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Director: Karl Freund
By Roderick Heath
The series of horror films produced by Universal Studios in the 1930s and ’40s has long carried a specific mystique. The epoch of Expressionist horror that ushered the genre’s true arrival on screen had flowered in Germany but was waning by the time of the talkies. Whilst serious horror films were made in Hollywood throughout the silent period, jokey horrors were the most popular, lampooning the same dark and miasmic fantasias that the German filmmakers were revelling in. Many of the talented artistic progenitors of the Expressionist style, like directors F.W. Murnau, Fritz Lang, and Paul Leni, and camera wizard Karl Freund, decamped to Hollywood, which had already absorbed a lot of their style. A Hollywood horror revolution was officially kick-started by a native son, Tod Browning with Dracula (1931). Actually an adaptation of John L. Balderstone’s play taken from Bram Stoker’s novel, the film was charged with an enfolding sense of sonorous evil, and expertly exploited Béla Lugosi’s iconic charisma. Freund, who shot the film and helped meld the Expressionist ethic to the theatrical demands of early sound cinema,, emerged from the production with standing, as some felt he saved the difficult shoot, often filling in for the distracted Browning. Although more concrete than the intensely psychologised and symbolic Expressionist films, the specific power Universal’s approach was a dedication to making their horror films densely atmospheric and rarefied, close to cinematic mood poems and fables.
The great movies of their brand, including Dracula, Frankenstein (1931), The Mummy (1932), The Black Cat (1934), Bride of Frankenstein (1935), The Wolf Man (1941), and a few others, defined the horror film in many minds, and still influence how many envision the classic roster of genre ghouls. Universal eventually turned successes into franchises and hammered those into the ground, although even their silliest later monster pile-ups like House of Dracula (1946) are exceedingly well-made and entertaining. But the earlier Universal work is far more powerful and still works even as many of the films show their age. Dracula proved a gigantic hit, and was quickly followed by James Whale’s brilliant take on Frankenstein, which although very different to Mary Shelley’s source novel, touched on a kind of fairy tale beauty and menace. Perhaps after a few years of the Depression, American audiences were in a mood not all that different to the struggling early days of Weimar; either way, dark, eerie, perverse and violent visions suddenly became wildly popular, an id to accompany the ego warriors of the gangster films soaring in popularity at the same time.
Universal, searching for another realm of the fantastic to explore, next produced The Mummy. It was an inspired and obvious recourse. Since Howard Carter’s discovery of Tutankhamen’s tomb ten years earlier, things Ancient Egyptian held great cultural power. The Mummy was an original property rather than a well-worn literary classic, albeit strongly influenced by Arthur Conan Doyle’s “The Ring of Thoth” and “Lot 249” as well much of H. Rider Haggard’s writing. Keeping recent success in mind, the studio gave Boris Karloff, who had rocketed to stardom in Frankenstein, the title role, and had Balderstone pen the screenplay. Barely days before the shoot was to start, the studio pressed Freund to direct. When Universal returned to the idea of the mummy as monster in the Kharis series, kicked off by The Mummy’s Hand (1940), the more familiar version was created, that of a lurching, raggedly bandaged zombie slowly and remorselessly tracking victims. In this regard the original The Mummy can be a surprise, as the notion of a walking mummy is only briefly touched on in the film’s famous opening sequence.
That scene sees respected Egyptologist Sir Joseph Whemple (Arthur Byron), his friend and colleague Dr. Muller (Edward Van Sloan), and young assistant Ralph Norton (Bramwell Fletcher) inspecting their latest discoveries on their 1921 field expedition. Sir Joseph, an old and wise hand, wants to carry on cataloguing in the order of discover as per usual practice, but Norton is too distracted by their big finds, a casket that proves to house a mummy, a high priest named Imhotep, and a box containing a hieroglyphic scroll. Muller, inspecting the casket, deduces the mummy was in fact a man buried alive, for treason or, more likely, sacrilege. “Maybe he got too gay with the Vestal virgins in the temple,” Norton theorises cheekily, getting closer to the mark than he thinks. Sir Joseph is momentarily shocked by the terrible curse inscribed on the box containing the scroll, which proves on inspection to be the mythical Scroll of Toth, inscribed with a spell for raising the dead. Muller, an occult expert, and Sir Joseph head out to argue the wisdom of prying any further into their find, leaving Norton alone, where curiosity proves far too powerful for him: he removes the scroll, transcribes and translates it, and reads the words quietly to himself. As he does so, the eyes of the mummy behind him slowly flicker open, its desiccated hands twitch and shift. The poor archaeologist is unaware until suddenly one mouldering hand reaches into the frame and lifts the scroll.
The walking dead disappears out the door, still only glimpsed only as a few trailing bandages, leaving behind the instantly mentally shattered Norton, who bursts into hysterical laughter and reports to Sir Joseph when he comes running, “He went for a little walk – you should’ve seen his face!” This opening is so arresting and memorable that it has long overshadowed the rest of the film. The technical limitations of early sound cinema, including sparing use of music, actually helped imbue the early Universal horrors with their power – these films work like stepping into some quieter, sinister antechamber of reality, in spite of the fact Dracula and The Mummy are both set in a contemporary world of motor cars and other noisy paraphernalia (even Frankenstein was set about 1900). Freund turns a static, all but eventless scene into a little minuet of delicate camera movements and judicious cuts. He privileges the viewer at first to the manifestations of something extraordinary occurring, but then cuts the viewer out from seeing the climax of the moment. He concentrates instead on Norton’s transgressive act as something nudging the edges of an unseen world as he silently recites the crucial text, and then his confrontation with something from beyond the bounds of human experience and sanity. The narrative jumps forward ten years and takes up again with Sir Joseph’s son Frank (David Manners) working with Professor Pearson (Leonard Mudie), on a new expedition on behalf of the British Museum that’s had a total flop of a digging season.
The events of ten years before are an enigma for these men, as Pearson ponders why David’s father vowed never to return to Egypt and David himself glibly theorises the boredom of digging in the desert broke Norton’s mind. A knock at the door of their base hut proves to be the strange, stalk-thin, brittle-skinned man claiming to be Ardeth Bey, who is of course is Imhotep himself, having cast off his grave wrappings and spent ten years practising Osiris knows what acts of dark magic to set himself up in the twentieth century and pass as a living being. Ardeth entices David and Pearson into facilitating his secret plan, by giving a clue to the location of the tomb of the Princess Anck-es-en-Amon. Intrigued by this seemingly wild surmise and anxious for anything resembling a find, the archaeologists set their diggers to the task and locate the tomb, fully intact with a bounty of untouched relics. So sensational is the find that Sir Joseph breaks his pledge and comes to oversee the removal of the treasure, which is then shipped to the Cairo Museum as prize exhibit. Freund offers another brilliant pirouette of style here as his camera explores the museum like a restless, hungry spirit, eventually zeroing in on the face on Anck-es-en-Amon’s casket. Freund then transitions via a whip-pan and an odd, delightful effect using a scrolling, illustrated cityscape as if the camera is racing across the city, to then halt on the face of Helen Grosvenor (Zita Johann), gazing out at the pyramids as if staring into the past – the subliminal connection between her and the dead princess instantly stated.
The scrolling effect is deliberately artificial; a nod to the roots of fantastic cinema in magic lantern shows and theatrical effects, with an echo of Freund’s work for Murnau. It also reinforces an idea in the dialogue, a sense of disconnection from the reality of “this dreadful modern Cairo.” Helen is the daughter of the English governor of Sudan and an Egyptian woman “with a family tree a mile long,” and is the repository for a memory of nations and wandering spirits. Helen is being watched over by Muller and his wife (Kathryn Byron), but can’t concentrate on the “nice English boys” because something’s stirring in the night. That something is Imhotep, who breaks into the museum with the Scroll of Thoth and begins chanting her name in a ritual to bring her soul back to her body. Helen is the one who obeys the call as the Princess’s reincarnation, and Frank and his father come across her in a daze banging on the museum door. They take her to her apartment after she faints whilst Imhotep is chased by a museum guard who meets an ugly end in the shadows.
One distinctive quality of the Universal horror brand was that it upheld the notion that horror as a genre was essentially tragic, by concentrating on monsters and antiheroes who are often essentially cursed with existence, doomed to exist outside of the world and often prey on it. This idea stands in complete opposition to the tendency that emerged in the 1960s and still dominates the genre where the forces of evil have become increasingly one-dimensional and symbolic. Whale’s Frankenstein monster captured this idea with such power that it became a recurring motif, whilst Imhotep, in his desperate, eon-long search for his great love, exemplifies it. Appearing like a sun-dried praying mantis in kaftan and fez, Imhotep proceeds with Mandarin cool, alternately effete and concerted, afraid of being touched (“An Eastern prejudice,” he tells Sir Joseph by way of explanation after asking him not to) in case his skin comes off in mouldy flakes. But his parched and brittle body is belied by the power emanating from his eyes and the fixity of his desires. Universal’s make-up wiz Pierce created both the overtly gnarled and desiccated look of the mummy when first discovered and a subtler look for the revived and rejuvenated Ardeth, who looks just normal enough to pass but whose face bears a thousand tiny wrinkles as if someone tried to shrink his head.
Freund returns more than once to a single, stunning shot of Karloff’s face, every rut in Pierce’s make-up inscribed by the lighting and his eyes in shadow, only for his eyes to suddenly light up and reveal a dread, piercing stare. It’s a very simple effect, and yet it turns the idea of Imhotep’s deathless passion and innate force into a singular visual. The Mummy also helped codify a now-common form of morbid romanticism popular in the horror genre. Nowadays even Dracula, a human-shaped leech originally, has become a deathless romancer in search of his reincarnated darling in many recent takes on his story. Freund’s channelling of the Germanic liebestod tradition into a Hollywood movie was still a relatively new and powerful notion, and even segues into a perverse joke when Frank, half-jokingly and half-honestly, confesses to Helen that he fell in love with Anck-es-en-Amon’s mummified body after rifling through her personal effects. Archaeology as pick-up art by way of stalking and necrophilia.
The Mummy’s mood of subliminal obsession is mediated through intensely rhythmic visual and editing patterns, particularly the recurring images of Imhotep, swathed in shadow, chanting Anck-es-en-Amon’s name or reciting killing curses, alternately pathetic in his longing or terrible in his malevolence. Music and image build to crescendos as Imhotep screws up a fist to drive home his maledictions like lances. He kills Sir Joseph this way and also almost kills Frank, who is saved only by clasping onto a charm given to him by Muller, who serves as the de facto Van Helsing character. Van Sloan gets to display even more impressive pith as Muller than he did as Stoker’s savant, as he proclaims his desire to “get my hands on you – I’d break your dried flesh to pieces!”, but knows he can’t even approach the deadly magician. That’s another unusual aspect of The Mummy, too, as most horror films invoke the supernatural but very few place so much emphasis on mysticism as a form of power to be invoked and resisted. Every character in the film feels or wields an invisible influence, locked as they are within patterns of fate, from Sir Joseph’s Sudanese servant (Noble Johnson) who falls under the influence of Imhotep like one his ancestors did to that fallen but still potent empire, to Anck-es-en-Amon whose spirit continues to wander and find new bodies eternally for having broken her vows as a priestess of Isis.
The Mummy is perhaps the most overtly dreamlike and ethereal of horror films made between the coming of sound and the work of Georges Franju. An otherworldly quality is sustained throughout, a quality glimpsed at its strongest in moments like when Imhotep shows Helen their shared past in a shimmering pool of sacred water, or when Helen, swathed in white nightgown, stalks a corridor in a trance-state, leaving behind Frank’s crumped form on the floor. One the film’s most genuinely weird and jarring asides comes when Helen’s dog, nervous in Ardeth’s house of dark magic overseen by the cat goddess of evil sendings, Bast, is killed off-screen with a horrible wail. Most mummy tales exemplify, and indeed are today the most recognisable version, of a story pattern popular in a lot of Victorian-era fantastic fiction (also crime fiction, a la The Moonstone and The Sign of Four). In that pattern, exotic, mysterious objects from alien cultures come into the possession of hapless westerners, who find out just how much deadly power there is in the taboo objects of ransacked cultures. The forbidden object stood for a certain suppressed, half-conscious anxiety at the possible surge of forces stirred by colonialism, and reminded of the necessity of a certain stoic acceptance of foreign customs and rules.
This The Mummy has an aspect of this but moves in different directions. Imhotep re-emerges to torment the despoilers of a cultural heritage but also uses them to accomplish his ends. He lets Frank and Pearson commit the heresy he won’t, for he himself is a rebel against the demarcations of the sacred. He also happily reclaims ancient status when he mesmerically suborns the “Nubian” servant: the bath ain’t big enough for two imperialist powers. Karloff played Fu Manchu the same year in The Mask of Fu Manchu, and there’s a distinctly similar note of paranoia over the possibility of an aristocratic man from a non-Caucasian society creating a different, if no less oppressive, power paradigm. Here that pattern is complicated by Helen’s status as inheritor of dual legacies and existing in multiple ages. A deleted addendum to the lengthy flashback followed Anck-es-en-Amon’s spirit through many ages and places, disseminating the flow of civilisation out of Egypt and into Europe as well as the progress of her spirit. Imhotep is the power of things past but not forgotten; Helen/Anck-es-en-Amon is the life force that graces and never dies.
The vision of their shared history, including his own downfall and terrible death, Imhotep shows to Helen in his mystic pool, glimpsing how Anck-es-en-Amon died and Imhotep, the high priest to her priestess who had fallen in love with her against all taboos, tried to use the Scroll of Toth to revive her, only to be caught and sentenced to be buried alive. This sequence, which was recycled several times in Universal’s later mummy films, is a delight as a throwback to the fast-receding ideals of silent cinema, like a lost reel from some lost Cecil B. DeMille historical epic. Freund, like DeMille, takes the rectilinear styles of Ancient Egyptian art as a basis for stylising compositions and the movements of the actors within them, creating a ritualised form to evoke the distant past. More interestingly, though, Freund also utilises silent film acting styles to suggest the bygone and archaic – Freund both tipping his hat to the art form that had defined him and other filmmakers but which was already fading into legend. The close-up of Imhotep being wrapped in bandages before burial is excruciating, as Karloff communicates his unutterable fear and suffering even as he submits to his fate: this is, in its way, one of the most violent images ever committed to film. Imhotep’s pathos as a lover and antihero, where before he was merely a menacing ghoul, emerges here and gives context to the priest’s incredible defiance, even of his own death, a character who triangulates the dominating stature of Dracula, the victimised pathos of Larry Talbot in The Wolf Man, and the Promethean arrogance of Dr Frankenstein.
The Mummy hinges on Karloff’s ability to paint tortured depths in unlikely figures as well as sepulchral menace, his depictions of the alternations of hate, pain, longing, and a wry and haughty authority that drive the character making Imhotep one of the most genuinely interesting horror film villains. To have seen the film is to have his plangent chant of “Anck-es-en-Amon” forever in mind, reminiscent of that scene in Hour of the Wolf (1968) when the similar chant of “Pamina” in The Magic Flute is explored, the name as spell, love as transfiguring force. Indeed, Ingmar Bergman made that film in part as a tribute to his love for Universal’s horror films. Johann, a stage actress who was showcased as a potential movie star for a brief time but then retreated to Broadway and married John Houseman, is a fascinating presence. With her deep, silky voice and large-eyed beauty, she was at once able at once to seem the perfect flapper-age beauty but also evoked a timeless quality. Her Helen looks and sounds like a being detached from the hoi-polloi of the twentieth century, and it’s easy to imagine her adrift on the rivers of time. Indeed, by the finale Imhotep has regressed her until she is once again Anck-es-en-Amon. Johann projects an easy sensuality and an aura of emotional maturity that belies her standing as damsel in distress, and she constantly nudges the viewer to remember this is a pre-Code film we’re watching. “What girl could fail to make a conquest who collapsed at a man’s feet in the moonlight?” she prods Frank amusedly when he professes instant passion for her, before adding: “Don’t you think I’ve had enough excitement for one evening without the additional thrill of a strange man making love to me?”
Manners, who had played a drippy Jonathan Harker in Dracula, is similarly outmatched here in a way that points to the way familiar romantic heroes were all but incidental in this kind of film long before the days of final girls. But Manners also fares better in playing Frank, who’s a rather oddball hero, a handsome nerd, albeit one whose romantic nerve once touched is impressively ardent: “You can tell me to go to the devil – but you can’t laugh at me,” as he proclaims with impressive fixity as he falls for Helen. The Mummy is a flawed film for all its qualities. Balderstone’s script betrays something of the same stagy thinking that weighed down Dracula. Many scenes unfolds in the theatrical-like environs of the Whemples’ apartment, whilst Manners has deal with the lion’s share of unspeakable lines as romantic ingénue (“How I love you so!”). Freund’s last-minute hiring means that the filmmaking is flatly functional as often as it’s inspired. Freund was a profoundly gifted technician but only directed two horror films, this and Mad Love (1935). The degree to which he could take charge of material remained in question after the second film in particular was badly hampered by an unfocused narrative and excessive comic relief, and he stopped directing after that.
But The Mummy remains almost sui generis in its delicate sense of horror and tension, and resolves with a climax where the heroes, rushing to rescue Helen from Imhotep’s impending sacrifice and resurrection of her mortal form to remake her like himself, find themselves still outmatched by Imhotep’s power. Instead, aptly, it is up to Helen/Anck-es-en-Amon to defeat him by an act of prayer and contrition, calling on Isis to save her. Whereupon the statue of the goddess looking over the scene lifts a stony arm and strikes down the unruly priest with a curse that causes him to crumble to dust and skeletal remains, and Frank is left to try and drag Helen’s persona back from the murk of the past. This may well have influenced the similar deus ex machina punchline of Raiders of the Lost Ark (1981). Although the staging of the finale is a bit awkward and rushed, it retains power for respecting the strange logic of this tale, where forces beyond rule all and love is an immutable force that distorts and rewrites reality. In celebrating this idea, The Mummy moves beyond Expressionist ideas into the realm of the authentically surreal.
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Director/Screenwriter: Corneliu Porumboiu
2015 Chicago International Film Festival
By Marilyn Ferdinand
One of the brightest stars of the Romanian New Wave is Corneliu Porumboiu. His 2006 feature debut, 12:08 East of Bucharest, is a dead-on comic critique of finger-pointing at the dawn of Romania’s release from communist oppression and dictator Nicolae Ceaușescu. In the years since, Romania joined the European Union, in fact, only one year before the economic meltdown of 2008. The EU and financial hardships that afflict modern Romanians and their response to them are the themes Porumboiu examines in The Treasure.
Costi (Toma Cuzin) is a hard-working civil servant living in Bucharest with his wife Raluca (Cristina Cuzin Toma) and 6-year-old son Alin (Nicodim Toma). As the film opens, Alin is sitting alongside Costi in the family car scolding his father for being late to pick him up. Although he acknowledges that Costi is almost never late and that heavy traffic delayed him, Alin is still upset because he thought Costi did it on purpose and that he told Alin a story about trying to save people like Robin Hood, Alin’s favorite fictional character, to try to smooth things over. Costi apologizes.
That evening, Costi is reading The Adventures of Robin Hood to Alin for the umpteenth time when his neighbor, Adrian (Adrian Purcaresco), asks to see him. Adrian, recently unemployed from a lucrative job, is far behind on his mortgage interest payments and about to lose his house. In desperation, he wants Costi to loan him 800 euros so that he can hire a metal detector to locate treasure said to have been buried by his great-grandfather on the grounds of his family’s country estate in Islaz; Adrian offers to split the take 50/50. Costi has to manage his money carefully to pay his bills each month and tells Adrian that he can’t help. However, the idea worms its way into his mind, and with Raluca’s belief that the story could be true—Islaz was the site of the Wallachian Revolution of 1848 that was bankrolled by some wealthy families—he scrapes together enough money to hire Cornel (Corneliu Cozemi) to scan the grounds.
The Treasure is a sly little film that says a lot, especially about the European Union, without doing a lot. The golden dream of a democratic, capitalistic society to which Romanians clung while they were part of the Eastern Bloc tarnished in the oxygen of reality. Usurious interest rates combined with economic instability in the new Romania have our characters, Adrian and Costi, dreaming a different dream—in fact, a fairytale. Hilariously, Costi’s boss (Florin Kevorkian) learns that Costi used a work excuse to sneak out of the office. When Costi tells him truthfully that he left to meet with a metal detection firm to scan for treasure on a friend’s property, the boss nearly fires him for trying to play him for a fool. He insists Costi must be having an affair, and Costi, fearful of losing his job, complies with a made-up mistress and promises to end the affair to save his family.
The actual search for the treasure is about as true to life as it gets. Cornel moves back and forth inside the ramshackle remains of the once-grand estate and the acreage surrounding it, has trouble with his sophisticated, deep-imaging scanner, switches to a screeching surface scanner until Costi effects a repair, and argues off and on with Adrian as the tedium of the long day grows more acute. It’s odd to share the experience of standing around doing nothing; it’s a little boring and causes one’s mind to wander, but the anticipation that Cornel will turn up something exciting underlies the experience. When he finally thinks he’s found something, in the spot Adrian predicted, the men must then set to the hard work of digging two meters below ground. It’s almost cartoonish to watch, through Porumboiu’s steady, clinical gaze, as the dirt flies out of a hole lit only by a set of headlights and a single bulb flung over a tree branch.
Porumboiu introduces us to a rich cast of supporting characters, from minor functionaries at the Islaz police department to a resourceful thief and some larcenous country neighbors. Adrian doesn’t seem trustworthy, with his tales of family riches, but the country home he split with his brother as their inheritance is real enough. Costi is a kind, law-abiding man in a happy marriage, and we want the best for him. In the end, I felt quite happy with the behavior of all involved. Despite the looming threat of state seizure and only a small finder’s fee should a treasure of cultural significance be found, Adrian and Costi pursue their dream fairly. The film comes full circle, back to the magic of Robin Hood, the fantasy of buried treasure, and a father’s desire to be a hero in his son’s eyes—in part, thanks to the EU and the prosperity of a former enemy. The Treasure is a funny, human delight for the whole family.
There are no more screenings of The Treasure. It may be shown during Best of the Fest on Wednesday, October 28 at the AMC River East 21, 322 E. Illinois St.
Motley’s Law: Informative and inspiring documentary about Kimberley Motley, the only American allowed to practice law in Afghanistan. (Denmark)
The Emperor in August: Fascinating, beautifully shot historical drama of the final days before Japan’s surrender to Allied forces in World War II. (Japan)
Dégradé: Tensions both personal and political rouse a group of women trapped in a Gaza beauty salon by street warfare in a revealing look at life in a war zone. (Palestine/France)
Chronic: Compassionate, unflinching look at a home care nurse who treats dying and gravely ill patients as he begins to come to terms with his own terrible loss. (Mexico)
Clever: A divorced martial arts instructor pursues the reconstruction of his ego with a custom paint job on his car in this knowing comedy about human foibles. (Uruguay)
Adama: This ingeniously animated coming-of-age story takes a West African boy from his sheltered village to the very heart of darkness—the battlefield of Verdun during World War I—to bring his older brother home. (France)
How to Win Enemies: On the eve of his brother’s wedding, a lawyer is drawn into investigating a theft that hits close to home in this comedy set in the Jewish community of Buenos Aires. (Argentina)
Women He’s Undressed: Renowned director Gillian Armstrong offers an entertaining, partially dramatized documentary about Australian costume designer Orry-Kelly, who dressed some of the biggest stars in Hollywood. (Australia)
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Director: Walter Salles
By Roderick Heath
Jack Kerouac’s novel On The Road, published in 1957, bears a weight of cultural resonance that few modern texts can claim. Kerouac’s freewheeling ode to being young, energetic, irresponsible, and constantly on the hunt for new dimensions of experience brought the Beat clique’s artistic sensibility to a wide public consciousness, or at least one that didn’t involve obscenity trials, and helped animate the fantasies of footloose youth amidst successive generations. Kerouac had strived to create a specific kind of art, based in a celebration of movement and the moment, an artefact that resisted analytical introspection, but which also tried to turn reportage into a quest tale, that’s part Arthurian Grail saga, part John Bunyan-esque pilgrim’s tale, and part Walt Whitman-derived national poem. It’s a novel commonly, easily reduced to a basic celebration of a particular feeling and a rite of passage, a founding myth for modern youth culture. Many of the criticisms levelled at Kerouac’s writing are accurate, and yet few ever contend with the actual point of his labours, a point that was sharply at odds with the increasingly pompous, intellectualised state of the literary novel and its arbiters, which was to reject, or at least reconstruct, familiar literary values and try to drag the novel back to a state of experiential transmission: in an art form best known for its appeal to the introspective, he wrote about the specific thrill of doing stuff – dancing, driving, necking, jesting, raving on – as well as any writer ever has. Filming Kerouac’s novel had proved an elusive goal ever since. Transforming the “ragged and ecstatic joy of pure being”, as Kerouac described it, into artifice was the singular success of his labours, and trying to retransmit that as the recreated collection of sounds and images called a film, is doubly perverse.
A peculiar form of nostalgia possibly inflects the way the book is perceived now, as a wistful look back over the shoulder to when bohemian life and artistic expression weren’t bound up with pseud posturing, referential awareness, and politically correct touchiness, let alone the intervening age of reactionary schism that has toned the American social landscape, as Kerouac’s efforts to describe the openness and communality he encountered feels now more like the calm before the storm. By the time Easy Rider (1969), cinema’s fittest analogue to Kerouac’s novel, came along, the adventure ends with tragic, bigoted murder, and nobody doubted its plausibility. Kerouac, for his part, was trying to cast off cultural deadweight too, the staleness of pre-war politics, the immediate hangover of the militarisation of Western society, and the oncoming age of corporate-consumerist triumphalism. Perhaps for this reason, Kerouac’s message, and his method, could be therefore newly relevant; Kerouac’s attitude of aestheticized reportage lies behind a vast swathe of contemporary cinema. Brazilian director Walter Salles comes to the material after The Motorcycle Diaries (2004) similarly turned Che Guevara’s youthful peregrinations into a study in transformative revelation for the future revolutionary. In that film, Salles, to the irritation of some, avoided polemics and overt constructions of context, in favour of descriptive acuity, preferring to allow the meaning, or indeed the ambiguity, of situations speak for themselves. Guevara’s trip was one of growing radicalisation, something Salles described as based in direct encounters with the world, but he also allowed room for observations of the sorts of forces that would contradict and finally defeat Guevara’s efforts. Salles takes a similar approach to On The Road, avoiding commentaries on the Beat scene and its meaning to inheritors, instead offering it as a series of unvarnished personal observations that amass into not so much a narrative as a description of a life phase, and a journey of necessary growth for an artist.
Salles’ film can be described as a tonal betrayal of Kerouac’s book, in order to get at its own sense of the book’s truth. Where the novel is feverishly ebullient in its descriptions and expression, and the faiths it expresses overtly and implicitly, Salles and screenwriter Jose Rivera are more restrained and, in a deadpan fashion, ironic and interrogative. They peer into Kerouac’s blind spots and finger the sore spots he placed Band-Aids over. The script was based not on the finished, polished novel but on the famous “scroll” draft that Kerouac pounded out on sheets of paper taped together, so as to let his tale flow out and recreate artistically the immediacy of the events he inscribed. The tone is closer to being an overt portrait of the real-life figures Kerouac was writing of, including himself, with Dean Moriarty (Garrett Hedlund) less the gorgeous holy fool he is in the novel than the bad lot his model, Neal Cassady, could often be. This brings it closer in tone to an established, still proliferating body of film works looking at the Beats, including Heart Beat (1980), Naked Lunch (1990), The Last Time I Committed Suicide (1997), and Howl (2011). Some of these are fine, others are actively terrible: I still shudder when I recall the cut-rate 2000 film Beat, which starred Courtney Love as Joan Burroughs, uttering the line, “I’m staring into the abyss.” The cultish quality of Beat has often been its own worst enemy. Salles’ approach avoids that sort of thing, and also the hallucinogenic illustration of Cronenberg on Naked Lunch. Unlike in the finished novel, this version commences not with Kerouac avatar Sal Paradise (Sam Riley) having just been divorced, but just after his father died: Sal of the novel is a more mature figure, more sexually and socially formed, than the one we get here.
Salles and Rivera suggest squarely that the accord between Sal and Dean is, thusly, rooted firmly in their mutual search for a missing father figure, a father figure lost somewhere amidst, and perhaps indivisible from, the land around them. Dean’s father is a vagrant he’s long lost track of, only believing he’s somewhere around his home town of Denver, Colorado. Dean was born to the kind of rootless, perpetually yearning, fragmented lifestyle that Sal and his pals lean towards by choice and desire. Sal, a blocked young scribe hovering fretfully over his typewriter with nothing to say, is introduced to Dean when he blows into New York by Chad King (Patrick John Costello), mutual friend of Sal and poet pal Carlo Marx (Tom Sturridge), analogue for Allen Ginsberg. Carlo is quickly besotted with Dean, a recalcitrant but charismatic, fearless misfit, and has his first properly sexual affair with the young gadabout, although Dean has recently married teenage lovely Marylou (Kristen Stewart). Sal and Dean strike up a fast and solid friendship based not merely in that hunt for a father, but also in “intellectual” Sal’s desire for the kind of openness to life’s vagaries that Dean seems to wield so fearlessly, and Dean’s aspirations to the kind of artistic, ennobled non-conformist lifestyle that Sal, Carlo, and others in their social circle maintain. Dean soon departs the city, but later invites Sal to come to Denver, where Carlo has already followed him, and he finds that Dean has already divorced Marylou and taken up with the more centred, conservative Camille (Kirsten Dunst). Dean soon flees Denver for some solo adventuring, shacking up with Latino agricultural worker Terry (Sonia Braga) and sharing in her exhausting but simple lifestyle for a time, before returning to New York.
Salles has a gift for inscribing a sense of time and place in fresh and atmospheric fashion, and capturing behaviour in a way that feels at once acute and happenstance, avoiding the familiar indulgences of a lot Method-inflected improvisatory cinema and also the fussiness of many period films. Salles’ talents in this regard were particularly important to filming a book like this: the recreation of the late ‘40s atmosphere in On The Road is gorgeous, accurate to the argot and the tactile realism of the age without coming across like a bohemian dress-up party. Salles’ visuals, via the brilliant photography of Eric Gautier, capture landscape with a blend of stateliness and veracity. It’s in this regard that Salles’ film is most successful, his evocation of a grittier, fresher American landscape that’s been colonised by humans who share a language and a sensibility, but not yet invaded by mass market culture, a place where both joyous fellowship and dwarfing solitude, plenty and desolation are all easy to find. The opening sequence is a particular beauty, an in media res introduction that finds Sal stalking a lonely highway before explaining how he got to be there: he’s picked up by a truck carrying some other itinerants, and they share cigarettes, liquor, and ragged singing in the dull gloom of a dawn filled with outsized wonder and mystery. The bulk of the film is filled with moments of such beauty, the unexpected grandeur of dawn over a strange mountain range, the mystical lustre of a fog, the bleary beatitude of the distant New York horizon as Sal returns to the fold, raw desert, bleak snows, the outskirts of a town you’re leaving – familiar for any attentive traveller and conveying the world Kerouac tried to capture.
A film of the novel, rather than another straight biography of the Beat heroes, could, arguably, properly look like what Antonioni managed with Zabriskie Point (1970), or the best moments of Easy Rider or Alice’s Restaurant (1969), perhaps even, in the depressive counterbalance to Kerouac’s mania, the likes of Two-Lane Blacktop (1972) or The Brown Bunny (2003). If Oliver Stone or Francis Coppola – who was going to make the movie at one point and served as executive producer – had made this, in all likelihood they would have reproduced on an audio-visual level the indulgence of the characters and their world views, where Salles is more sceptical, evoking these elements without abandoning observational realism. Kerouac certainly wrote prose, a living, rambling creature drunk of pure sensatory overload in the American landscape, as a way of communicating the crypto-spiritualism of Kerouac’s sensibility, and yet On The Road is really more a kind of lyric poem that flows with words like a swollen river. The necessity of this is that without it, Kerouac’s tale can be taken for one of mere youthful hijinks. Salles’ approach is more literal and less encompassing, and his poeticism prefers to find constant minatory epiphanies, from the dull glow of a last cigarette smoked on a desolate morning to the fog wreathing the temple-like pillars of the Golden Gate Bridge, and the weird blend of alienation and fellowship glimpsed when a young cowboy hitchhiker sings a mournful ballad, listened to with melancholy fascination by his hosts. Lyrics of hellfire and damnation accord quietly with the bubbling unease and neurosis that lies beneath the fracturing threesome’s jaunty exterior, as Marylou contemplates the oncoming end of the journey and her affair with Dean, and Sal studies her simultaneous youthful promise and sphinx-like self-containment.
Salles and Rivera contour Kerouac’s mystical pretences into the drama and visuals, depicting these young men’s journey as a tightrope dance between saintliness and damnation in their search for transcendent states of being. The filmmakers also contend objectively with it, offering up Kerouac’s avatar for William Burroughs, “Old Bull” Lee (Viggo Mortensen), as a corrective who probes Sal’s description of Dean. Where Sal sees him as a kind of Benzedrine-imbibing St Francis, Lee writes him off as a selfish sociopath: “So he’s a holy man now, a religious figure in your eyes?” Lee asks with disdain. It’s a strange film indeed that offers up William Burroughs as the voice of wisdom, although Salles tempers it by having Lee describe Dean as potentially violent and then resume his own hair-raising habit of blasting away at bottles with a handgun in between sentences. He also shows off one of his pseudo-inventions, really a piece of installation art, which supposedly cleans out cancer-causing agents in his body. Meanwhile his wife Jane (Amy Adams), frazzled and possibly mildly psychotic, beats at trees trying keep small lizards from climbing all over them and advises Galatea Dunkel (Elizabeth Moss) in the arts of fellatio. The seriocomic concision of this sequence does point to how Salles’ approach draws out an element of the novel which is partly buried underneath the rollicking surfaces of Kerouac’s novel, that it was also a series of situational portraits, depicting his artistic, bohemian, and happenstance friends in islets of individual crises, eccentricities, and striving labours to create a new and better American art and life. And Salles is brilliant in laying bare the dark, manic-depressive, exiled underbelly of the frenetic, rhapsodic side of Kerouac’s writing. The lizards that infest Jane’s trees which she bats at fearsomely emerge as a superlative visualisation at the forces already eating away at the homey settlement of post-war America and enacted by these anti-heroes, wilful guerilla warriors against boredom and time who also represent the Id of the modern age cracking out of a chrome-plated skull.
And yet Salles evokes the religious core of Kerouac’s perspective ironically through characters like Lee himself: when the voyagers first arrive in Lee’s house, they find their friend sprawled in an armchair, clutching his infant son with his track-mark riddled arm exposed, a blend of Madonna and Jesus icon, a Dostoyevskian figure of beatification found through raw and debasing experience. Kerouac’s novel is plotless, and so is the movie, rightly if not promisingly for many viwers. Whereas with The Motorcycle Diaries there was a “…and now you know the rest of the story” aspect to lend weight to the meandering, here the ultimate goal, beyond Sal’s finally finding his muse, is more opaque, but what emerges is, rather than the youth culture Mahabharata, is a portrait in individual growth. Stripping away the mythos of this material leaves this aspect most crucially exposed: On The Road is not simply about the joys of being immature and yearning, but also about the moments in which youth, or at least the naïve, all-embracing mood of youth, passes and is reconfigured into wisdom, with Dean as one of those great friends you eventually realise isn’t a person you want to be, and eventually you never want to see again, but still the days of freewheeling kicks linger with the patina of a lost Eden. Sal’s evolution, both in the company of his friends and during an adventure alone, is the point if there needs to be one, his passage through his country and discovering it as a place of both cruel realities and raptures.
The minutiae, the day to day details of trying to survive such a lifestyle, are perfectly observed, like Sal collecting cigarette butts to make his own, and moving on with scowling impotence when paid a pittance for a day’s labouring. Whilst Rivera trimmed several excursions from the narrative, my favourite passage made the cut, that in which Sal hooks up with Terry and joins her Latino kith and kin as a wandering harvest labourer for a time. This interlude is at once grim, as Sal perceives his own lacks baldly in picking cotton and being introduced to the rude truth of working class life, staring exhaustedly at his pitiful profit for a day working in the sun placed in his damaged hands, and yet also experiencing a rare time of gritty, simple, erotic fecundity with Terry, before they part, Terry grinning to herself in immediate nostalgia for a relationship they both know ends with him returning to New York even as he calls for her to follow him later. The sequence is alive to the transitory beauty and sadness of this brief yet crucial relationship.
Likewise homosexual elements elided in the book and yet crucial to the Beat scene are given their due. Sturridge’s Carlo, with his airy verbal rhapsodies and charming pretence, captures something of Ginsberg’s talent, charm, and warmth even as he could easily seem like a colossal poseur, going through an extended internal wrestling bout with his psycho-sexual confusion, vowing to go off to Africa and smoke himself into opiated ecstasies and later recounting a failed suicide attempt with good-humoured dejection. Sal and Dean’s friendship is always charged with an element of attraction, culminating in a scene in which Sal is disquieted by catching sight of Dean hustling money by screwing a middle-aged businessman (Steve Buscemi). Hedlund, previously best known to me as the heroic void of Tron Legacy (2010), is surprisingly effective as Dean. Dean’s bold eccentricity manifests upon his first meeting with Carlo and Sal, coming to answer the door stark naked, Marylou lolling in bed in their flat, the fetid atmosphere of sex and booze and poverty belied by the glamorous rawness of the duo. Hedlund’s Dean surveys Carlo and Sal with a wide stare that seems at once open and somehow fathomless, blank, eternally hungry and unfillable. Dean is at once deeply egocentric and rapacious in his drives, qualities that will lead him to eventually hurt those close to him, and also a genuine misfit, anxiously generous, for whom the niceties of everyday life in modern, suburban America are a confounding trial. He also collects interesting people, mostly female, including the innocently, raucously randy Marylou, and the knowingly wicked Rita Bettancourt (Kaniehtiio Horn) who sucks down coffee laced with Benzedrine with a self-administered catechism, “Bless me Father for I will sin,” and whilst she and Dean rut, Carlo’s cries of complaint about the noise inspire Dean to march out and drag him into bed with them.
Sal and Dean’s relationship, and their mutual, strange one with Marylou deepens when Dean turns up unexpectedly at a house of Sal’s sister’s house where his family has gathered on Thanksgiving, with Dean having dumped Camille and their child off in the hinterland and taken up with Marylou again, in the company of another accidental wanderer, Ed Dunkel (Danny Morgan), whose wife Galatea has turned up at the Lees’ house outside New Orleans trying to locate her wayward spouse. After Dean volunteers to ferry Sal’s francophonic mother (Marie-Ginette Guay) to New York, he then sets out with Sal and Ed to rescue Galatea from the eccentric care of the Lees, rolling on their five-finger-discount way after they’re harassed by a cop who takes exception to these freaks and have to pay a steep fine — a rare moment in which the nettling force of authority descends on these escapees from normality. Sal’s already been invited into bed with Dean and Marylou at her behest, a threesome that stalled thanks to Sal’s self-consciousness that drives Dean irritably from the room, and their simmering mutual attraction and Dean’s determined adventuring manifests most amusingly when, after they’ve managed to divest themselves of the Dunkels and are driving across the Midwest, he has them all strip off and drive with Marylou between the two men, pulling them both off in a scene reminiscent of the mediated pan-sexuality glimpsed in Bertolucci’s 1900 (1977).
It’s hard to think of a more exact fashion for Stewart to shake off her Twilight-ingenue phase than this scene which amusingly, incidentally, trashes the prim love triangle of her famous franchise. Stewart’s best moment in the film is earlier, however, as Marylou and Dean dance with proto-raver abandon to Dizzy Gillespie’s “Salt Peanuts” to the delight of the New York bohemians, emissaries of liberation. When they turn up at the door of Sal’s sister’s and crash the family gathering, they’re more like envoys from an alien planet. Dean charms his way through dinner and then confesses to Sal of having recently passed through a bout of suicidal despair, having sat alone for hours with a gun trying to work up the will to kill himself. The characters are only half-willingly trapped on the outside, with Marylou surveying even the Lees’ fetid house in search of signs of domestic contentment, and Sal later peering through a department store window, studying televisions like these are the true artefacts of an alien landing.
Sal and Marylou’s relationship finds fulfilment in one night of ragged passion after Dean essentially dumps them both off so he can continue with Camille and his kid, Marylou chasing him off with a well-worded missive and then retreats to a corner to don her battle gear for a life of survival without him –- blood red lipstick all the better for seductively handling a hotel clerk. Salles repeats this motif after Camille in turn kicks Dean out after he and Sal come back from a night of fun, returning to a suburban house with the pitch of sullen fury mixes with baby screams into a symphony of nerve-shredding, Dean kissing his child goodbye and exiting with sullen grace, whilst Camille takes a long hard look at herself in the mirror and then steels herself in her nurse’s uniform, getting on with the business of living with a child. Salles’ quiet toughness on the sexism of Dean and others of this world is bracing. Galatea Dunkel’s tough, ruthlessly honest, if also priggish and self-important centrist values and unwavering criticality of these wayward lads is beautifully communicated by the ever-excellent Moss in a too-brief appearance. Dean’s hopeless inability to settle is however finally revealed as a pitiable curse rather than a mere convenience. The film’s final passage is majestic, a hallucinatory, Peckinpah-esque depiction of the pair’s final trip, a drive into Mexico where the pair finally find the orgiastic, consciousness-drowning experience – an indulgence of the carnal so immediate it liberates the spirit in a moment of rhapsodic lunacy – which they’ve hunted high and low for.
The duo meet up with young scallywag Victor (Joel Figueroa) hungry for US currency, with whom they share a joint the size of a stick of dynamite, before he leads them to a whorehouse where they find eruptive release, Dean shaking from stem to crown like a whirling dervish in communion with godheads as he fucks and vibrates to jazz. So exciting are these carnal cavaliers that the whores and their town farewell them as they continue to Mexico City, where a romp through the streets at night, passing through the very gut of a teeming organism of human life, becomes another dance between devils and enlightenment, Salles’ lenses highlighting Madonna statues and skull-masked children dancing around the duo. This is prelude to Sal falling desperately ill, lying sweating and tortured by visions of his lost friends, and finally abandoned by Dean who leaves him to recover whilst continuing to chase whatever the hell it is he’s after. Sal and Dean’s last encounter on a frigid New York street with Sal heading off for a concert sees Dean appearing out the darkness, at last fully transformed into the frazzled, glowing-eyed, hollowed-out demon-beset saint Sal had always suspected he was, begging Sal silently for forgiveness whilst bearing the marks of damage that his continued journey left him with, as if Sal in fact got off easy whilst Dean’s continuing the quest took him to a bleak and ecstatic place that left him with no future, only more road.
Sal soon after finally begins creating the work we’ve been watching, creating the scroll draft in an explosion of creative self-exorcism that leaves off with Dean’s name repeated like a catechism, their search for unfound fathers still haunting them and Dean now a roaming spirit somewhere in the west, transmuted by Sal’s imagination into the personification of all things strange and off-kilter in an America starting to worship the television and the washing machine. Riley, after his wobbly work in Brighton Rock (2011), returns to best form in playing Sal, who is always two people, the fawnish young romantic on screen and the croaky narrator whose experience is written in his vocal chords whilst his face transforms as the film unfolds until he’s lined and hairy and the hurt as well as blessings of his life on the road pools in his eyes. Like Omar Sharif in Doctor Zhivago (1965), he’s the dreamy but increasingly battle-scarred conduit for the drama as much as protagonist. On The Road as a whole doesn’t always sustain the intensity of Kerouac’s writing or its own best passages, and on some levels I can understand the problems some have with it: rather than a tale of great moment, this is a grace note, a recreation of time past that asks less, what can be, but rather, what happened? Rather then presenting a road map for modern hipsters, the final thesis of the film suggests that for all the philosophy and life hunger Kerouac tried to present, he also succeeded in painting a portrait of people permanently cut off from their world and their moment, aliens in their own society, no matter how many funky kids tried to emulate their example. But it’s this slightly bitter realism, the acute reflection of the dark and downside of life in bohemia in any era as well as its ephemeral joys, that I liked. And the film is, especially in its concluding passages, true to the Roman candle vividness and floundering yet desirous spirit of Kerouac’s work, a rich and marvel-studded misfire, whilst resisting being another classic illustrated, a demystification that finds raw humanity under the sainted prose.
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Director/Coscreenwriter: Mario Bava
Part of the Italian Horror Blogathon at Hugo Stiglitz Makes Movies
By Roderick Heath
Mario Bava is a name to conjure with amongst lovers of horror cinema today, after an interregnum when his brand had waned and he was remembered only by film scholars and the directors who ripped him off. His lush, visually symphonic work in the horror field did not just bridge eras in the genre’s evolution, but actively influenced that evolution. Bava oversaw both the great revival of the Gothic horror style, thanks to his rescue job on Riccardo Freda’s I Vampiri (1956), which beat both Hammer Studios and Roger Corman to the mark of sparking that style, and continued with Bava’s proper debut La Maschera del Demonio (1960). Bava however also oversaw that revival’s displacing by a new style of horror, one which Bava essentially invented, based in more modern conventions, codes, and tropes. This would become known as the giallo movie. In the wake of Hitchcock’s Psycho (1960) and Michael Powell’s Peeping Tom (1960), which gave contemporary horror an electric relevance, Bava first compiled the giallo style in 1963’s La Ragazza che Sapeva Troppo and its brilliant follow-up Sei Donne Per l’Assassino (1964). Where the Gothic genre was historical, rooted in intensely psychologised images and long-settled figurations representing threat – ghosts, vampires, werewolves – the giallo was stylised according to the shape and rhythm of a less superstitious but equally paranoid contemporary landscape, reconceiving threat as a lurking, masked, gloved killer out to attack and annihilate beauty and complacency. Gothic was rooted in Victorian literary and folk-tale traditions; giallo came from pulp literature, modern art, and urban myth. Giallo latched onto the sorts of figures beloved of trashy newspapers and which seemed to have devolved along with the modern urban world – sex killers, heavy breather phone callers, alienated misogynists, and murderous anarchists.
I Tre Volti della Paura feels like a pivotal movie for Bava, not simply in that its English-language title, Black Sabbath, inspired the name of the prototypical heavy metal band and thus gave it a higher measure of fame than any other Bava work, but because it’s an omnibus movie that allowed Bava to offer variations on new and old horror aesthetics. This analytical presumption contrasts not simply their disparate preoccupations and lexicons, both visual and thematic, but also their shared roots and mutual, closely related power. Bava’s film tells three stories adapted from Anton Chekhov, Howard Snyder, and Alexei Tolstoy, a disparate triumvirate of names and modes of storytelling, ordered depending on which version you’re watching of the film, the Italian or the foreign release cut. The Italian cut commences with The Telephone, from a Snyder story, moves on to The Wurdalak, from Tolstoy, and concludes with Chekhov’s The Drop of Water. The first is clearly an exercise in giallo nerve-wracking, whilst the second is ripe Gothicism, and the third represents a distinct tradition but also presents a curious melding of the two, apt in adapting Chekhov, a writer with old-world class partly veiling a very modern, ironic mind. The horror genre has, over the years, seen more omnibus and portmanteau films than any other genre I can think of, from Paul Leni’s Das Wachsfigurenkabinett (1924), up to this year’s V/H/S. This seems a by-product of the type of story the genre works well with, minimal mood-pieces where sometimes complication despoils the form’s inherent qualities, and the powerful literary tradition of short eerie fiction. Bava’s work came in the wake of Corman’s Tales of Terror (1961) and anticipated Kobayashi’s Kaidan (1964), the multi-director fancies of Histoires Extraordinaires de Edgar Allen Poe (1967), and Milton Subotsky’s series of Amicus films, but unlike most others Bava resists mixing the bag in tone or intent too much, and each episode vibrates with concerted near-perfection.
I Tre Volti della Paura often seems aware of its place as a bridging point of old and new, and certainly Bava keeps glancing over his shoulder at both his own style’s roots, and that of the genre. He signals this most clearly by taking advantage of having Boris Karloff as a star, offering him in a prologue and epilogue as a good-humoured master of ceremonies, warning the audience about vampires who might be sitting next to them – “Vampires go to the movies too!” – and imbuing the film with a self-evident link to the heyday of Hollywood horror. Karloff’s stature as a horror star had taken him through three distinct waves in the genre’s evolution, from James Whale to Val Lewton to Corman and Bava. Karloff’s jests in the bookends suggest an extension to his salutary self-mockery in Corman’s The Raven the same year, and yet his actual role in this film, in The Wurdalak, is serious in a severe and classical fashion. The Telephone, particularly in its Italian version, is remarkable for its concise summary of the underpinnings and methodology of the giallo style. The set-up is simple: a woman alone is terrorised by an unseen threat and a taunting voice on the phone. It’s one of the hoariest of modern genre variants, one that easily turns dull and repetitive in lesser hands, and yet Bava’s version is the ür-text, crisp in its execution and telling in its supple feints and clever miscues.
The woman here is Rosy (Michele Mercier), a gorgeous young trollop who arrives home one evening, strips down, and gets ready for bed, only to start receiving phone calls. At first the caller does not answer her plaintive demands to know who they are and what they want, and then finally the raspy mystery man begins to taunt her with threats of rape and murder, before slipping a newspaper cutting under her front door. The cutting suggests the caller is a former boyfriend of hers, Frank Rainer (Milo Quesada), who has since gone to jail and now escaped. The caller seems to know everything she does, and Bava privileges the audience to a glimpse of malignant peering eyes through a window blind. Rosy, distraught and told if she calls the police then the killer will come in and finish her off, instead phones up her former lover Mary (Lydia Alfonsi) and begs her to come over. Mary arrives and after soothing her fears ends up sleeping with her, but as Bava has already revealed, Mary is in fact the source of the phone calls – a pretext in her desire to get back with Rosy. But as Mary writes a confession to leave for Rosy to read in the morning, the real Rainer enters the apartment and sneaks up on Mary, assuming she is Rosy.
The Telephone is a masterpiece of compact storytelling, unfolding with Bava’s illustrative intelligence whilst accepting distinct formal restrictions. The lesbian twist to the episode, carefully fudged in the English-language version, gives it a darker and deeper emotional punch than would otherwise offer, making Mary’s malfeasance a keener manifestation of emotional jealousy and longing worked out through a sadistic ploy, and staking the tale in a game of reversing roles. Mary pretends to be Rainer and Rainer mistakes Mary for Rosy, the man and woman swapping parts in their desire to possess/destroy Rosy’s fecund but independent sexuality, but finally only helping destroy each-other. This element plugs into the contemporary anxiety over sexuality and changing social mores overtaking traditional morality which would give the giallo genre so much of its bite, albeit often with reactionary overtones. Only a couple of years after Fellini offered arch queer caricatures in La Dolce Vita (1960), Bava treats this element with beguiling matter-of-factness, carefully depicting Mary as driven by angry desire to duplicitous means, eyeing Rosy’s fancy rooms and wondering out loud who pays for it all. The suggestion is that Rosy has often used her as her emotional comfort whilst working her way through men who could help her financially. Mary’s bitterness at being thrown over is then all too palpable, and it’s clear that Rainer, a dangerous criminal, was one of those men. Bava’s usual punitive moralism, often even stricter than his own hero Alfred Hitchcock, is apparent as all three characters pay a steep price for their transgressions, with Rosy left alive at the end as perhaps the worst punishment of all as the victims of her romantic life lie quite literally sprawled on the floor.
At the same time, Mary’s gamesmanship replicates on a narrative level the fundamental dynamic of Bava’s direction, a reduction of drama to the act of looking, watching, hypnotised by the pure spectacle as Bava stokes Rosy’s fear with pseudo-erotic sadism, the unseen watcher/caller standing in for the camera, director, audience, willing the game to go further, deeper, and climax with orgasmic act of murder. But like his successor Dario Argento in his early work, Bava enjoys disrupting the expectations about whose viewpoint the terror represents, evoking polymorphic underpinnings to a nominally simple exploitation of phobias of sex and death: it’s like Sartre’s No Exit reconfigured as chamber piece horror. The Telephone charts Bava’s precise awareness of just how long to string along the situation, offering his key revelations, like the staring eyes behind the blind and the identity of the caller, with seemingly casual yet actually precise and forceful cuts and camera moves as if following a thread to the heart of the labyrinth. He sustains dread in the meantime with the resolute build of shots around Mercier’s terrific performance, with each new call causing a distinct mounting of tension manifest in Rosy. Whilst the pace of editing builds, the telephone itself turns in an object of adversarial power – it’s coloured red and black, looking forward to the red telephone receiver that dangles as the evocation of severed lives and ruined loves at the end of Sei Donne per l’Assassino. The Telephone sees Bava at once defining the basic principles of giallo for the future – peering eyes, gloved hands, wickedly shining knives, isolation, paranoia, the fetishistic delight in the image of a terrified woman – whilst also looking back to Hitchcock’s immediate influence. He executes the story within one room, recalling Rope (1948) and Rear Window, particularly the latter with its emphasis on voyeurism; the eyes behind the blind evoke Psycho (1960), whilst Bava mimics a singular shot from The Man Who Knew Too Much (1956) as he performs a delicate camera move around Rosy, as she listens to an unfolding nightmare on the telephone. A climactic shot of Rainer sneaking up on Mary with an appropriated stocking clearly references Dial M For Murder (1954).
Which is not to say Bava’s filmmaking is imitative, but simply paying nods where they’re due, whilst also presenting his own stylistic brilliance, his sense of colour and composition and genius for fluidic, sensuous camera movement, and these qualities permeate the whole of I Tre Volti della Paura. The Wurdalak, the second and most elaborate episode, is a miniature epic that offsets the contemporary vision of private hells in The Telephone with a more traditional version. Bava’s penchant for the folkish eccentricities of the Slavic ghost story canon had already seen him loosely adapt Gogol’s ‘The Vij’ for La Maschera del Demonio, and The Wurdalak like that film takes place in a netherworld version of Eastern Europe, with sonorous location shots fleshing out perhaps Bava’s a beautifully crafted exercise in gothic horror. Freda, Bava, Sergio Leone and others of their breed were always expected to make their films look like the popular and commercially dominant English-language genre films in their fields, and even as they began to distort the results towards their own interests they paid lip-service to this necessity: here Bava pays clear nods to Corman by importing the stolidly handsome star of his House of Usher (1960), Mark Damon, to play a variation on his role there as an outmatched ingenue locked in a battle with his lover’s very identity. The set-up has distinct resemblances to several of Corman’s Poe-derived or inspired cycle, as Damon’s Count Vladimir d’Urfe takes on the role of archetypal Wanderer, in a vaguely identified, eerily depopulated land where peculiar social assumptions and menacing activities permeate the onerous scenery. The Count discovers a headless corpse on a riverbank with a distinctive knife in the heart. Vladimir straddles the corpse across his horse and carries it to the nearest house, where he discovers a family living in cowering anxiety and expectation, and he’s confronted by Giorgio (Glauco Onorato) who recognises his own father’s knife as the one Vladimir has removed from the body.
When Vladimir leads Giorgio outside to inspect the body, it proves to have mysteriously vanished, only to turn up a short distance away, being stabbed through the heart with punitive relish by Giorgio’s brother Pietro (Massimo Righi). Somehow this discovery is actually more unnerving than the corpse’s reanimation would have been, the sight of the headless remnant being stabbed with a need for certainty commingling with the impossibility of ever truly killing the spectre of fear, heightening the atmosphere of hysteria that builds in the forty or so minutes of The Wurdalak’s running time. The corpse, it’s explained to Vladimir, was that of Alibeq, a Turkish bandit who had terrorised the region and who was rumoured to also be a vampire-like wurdalak. Their father Gorca (Karloff) had gone out days earlier to find and kill the enemy after he had murdered the clan’s foreman, but left behind a mysterious entreaty that they should kill him in turn, if he turned up more than five days after departing, a timespan which happens to run out at midnight, for that would mean that he would certainly be a wurdalak too by then. As the family waits fearfully for the appointed hour, Vladimir’s is drawn to Gorca’s stunningly beautiful daughter Sdenka (Susy Andersen). As midnight ticks by, Gorca appears, haggard and alternately fierce and strangely unctuous in his manner, displaying Alibeq’s head which he’s been carrying around with him, a strikingly iconic image of a man who’s given into savage nature even in attempting to annihilate it. His fearful children know they should obey his previous statement, and yet can’t bring themselves to. In the night, as Pietro is left to keep watch, Gorca begins moving about the house, claiming Ivan, the child of Giorgio and his wife Maria (Rika Dialina), and leaving Pietro for dead.
One of Bava’s distinctive traits as a filmmaker was his ruthlessly clear understanding of the basic underpinnings of the dark fantasies he was engaged in depicting, and just as La Maschera del Demonio expanded intelligibly on the schismatic yet eternally conjoined images of Madonna and whore, and Sei Donne Per l’Assassino would contend with the urge to exterminate beauty if it could not be possessed, The Wurdalak anticipates Operazione Paura (1966) and Lisa e il Diavolo (1973) as Bava’s inwardly spiralling meditations on the encaging horror that can be family identity. Here the poisoned patriarch Gorca, who had gone out to do battle with the marauding villain, comes back as the force of evil he had sought to exterminate, and swiftly causes his clan to fall victim to it, complete with clear overtones of paedophilia and incest as he singles out young Ivan and snatches him away into the night, and the net draws tighter around Sdenka even as Vladimir begs her to escape with him. Images in Operazione Paura of evil lurking outside windows, peering in on the warm and contented with baleful intent to feed on that land of life, are prefigured here, as the household eats itself from the inside out. What’s most striking and pathologically precise about The Wurdalak is its pitilessly unsentimental view of sentiment, one which plainly prefigures the similar brute logic that George Romero would examine in his best films, a tension between emotional reflex and survivalist necessity.
This tilt on the familiar dramatic necessities of fighting evil examines the way people can behave in illogical ways when their lives are at stake and disturbing facts are plainly apparent, but their taboos and intensely entrenched prejudices and loyalties, no matter how retrograde or ignorant of other concerns, have been internalised so completely that they demand people act in contrary ways. Thus Bava shows the clan destroyed by its blindness to anything but its own hermetic nature, in a pungent metaphor for this schism: the sons cannot obey the father’s own advice and destroy him, and Giorgio’s wife murders her husband when he tries to prevent her letting in their plainly vampirized son, who seems to come wandering out of the frigid night to scratch at the door (anticipating memorable moments in Tobe Hooper’s spin on Stephen King’s Salem’s Lot, 1979). Many a young lover has often felt like they’re trying to extract the one desirable member from a family of monsters, and Vladimir struggles to convince Sdenka to flee with him as she believes she must stay with her family for loyalty’s sake even as they all expire. Although Vladimir does finally convince Sdenka to leave, the delay is fatal, for the clan are able to catch up with them. In a brilliant depiction of the inescapable nature of formative roots, Sdenka is caught between her transformed family members, advancing to claim her in the midst of a ruined church, shambling corpses still obeying their inculcated ideals of clannish behaviour, and ghosts of ancient repressions still overwhelming all good sense in the present. When Vladimir awakens alone, he retraces the path to the Gorca house and finds Sdenka, waiting in all luscious readiness for him to join the family circle.
Interpretative perversities aside, The Wurdalak is visual gothic par excellence, with Bava manipulating both the studio settings and the location shooting to maximum atmospheric effect, conjuring a magnificent, appropriately fairy-tale world of menace, frames teeming with overgrown thorny bushes and misted forests, frosted windows and warm hues of longed-for shelters and sunrises. Indelible images proliferate, like Gorca stalking across the bridge on his way home, the faces of the undead glaring through frosted windows, and young Ivan clawing and weeping at the door, stoking his mother to emotions so desperate she cuts through her husband to get to her son. Bava pulls off one of his most felicitous bits of filmmaking here as he cuts from Giorgio and Maria arguing to the plaintive yet disconcerting image of what they think is their son kneeling with arms spread on the front door, and then cutting back to the sigh of a pair of scissors, daubed in Giorgio’s blood, falling to the floor, the mortally wounded man still crying out to the wife who’s killed him not to open the door for the monster. The deliriousness of Bava’s sci-fi horror riff, Terrore Nello Spazio (1965), is nascent in the saturated colours and dream-like mood. If the last chapter, The Drop of Water, seems comparatively lightweight after the The Wurdalak, it actually represents Bava’s most purely stylistic coup, in the orchestral use of colour, composition, sound, and camera work utilised in compiling a growing sense of unease.
Operating in a similar mould of isolated anxiety, depicting a woman alone in her apartment afraid of lurking terrors, to The Telephone, The Drop of Water is the story of plebeian, sticky-fingered, hapless nurse Helen Chester (Jacqueline Pierreux), who is called out on a dark and stormy night from her warm abode to attend to her just deceased charge, a reputed but reclusive medium. Distracted and irritable, Helen espies and surreptitiously steals the enticing ring on the corpse’s finger. If The Telephone and The Wurdalak explore two major strands of horror, The Drop of Water exemplifies a third, the morality play where justice, which may be supernatural or might simply be overloaded mental credulity, comes surging from beyond the grave to punish transgression. For Bava, the mechanics of this kind of storytelling are comparatively simplistic, but the elements of class envy and the depiction of property as a maddening and destructive spur look forward to the insidious supernatural class struggle again in Operazione Paura, and the war over the estate that drives the bloodshed of Reazione a Catena (1971). Bava further invests The Drop of Water with overtones of black comedy, through Pierreux’s amusingly exaggerated performance as Helen, and the minute, nuisance-like, yet cumulatively maddening proliferation of difficulties in her attempts at thievery that start to resemble silent comedy. This restrained slapstick has consequences, as these events begin to recur as increasingly dreadful portents of warning after they’ve already suggested the taboo nature of stealing from the dead, building with a rapid but precise relish reminiscent of Clouzot’s Les Diaboliques (1957), where again the temptation to profitable transgression is met by the corrosive terror of being caught.
Whilst the episode’s tone sustains impudent humour, Bava still constructs this episode with magisterial craft, contrasting the decaying splendour of the Medium’s mansion and Helen’s flat whilst filling both with resplendent colour effects that communicate moral, corporeal, and spiritual rot, for both places are filled with hues eloquent of decay and slovenly disinterest. Bava’s camera peers into spaces where any manifestation of evil might appear and yet which don’t – until finally they do, or at least the mind, tired of waiting for them to arrive, conjures them itself. Helen’s midnight suffering as she hears dripping water and is tormented by a single, impudent fly, sees her worked up into a pitch of anxiety. Finally the ghoulish visage of her dead charge appears in the shadows, gliding with eerie weightlessly and terrible purpose, her face, distorted as on the deathbed into a gnarled and gruesome leer, is etched in sickly hues of green and red. Helen is found dead the next day, missing the ring. Perhaps the ghost came and claimed it, and yet, as Bava details the guilty face of Helen’s neighbour and zooms in for a last look at Helen’s dead face, now distorted itself into another grim leer, the neighbour has taken the ring, and the roundelay of guilt and fear invoked by this seamy fixation with possession will continue. You can’t take it with you, but you can damn well haunt whoever else thinks it’s theirs.
The title’s cleverness becomes apparent by the end, as the “three faces of fear” refer not only to the trio of spooky stories, but to the cumulative fixation each episode has with a face that encapsulates fear, whether being experienced, as found in Rosy’s or Helen’s sweat-dabbed, tremulous brows, or inspiring it, as in Gorca’s and the Medium’s funereal visages, even coalescing monstrosity and beauty in Sdenka’s enticing final clinch with Vladimir. If, as Jean Renoir once said, the face was the greatest tool at the filmmaker’s disposal, this was Bava’s response, his proof of faith in the gestural power of the human element to invoke the most extreme cinematic emotions. If Sei Donne or Operazione Paura offer complete statements that are ultimately more powerful, I Tre Volti could well be the best produced of Bava’s horror films: the production carries little of the tackiness a lot of even the best Italian genre cinema could never quite escape, and the costuming, lighting, and settings reflect craftsmanship of a rich and delightful sort. Bava’s collaboration with DP Ubaldo Terzano is superlative. This excellence is ironic, as the film finishes up making fun of its own construction, revealing in the climax the tacky charm required to conjure such visions as Karloff, in his Gorca guise, suddenly stops riding the mechanical horse he’s mounted on to jest with the audience, whilst Bava pulls back to reveal crewmen running in circles to create the effect of forest brush whipping by. This jokey epilogue is Bava laughing at his own showmanship and Karloff mocking his own legacy, but not with tiredness or self-contempt, but the knowing winks of great magicians who don’t mind giving the game away if it’s been played well enough. Or perhaps it’s Bava’s answer to his pal Fellini’s inverted study in cinematic creativity released the same year, 8½. Anyway, when it’s all over, it’s not the humour you remember, or the storytelling: it’s that primal image of the Medium’s face, sliding forth out of the darkness, straight out of every childhood nightmare.
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Director: Herbert Wise
By Roderick Heath
I vividly recall the first time I saw this initial adaptation of Susan Hill’s 1982 novel. It was in high school, on one of those afternoons where for whatever reason we had no class. A substitute teacher stuck a VHS tape grabbed from the English staff room in the video to give us something to do with our eyes and less to do with our mouths. The film took its time getting our attention, but when it did, I don’t think I’ve ever heard a room full of teenagers go quite so quiet before or since. The Woman in Black is one of the few truly successful examples of pure mood-piece horror made in the past quarter century, all the more admirable for being a telemovie, made with the no-nonsense sense of functional craft that distinguished British television for so many years. The title is a deliberate play on Wilkie Collins’ famous Victorian-era mystery novel The Woman in White, as Hill’s narrative portrays the gnawing legacy of oppressive generational values and resurgent maternal vengeance roaring out from beyond the grave in the most insidious and crazed of guises, and the act of burrowing into forbidden enigmas only stirs the grimmest of retaliations.
The cult affection for both novel and telemovie has only grown over the years, and hopefully the telemovie’s reputation will hold strong when the flaccid feature film version, starring Daniel Radcliffe, is long forgotten. It is amusing to note that Radcliffe’s role is played in the original by his on-screen Harry Potter father, Adrian Rawlins. The screenplay for the ’89 version was composed by Nigel Kneale, and whilst he took liberties with Hill’s work, he had practically written the book on how to intrigue and scare the hell out of TV audiences with his Quatermass serials and excellent telemovies like The Year of the Sex Olympics (1968) and The Stone Tape (1972), and he confirmed here he had lost none of his touch for weaving richly engaging supernatural mysteries. Set in the 1920s, The Woman in Black depicts a junior member of a London law firm, Arthur Kidd (Rawlins), a stolid but conscientious young professional pressured to take on the more fiddly, annoying, and time-consuming case work that stern senior partner Josiah Freston (David Daker) doesn’t deign to do, in spite of the fact that Arthur has a wife, Stella (Clare Holman), and two young children who take up all his spare time.
Arthur is thus easily compelled, for the sake of his career, to go to the seaside town of Crythin Gifford, to finalise the estate of a recently deceased woman, Alice Drablow. Upon arriving at the town, he soon begins perceiving odd phenomena. At the old lady’s funeral, Arthur observes only one mourner apart from himself and local solicitor Keckwick (William Simons), being a woman dressed in black, gazing balefully from the back of the church, and across the graveyard outside from amongst the tombstones. When Arthur tries to alert Keckwick to this, the solicitor refuses to look at her. Everyone, even the avuncular local landowner Sam Toovey (Bernard Hepton) whom Arthur struck up a friendship with on the train from London, seems uneasy when he mentions Marsh House, Drablow’s home, which is perched on the far end of a long, perilous causeway stretching across a tidal plain. Amidst the tumult of the town’s market day, a young gypsy girl is pinned and injured when a load of wood falls off a cart: Arthur dashes in and snatches her out of the road before she’s crushed by a huge log.
When he’s taken out to Alice’s residence, Marsh House, to begin organising her papers and readying the house for sale, Arthur encounters the black-clad woman again, in an old family plot abutting the house. She glares at him with a feverish intensity so suggestively malevolent that she scares Arthur into fleeing inside, bolting the doors, and turning on every light in the house. Soon after, he experiences a torturous aural manifestation that documents a heartrending event: the sound of a carriage crashing into the water off the causeway, and a young child and his mother screaming in panic as they sink to their deaths. He hears this repeatedly during his time at the house, to the point where he can’t distinguish its early passages from the sound of a real carriage coming over the causeway, a detail the film then exploits for all it’s worth. Returning to town, Arthur begins to perceive the way these seemingly distinct incidents are part of a pattern, permeating the locale and all its inhabitants, as he recognises that both Keckwick and Toovey share similar tragedies in their recent past, as do many others in the vicinity, in having lost young children in accidents or illness. Arthur’s intervening to save the gypsy girl now takes on a new slant, for he has snatched another intended victim of the curse out of harm’s way, but possibly to no good end. Against Toovey’s advice and his own good sense, Arthur decides to move into Marsh House to complete his work and to delve into the mystery, which, thanks to Alice Drablow’s cylinder recordings, he begins to realise is sourced in a tragic series of events that consumed members of Alice’s family. Alone overnight with Toovey’s dog Spider as his only company, Arthur is lured upstairs to a perpetually locked room by a thumping sound and seems to perceive another haunting presence, that of a small laughing boy who plants a tiny tin soldier in Arthur’s hand.
In spite of some formidable competition from the likes of The Haunting (1963), The Legend of Hell House (1973), and The Others (2001), this first version of The Woman in Black is, alongside The Shining (1981) quite simply, the best “haunting” movie ever made, outstripping all other rivals for concisely sketched mood and slow-mounting tension. It’s very much the made-for-TV modesty of it that makes it so indelible, with no temptations to indulge in showy camerawork or special effects to distort narrative essentials. It’s also all the better for rarely trying to overtly frighten, being much more about generating tension and eeriness, making the film’s few moments of urgency and shock brilliantly effective. The story develops some familiar themes, yet expected narrative pay-offs are forestalled, only to rush in when least expected, with maximum, disorienting impact. Director Herbert Wise was a veteran television director whose very first work, ironically, was a TV version of The Woman in White (1957), and whose credits since the mid-‘50s had included stand-out telemovies like I, Claudius (1976) and Skokie (1981).
Here, Wise conjures an exactly honed sense of atmosphere, in the bustle of the law offices and the small town, the domestic warmth of Arthur’s home life, and, eventually, the mood of desolate loneliness in the remote location of Marsh House, where he alternates between agoraphobia-inducing external spaces and claustrophobic interiors, and a tingling sense of threat pervades. The film was shot almost entirely on location, and the resulting three-dimensional realism quality it credibility. The woman’s appearances are often simply matters of cunning framing as the camera dollies back and forth, her spindly figure casually appearing in the rear of shots she wasn’t in a few seconds before. In one particularly excellent moment, the one that first truly makes Arthur understand he’s in a situation beyond his ken, sees Arthur, sensing an alien presence, abruptly feel the hairs on his neck stand up, and he whips about to glimpse the woman only a few feet away, glowering at him with what he describes as a kind of hunger turned to hate, possessed of radiating power.
The paraphernalia of the superlative ghost story is expertly laid out in both script and direction: the eerie visitations of the female wraith with her faintly greenish pallor and red-rimmed eyes burning with prosecutorial loathing; the remote haunted house; the omnipresent fogs sweeping over the death-trap causeway and mysterious noises thudding out during the night; the air of secrecy weighing upon the populace of the backwater; and, lurking behind it all, a powerful source of emotional anguish that drives the ghost in her relentless program of punishing the living for her loss. The use of sound as a particular source of torment is felicitous, in the overt disquiet of the accident anguish, and also in the sound of Alice’s voice on the cylinders, giving its own tantalisingly ghostly hints, of years spent being haunted by a malignant phantom, of fending off her hate and persecution in the night, every night, for half a century. Arthur is an exemplary hero, likeable, generous, a good father and hardworking, gutsy, intelligent man.
All his qualities don’t mean a thing, however, as he’s completely outmatched in his battle with the supernatural force he unwittingly challenges and is victimised by, even as he musters an uncommon determination and bravery in venturing back to Marsh House and trying to unravel the mystery. His failure to respect the tenuous balance of the situation, rather than beginning, as in most such stories, a journey towards finding resolution for it, sees Arthur instead place himself directly in the sights of the woman’s vengeance. Arthur is steadily worn down by his experiences to a pale, feverish, hysterical wreck, as his most charming traits, his love of children and ready empathy, prove to be magnets for the ghost’s most sadistic impulses. In the final phases of the story he’s so desperate to rid himself of the last totems of Marsh House that he haphazardly piles up papers retrieved from the house in his office and sets fire to them with paraffin, nearly incinerating the law firm in the process. He also almost strangles Freston, in realising that his boss sent him to Marsh House because Freston knew about the haunting and was absolutely terrified of it.
Hill’s story essentially transfers the Latin American folk figure of La Llorona, the inconsolable weeping mother of a lost child whose appearance forebodes death and disaster, to an English setting, and invests her with a specific, wilful destructive authority. As such it represents a dark antithesis to the Victorian cult of motherhood and industry, and Hill knew it very well. This meshes with Kneale’s familiar fascination for locations that have become deeply invested by malefic influence, without his usual interest in exploring the edges of scientific credulity, except that Arthur’s pronouncement that the repetition of the accident resembles a recording calls to mind that motif in The Stone Tape. Arthur does uncover the wraith’s identity: she was Alice’s sister Jennet, who had a child out of wedlock. Alice and her husband had adopted the boy to cover up the disgrace, leaving Jennet to become increasingly unhinged. Toovey recalls her wandering the streets in anguish when he was young, and he murmurs with acidic knowing when he fingers a photo of the Drablows and the adopted boy, “Happy families!”
The horrible accident which Arthur is forced to continuously listen to on the marsh occurred when Jennet tried to snatch back her child, and then crashed whilst fleeing. The locked room was actually the boy’s bedroom. The real sting of this event, which Arthur recognises, is the taunting ambiguity of the boy’s cries for his mother: nobody, neither the living nor the dead Jennet, can know if he was calling for her or Alice, and this is the real spur to her venomous haunting. Now she is a living embodiment of rage against Victorian familial pretensions and veils of hypocrisy and lies, still maintaining a reign of terror against all family happiness in the town even as the twentieth century is slowly penetrating its environs. Marsh House has an electrical generator which has an unpleasant habit of conking out at the most hair-raising moments: Arthur’s frantic efforts to get it going, his diligence in trying to keep the house’s lights blazing, and use of the recording device, all indicate a desperate belief that the trappings of the modern world can stave off the miasma of evil and exile the phantom of past wrongs.
As suggestive as the drama of The Woman in Black is, what makes it riveting is the watchmaker’s sense of form and bastard cunning with which Kneale and Wise make it work on screen. Equally vital is the creepy music score by Rachel Portman, long before she became an Oscar-winner. Drama and music work in perfect accord at a crucial moment when Arthur is confronted with disturbing manifestations in the boy’s bedroom, the generator fails, and his panic to get the power back on again is palpable as Portman’s shrieking Psycho-esque strings blare. The film’s most memorable sequence comes when Arthur has been brought back from the house and is sleeping in a hotel, seemingly having dodged the lurking threat, except that he awakens in the middle of the night to the sound of the boy’s laughter, the tin soldier under his pillow. Arthur sits up and tries to communicate with the spirit, only for Jennet to loom over him as a shrieking, fire-eyed demon, implacable in her otherworldly abhorrence for anyone presumptuous enough to enter her domain. The primal scream Arthur releases as she swoops down on him recalls many moments in Kneale’s oeuvre.
When one is well prepared for this moment, it’s delicious and a little campy, but coming out of nowhere as it does on a first viewing it’s genuinely chilling and surprising: otherwise stalwart adults have reported being terrified by it. Similarly powerful is the very finale, when Arthur and his wife and baby take a weekend sojourn in a rowboat. Arthur finally seems to be regaining some peace of mind, only to spy the wraith standing upon the lake surface, smiling with queasy triumph as a tree breaks and crashes down upon the family, racking up three more sacrifices for her unquenchable, perverted sense of justice. It’s as bleak as conclusions come, but The Woman in Black is relishable to its last frame precisely because, like the title character, it plays a merciless game with a showman’s sense of timing.
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By Marilyn Ferdinand
Media creatures come and go, we all know that. It used to be that you couldn’t open a magazine or even check your e-mail without Paris Hilton and Kim Kardashian posing their little hearts out at some event or other as part of the news of the day. Now where are they? People with no apparent purpose other than to be seen almost always have a short shelf life.
But not always. It has come as a genuine shock that Cannes Man Jacques D’Azur is not expected to attend the 2010 Cannes Film Festival due to the fact that his earthly shelf life appears to have run out. His disappearance over a Pacific atoll is as mysterious as his appearance on the cultural scene. In fact, his parentage cannot be determined, leading some to question whether he ever really was who people thought he was. In fact, you or I could easily take his place—at Cannes or as an overnight celebrity. Stranger things have happened.
As it turns out, Ferdy on Films readers have a chance to attend Cannes in the style Jacques D’Azur would have become accustomed to had he ever really existed. The contest to become the new Cannes Man or Woman is a clever media event, and it’s been a hell of a lot of fun to have been brought in on it to benefit my readers.
What might you win?
• Round-trip, first-class airfare for the winner and one guest to attend Cannes
• Five-star double-occupancy hotel accommodations for two nights
• Two tickets to an opening or closing gala at the Palm D”Or Awards
• VIP festival screenings
• Transportation to and from departing and arriving airport
• A personally tailored suit or dress for the winner
• All meals and beverages
• Two entertainment activities for the winner and guest
• One goodie bag
Now isn’t this better this a Google ad?
Go to the Jacques D’Azur Facebook page or here for the contest link. (And women, don’t worry that you might be considered “husband” material—well, you’ll see what I mean.) l