubrick cast someone else, she got injured being lugged about on Warren Clarke’s shoulder for days, and he then cast Corri as replacement). He got them to mime being raped. But he didn’t touch them.
An assistant found him looking at a catalogue of models during 2001: A SPACE ODYSSEY. “Look at these girls! We could get some of them in, pretend it’s for the TV screens.” The assistant suggested Kubrick could just approach them openly, lots of them would be excited to meet the great Stanley K. He backed off immediately. Then he got obsessed with Julie Christie. Suggested inventing a project so he could audition her. The assistant said, Look, I know Julie Christie, why don’t I just call her up and say you’d like to meet her? Again, Stanley backed off. “Everything had to go through the fantasy department,” concluded the assistant.
So his big sex film, a project which might have made sense maybe twenty pr thirty years before, turns out to be about spousal fidelity in a world full of temptation, and the essential compartmentalizing of fantasy and reality — in a film where those compartments don’t exist or can’t be made sense of.
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