Writing in the journal Grantland, Harris sees a future of nothing but utterly predictable franchise films, made by cost accountants and others with no real investment in film as an art form, which it most certainly is. As he writes, in part, “I believe that what studios see when they look at the bumper-to-bumper barricade of a 2015–20 lineup they’ve built is a sense of security — a feeling that they have gotten their ducks in a row. But these lists, with their tremulous certainty that there is safety in numbers, especially when numbers come at the end of a title, represent something else as well: rigidity and fear. If you asked a bunch of executives without a creative bone in their bodies to craft a movie lineup for which the primary goal is to prevent failure, this is exactly what the defensive result would look like. It’s a bulwark that has been constructed using only those tools with which they feel comfortable — spreadsheets, P&L statements, demographic studies, risk-avoidance principles, and a calendar. There is no evident love of movies in this lineup, or even just joy in creative risk. Only a dread of losing.”
Archive for the ‘Inside Stuff’ Category
This has been floating around the web, and is worth posting here; this is Robert De Niro’s actual hack license that he used to prep for his career defining role as Travis Bickle, a loner taxicab driver in New York City driven to a homicidal frenzy by forces he can’t control. It’s one of the great American movies, and was shot right around the corner from where I then lived, at 203 East 14th Street in Manhattan. De Niro – a total professional, completely dedicated to his craft, and it shows in the finished film, which is perhaps the finest film from Scorsese, De Niro, Harvey Keitel, Jodie Foster and everyone else involved. No other film so authentically captured the grit and grime of New York City in the 1970s.
As Shawn Conner reported on December 6, 2014 in The Vancouver Sun, “It’s been lost, found, restored, misunderstood, and restored again. This weekend, 100 years after its initial release, In the Land of the Head Hunters is once again being released, this time in a digitized format. Written and directed by Edward S. Curtis, the 1914 film is the American photographer’s attempt to document the customs of the Kwakwaka’wakw (Kwakiutl) peoples of the Central Coast, while telling a story about how their ancestors lived.
But the film, which opened in New York City and Seattle, disappeared soon after its initial release, having made less than a seventh of what Curtis spent on it. It wasn’t until 1947 that a film collector found a 35mm nitrate print in a back alley. He donated his find to the Field Museum of Natural History in Chicago. In the late ’60s, anthropologists Bill Holm and George Quimby used the museum’s damaged, incomplete version to make a 16mm version. Holm then took the 16mm up the Inside Passage and showed the film at a number of Kwakwaka’wakw villages.
‘It was the first time anybody up there had seen it, even though many of their parents had acted in it,’ said SFU emeritus professor Colin Browne, who served as a consultant for a new restoration. Holm brought some elders to watch the film at the Newcombe Auditorium at the Royal BC Museum in Victoria. ‘They spoke to the screen the words they thought the characters were saying, and layered those with some comments,’ said Browne, who taught film history, production and critical writing at SFU School of Contemporary Arts until about a year ago. ‘That became the soundtrack of the movie.’
Adding the recordings of the Kwakwaka’wakw elders, Holm and Quimby refashioned the film as In the Land of the War Canoes. ‘That’s how it showed up in the ’70s, with new intertitles and the Kwakwaka’wakw soundtrack,’ said Browne. Good portions of the beginning and ending were missing. ‘It seemed to everybody that it must be a documentary.’ In the Land of the War Canoes, with its depiction of warring tribes and First Nations customs, was mostly shown in anthropology classes in universities, and rarely in film studies classes.
But the original got a revival following the discovery of the original score in 2007. Around the same time, a 35mm print of the film’s final reel was also discovered. A restored version was screened in various cities, including Vancouver in 2008. The restored version is made up of footage from both the 16mm and 35mm prints, as well as still images in places where footage has been permanently lost or damaged. (The still images come from the Library of Congress. At the time In the Land of the Headhunters was made, producers copyrighted their work by submitting stills from every scene of their films.)
At the screenings, orchestras and ensembles played the original music along with the restored version. Among the musical groups was Vancouver’s Turning Point Ensemble, and it is their recording that appears on the digital version, which [was] released Sunday, Dec. 7 on DVD by Milestone Films. The Land of the Head Hunters is the first feature film made in B.C., and the first ever with an all-indigenous cast. It deserves to be seen for those reasons alone, but it’s also full of indelible images that have inspired other filmmakers, Browne notes.
‘People haven’t really had a chance to see the film the way we’re going to see it now, which is probably the best restoration we’ll ever have,’ Browne said. ‘I’m hoping film scholars and historians will see it and they’ll go “Oh my God, here’s another great film, we have to include this in the canon of cinema.’” And indeed, the canon of film is constantly expanding – due in large part to archival work like this.
Director Maury Dexter, certainly not one of the major figures in film history by a long shot, has nevertheless written his autobiography – published in 2012 – and made it available as a free pdf file (click on the image above to access). Dexter’s work is extremely straightforward, and he specialized in low budget, quickly produced films for producer Robert L. Lippert for 20th Century Fox, after breaking in as an actor and getting advice from no less than director William Beaudine on how to effectively “act” on screen – Beaudine’s advice; “don’t act!”
From this, Dexter segued into assistant work, then directorial assignments, and more often than not made routine films for a set price, with the notable exception of the groundbreaking science fiction film The Day Mars Invaded Earth (not, sadly, available on DVD), winding up working for Michael Landon on Little House on the Prairie.
Dexter’s memory remains sharp, and if he’s not a great prose stylist, he’s still got a lot of tales to tell. Dexter’s memoirs are short and punchy, with lots of inside information, and make for a light, easy read. This is a story of the underside of Hollywood, and the “bread and butter” pictures that cost so much, made so much, and never strained the limits of genre filmmaking.
As I note, “The One I Love (2014) is yet another film that’s been completely overlooked in the headlong rush to the multiplex, yet it’s a stunning directorial debut by Charlie McDowell, from a script by Jonathan Lader, and produced by the Duplass Brothers, Mark and Jay (Charlie McDowell, incidentally, is actor Malcolm McDowell’s son with Mary Steenburgen). Mark Duplass does double duty – an apt turn of phrase, as you will see – starring in the film, in addition to his co-producer role, as harried husband Ethan, who is first seen in a therapy session, both angry and repentant after having cheated on his wife Sophie (Elizabeth Moss, best known for her work on the TV series Mad Men). More on that later.
Yet, for all the force and power that The One I Love possesses, it might as well not have been made at all, so quickly did it disappear. As Wikipedia notes, after a well received screening at the Sundance Film festival on January 21, 2014, ‘The One I Love opened in a limited release [on August 22, 2014] in the United States in 8 theaters and grossed $48,059 with an average of $6,007 per theater and ranking #42 at the box office. The film’s widest release was 82 theaters and it ended up earning $513,447 domestically and $69,817 internationally for a total of $583,264.’ And then it was gone.
That’s a shame, because The One I Love is both original and unsettling, even as it incorporates themes, either by design or simply through coincidence, from John Cromwell’s The Enchanted Cottage (1945), tinged with the much darker vision of Maury Dexter’s The Day Mars Invaded Earth (1963), with touches of Spike Jonze’s Being John Malkovich (1999) and Michel Gondry’s Eternal Sunshine of the Spotless Mind (2004) thrown in for added resonance.
The One I Love starts off in a seemingly predictable manner, as if the film will be another earnest study of a marriage in collapse, in the manner of Mike Nichols’ film of Edward Albee’s play Who’s Afraid of Virginia Woolf? (1966, which is actually referenced in the film’s dialogue), but soon any clinical realism is abandoned for a far more sinister and elliptical scenario – a kind of dark ‘magical realism’ – in which the audience is never sure about the characters’ motives, or even their putative identities.
Not surprisingly, Ethan and Sophie are experiencing a moment of crisis in their relationship as a result of Ethan’s infidelity, and their smooth and all-too-affable therapist (effortlessly played by Ted Danson) suggests that they spend a weekend at a therapeutic retreat to ‘reconnect.’ At first, when the couple arrives at the lavishly appointed estate, which is to be their home for the next few days, all seems well. It’s a rather odd place, overflowing with flowers and lavishly decorated throughout, with a guest book in the front hallway attesting to the salutary effect it has had on the previous couples who have stayed there.”
As The Indian Express reports, “James Bond’s 24th adventure will be called Spectre, [in which] 007 will be seen uncovering secrets of a sinister terror organization, director Sam Mendes announced at Pinewood Studios today. Daniel Craig, 46, is returning as Ian Fleming’s famous fictional spy for the fourth time, while it is Mendes’ second Bond film after Skyfall. Sherlock star Andrew Scott, Oscar-winner Christoph Waltz and Monica Bellucci are joining as new cast members along with other actors. Spectre will release on November 6 next year.
‘We are very excited and I think I speak on behalf of all of us to say that we cannot wait to bring this movie to you in just under a year’s time. We hope you like it,’ Mendes said as he announced cast and crew details with producer Barbara Broccoli at Pinewood where the principal photography will begin from Monday. The film will be shot in England, Mexico City, Rome, Tangier & Erfoud, Morocco, Solden, Obertilliach and Lake Altausee (Austria). In the new movie, a cryptic message from Bond’s past sends him on a trail to uncover a sinister organization (Spectre). While M battles political forces to keep the secret service alive, Bond peels back the layers of deceit to reveal the terrible truth behind Spectre.
The title is named after the shadowy [fictional] terrorist organisation created by Fleming, which first appeared in his novel 1961 Thunderball. Spectre stands for Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion. ‘We’ve got an amazing cast and, I think, a better script than we had last time. We started something in Skyfall, it felt like a beginning of something. This feels like a continuation of that. We’re going to put all of those elements in, and much more,’ Craig said.”
Talk about playing to diminishing returns – this film reunites a bunch of the cast members from the original 1977 film, which was quite a fun piece of entertainment, even if deeply indebted – by design – to the Saturday morning movie serials of the 1930s and 40s, but hasn’t this whole franchise been done to death? At least one of the original participants – now deceased – wasn’t happy with the film from the start, though he shrewdly realized it would be a huge hit, and negotiated a percentage of the profits as part of his salary, which paid off handsomely.
As Keir Mudie reported in The Sun on May 3, 2014, the gifted actor Sir Alec Guinness, forever after typecast as Obi-Wan Kenobi, called the first film “fairytale rubbish” with “lamentable dialogue” and complained during the shooting that ” [I] can’t say I’m enjoying the film… rubbish dialogue reaches me every other day on wadges of pink paper – and none of it makes my character clear or even bearable” though he noted after Star Wars was completed that “it’s a pretty staggering film as spectacle and technically brilliant. Exciting, very noisy and warm-hearted. The battle scenes at the end go on for five minutes too long, I feel, and some of the dialogue is excruciating and much of it is lost in noise, but it remains a vivid experience.“
But must we keep beating it to death with one useless sequel after another? Aren’t there better things to do with our lives? Star Wars: Episode VII – The Force Awakens won’t come out until December 2015, and people are already talking about the film as if it’s a must-see event. Personally, I can’t think of any less imaginative or duller way to spend an afternoon – and even though the original film earned Guinness “more than £56million in royalties, a best supporting actor Oscar nomination and global stardom,” I have to agree with him – it is sheer rubbish. The follow up sequels are even more tedious, while the first film, at least, had some energy. But now that Disney owns the rights to the franchise, and plans to to put out a new film every year for the foreseeable future, I’m sure that, just like the endless chain of James Bond films, there will be a Star Wars film playing in cinemas from now until the end of time.
Indeed, Guinness disliked the film so much – which pretty much erased all of his previous work in a single stroke in the public consciousness – that he threw out all of the fan mail that came to him associated with Star Wars, and when confronted by a young boy who told him enthusiastically that he had seen the film 100 times, tartly responded “well, do you think you could promise never to see Star Wars again?” If only it were possible, but unfortunately, the franchise grinds on – with the only possible upside being that it supplies work for an army of technicians and extras, and will certainly draw crowds to theaters. But when I think of all the excellent films that will be completely ignored in the stampede to see this latest iteration, well, it makes me more than a bit sad.
Kubec Glasmon, the almost forgotten co-author of the script for Public Enemy, the 1931 William Wellman film that shot James Cagney to stardom, had a real knack for hard-boiled crime drama, and though this film from 1935, Show Them No Mercy, has been unjustly neglected, it’s a stunning piece of work, and you can see it here, now, by simply clicking on the image above.
Produced by Nebraska native Darryl F. Zanuck for his Twentieth Century Film Company, just before he bought out the Fox Film Corporation to create 20th Century Fox, Show Them No Mercy tells the story of a young couple and their infant daughter who seek shelter from a rainstorm in a seemingly abandoned house, only to discover a bunch of gangsters holed up inside, with lots of hot money on their hands. They’ve just successfully pulled off a kidnapping, have $200,000 in ransom money, and want to get out of the country, but the question is, how?
Initially too innocent to realize the danger they’re in, the young couple soon figures out that the group will literally stop at nothing, especially the psychotic trigger man Pitch (Bruce Cabot, best known for his work in King Kong, and absolutely brilliant here in a role based on real-life gunman Vincent “Mad Dog” Coll) and the gang’s suave leader, Tobey (the always reliable Cesar Romero, turning in another top flight performance).
To tell you more about what happens next would be a mistake, but take my word for it – this is a film that has been unfairly overlooked, and at 75 minutes, moves along like a streak of lightning, with an ending that’s still shocking nearly a century after the film was made.
As TCM notes, “the film was inspired by the kidnapping in May 1935 of George Weyerhaeuser, scion of a wealthy lumber family, who was released after ransom money was paid. The ransom money, which the FBI arranged so that the serial numbers could be used as clues, was then traced, and the kidnappers were arrested and sentenced to long prison terms,” but that’s not what happens here. Glasmon’s script follows an entirely different trajectory, leading up to a satisfactorily brutal conclusion.
Suffice it to say that the film raised a number of eyebrows when it was first released, and barely managed to scrape through Code censorship, thanks largely to the adept machinations of producer Zanuck, who was an expert in telling the Code authorities what they wanted to hear, and then doing precisely as he pleased with the film itself. The result is astonishing.
Well, having just discussed the restoration of The Devil Rides Out, up pops another Fisher rarity. In my book length study of Terence Fisher, The Charm of Evil, I devote considerable space to this deeply undervalued film, which was Fisher’s second directorial effort after his debut “curtain raiser,” Colonel Bogey. When I wrote that book, I had to travel to the British Film Institute to see a 35mm print of the film; now, here it is on YouTube, in a very good version, too.
It was posted there by David Cairns, who also wrote an essay on the film for Mubi, which notes in part that “1948 was one of the great years of British film, with Powell & Pressburger, David Lean and others on top form. Terence Fisher, later to make his name at Hammer (Curse of Frankenstein, Horror of Dracula, etc.) was only just beginning his career, but he began it well: soon he would co-direct the gripping Hitchcockian yarn So Long at the Fair (1950), but before that came 40-minute short subject To the Public Danger, a thriller revolving around drunk driving.
As four characters meet in an English roadhouse and begin the kind of inebriate evening people fresh from WWII seemed to take in their strides, recklessness and arrogance leads towards inevitable doom, with the boozing accompanied by bullying, seduction, class prejudice, cowardice, paranoia and a slew of other unattractive qualities. The result is not so much mounting tension as an oppressive, agonizing sense of suffocating anxiety and unpleasantness.
This is the world of writer Patrick Hamilton, specialist in psychological torment (Gaslight), nerve-shredding anxiety (Rope) and alcoholic madness (Hangover Square). Few other writers can abuse their protagonists, and their public, with such merciless cruelty, while displaying at the same time a pained compassion for life’s victims.
To the Public Danger is adapted from a BBC radio play by Hamilton, and abounds in sharply-drawn detail, mostly delivered as dialogue: it must have made a gripping listen, and if the film has a flaw, it’s that nearly every effect is achieved by sound and voice. Still, Fisher serves up some nice nocturnal joyriding, all via rear projection of course, but with some intense low angles from under the steering wheel.
The premise may make the film sound like a Public Information film about highway safety, and it does have a socially redeeming function, but derives its power from the vicious interplay of its quartet of dysfunctional character.
Dermot Walsh is the loathsome Captain Cole, ex-army snob, manic boozer and bully; Susan Shaw is the beautiful blonde with a heart of brass; Barry Letts her milquetoast mark who must locate his backbone amidst the drunken maelstrom; and Roy Plomley the utterly sloshed Reggie, whose main contribution is adding to the general confusion. The script very sharply delineates their varied reactions to an apparent hit-and-run accident during which Shaw was holding the wheel while Walsh, in the driving seat, was lighting a cigarette . . .
Fisher’s style tended to be straightforward, blunt, at times crude, suiting him to Hammer’s penny dreadful approach. While British cinema was supposed to favor restraint and discretion, Fisher dealt with things head-on, however unpleasant. The impressionistic flurries of montage with which he suggests car accidents here, all screaming and flash-cuts and onrushing trees, suggests the savagery that would eventually birth Christopher Lee’s mush-faced Frankenstein creature, looking, as one reviewer wrote, ‘like a road accident.’”
The Devil Rides Out, known as The Devil’s Bride in the US, is perhaps Terence Fisher’s last unalloyed masterpiece, and a film whose reputation has grown exponentially over the years since its 1968 release. Based on the novel by Dennis Wheatley, and as Wikipedia notes, “set in London and the south of England in 1929, the story finds Nicholas, Duc de Richleau [Christopher Lee], investigating the strange actions of the son of a friend, Simon Aron [Patrick Mower], who has a house complete with strange markings and a pentagram.
He quickly deduces that Simon is involved with the Occult. Nicholas de Richleau and Rex Van Ryn [Leon Greene, dubbed throughout the film by Patrick Allen] manage to rescue Simon and another young initiate, Tanith [Niké Arrighi], from a devil-worshipping cult. During the rescue they disrupt a ceremony on Salisbury Plain in which the Devil (Baphomet) himself appears.
They escape to the home of Richard and Marie Eaton [Paul Eddington and Sarah Lawson], friends of Richleau and Van Ryn, and are followed by the group’s leader, Mocata [Charles Gray, in a career-defining performance], who has a psychic connection to the two initiates. After visiting the house to discuss the matter and an unsuccessful attempt to influence the initiates to return, Mocata forces Richleau and the other occupants to defend themselves through a night of black magic attacks, ending with the conjuring of the angel of death.
Richleau is able to repel the angel, but it kills Tanith instead (as once summoned, it must take a life). His attacks defeated, Mocata kidnaps the Eatons’ daughter Peggy [Rosalyn Landor]. The Duc has Tanith’s spirit possess Peggy’s mother in order to find Mocata, but they are only able to get a single clue, from which Rex realizes that the cultists are at a house he visited earlier.
Simon tries to rescue Peggy on his own, but is recaptured by the cult. The Duc, Richard, and Peggy’s family, also try to rescue her, but they are defeated by Mocata. Suddenly, a powerful force (or Tanith herself) begins ruling Mrs. Eaton and puts a stop to Peggy’s trance.
She then leads Peggy in the recitation of a spell, which kills all of the cultists and transforms their coven room into a church. When the Duc and his companions awaken, then they discover that the spell Peggy was led into casting has reversed time and changed the future in their favor.
Simon and Tanith have survived, while Mocata’s spell to conjure the angel of death has been reflected back on him. Now, he pays the price of loss of life and eternal damnation of his soul for having wrongly summoned the angel of death. Nicholas de Richleau comments that it is God that they must be thankful for.”
I’ve admired this film for a long time, both as one of Hammer’s best works, and one of the most intelligent, but despite the customary brilliance of Fisher’s direction and Arthur Grant’s superb cinematography, by this time, Hammer was struggling with pressing financial concerns, and the quality of the studio’s films was declining precipitously as a result.
There are shots in the film involving special effects that were left unfinished; uneven matte lines in some the miniature sequences; and the film’s climactic sequence, involving the appearance of the Angel of Death, has always been problematic from a strictly visual point of view – indeed, during a close-up of the the Angel’s head, the background behind the shot in simply a blue screen, without any image at all – a clear compromise in the face of time and budgetary constrictions.
Thus I was both pleased and surprised that Hammer would undertake nothing less than the rescue of this film, performing more than 1.5 million — that’s right, million — repairs to the original 35mm negative, by scanning to 4K digital, and then creating a 2K DVD and Blu-ray master of the result. Since the performances throughout the film are absolutely impeccable, it’s only right that the last minute haste of then-contemporary post-production should be corrected.
As one of Fisher’s most deeply felt and personal films – and a profoundly Christian film in every sense of the word, concerned with the continual battle between good and evil in the world, The Devil Rides Out stands as one of the key works of the British cinema in the late 1960s, and still speaks to audiences today. Indeed, just this semester one of my students did a research paper on Terence Fisher, and of all of the director’s works, singled this film out as her favorite. If you haven’t seen it, you should really take a look.
About the Author
Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. To contact Prof. Dixon for an interview, reach him at 402.472.6064 or firstname.lastname@example.org. Visit him at his website wheelerwinstondixon.com.
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