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Director: Ben Wheatley
By Roderick Heath
Ben Wheatley debuted as a director with 2009’s Down Terrace and leapt to the forefront of British filmmaking talents with his second work, the gruesome, tantalisingly semi-abstract horror film Kill List (2011). Since then Wheatley, working in close collaboration with wife Amy Jump, who cowrites and edits his films, made the blackly humorous Sightseers (2013) and the psychedelic period film A Field in England (2014). Part of the potency the duo’s collaborations have mustered wells from the blend of Wheatley’s filmmaking savvy, achieving beguiling gloss and texture with stringent budgets and strong but near-unknown casts, and creative eagerness to smack apposite ideas and styles together. Wheatley and Jump marry the disorientating and enigmatic effects of arthouse cinema to down-and-dirty genre aesthetics, conjure farce and savagery as entwined serpents, and harbour an evident yearning to reinvigorate touchstones from diverse heydays of British cinema. Sightseers, for instance, managed to pitch itself somewhere between Ealing comedy and the eerie stylings of ’60s and ’70s folk-horror films, whilst A Field in England, though never quite coalescing as successfully as its two predecessors, also represented a leap in ambition as Wheatley and Jump explored the familiar theme of the shock of the new, but in the context of the past. High-Rise sees the filmmaking duo moving into new territory in adapting a highly regarded novel penned by J.G. Ballard in 1975 and working with a much more prestigious cast and budget. Still, the material demands that the duo’s edgy, fearless streak be left undiluted.
Ballard, a writer who, like Kurt Vonnegut, transcended his niche in popularity as a science fiction writer to become regarded as one of the most impishly acerbic imaginations of his time, spent part of his youth in a Japanese internment camp during World War II. He later transmuted that desperate experience into his famous novel Empire of the Sun, filmed by Steven Spielberg in 1987. Ballard’s adult viewpoint on the world, one that emerged with increasing ferocity, perversity, and cyanide wit in his writing, was understandably inflected by the grim lessons of his war experience, the spectacle of human civilisation suddenly ceasing to work in the coherent, systematic, antiseptic manner that defines modernity. Ballard’s scifi writing took on an increasing tint of brute parable as he offered mordant dissection of social systems and the underlying assumptions of human behaviour that sustain them. High-Rise levelled Ballard’s cold wit and unsparing sensibility at one of modernism’s temples, the high-rise apartment building, and the attendant commercialism of the boutique lifestyle mythos. The story, although nominally realistic and contemporary to when Ballard wrote it, edges quickly into a Swiftian portrait of what happens as systems break down and primeval behavioural patterns begin to assert themselves.
A few years ago I happened to catch on TV a British semi-documentary film from 1946, The Way We Live, detailed the rebuilding of Plymouth, rejoicing in the promise of apartment blocks as the way of the future for affordable housing. It was both a fascinating and perturbing experience to watch from a half-century’s distance, considering that life in such blocks would eventually become synonymous with slums and social dysfunction in many British towns (and far beyond), as large numbers of poor people were crammed into drab, self-cordoning zones — although now high-rise solutions to space and environment problems in cities are again becoming an trendy notion. Ballard’s target was larger than just architectural cul-de-sacs and the social engineering they’re supposed to enable, though, as his high-rise structure becomes a metaphor for the entire apparatus of human civilisation, with a grand architect named Royal and the floors of the building literalising social caste in terms of floors. Wheatley and Jump, in adapting the novel, made the choice to keep the story set in the 1970s, an idea with perhaps inevitable appeal for the duo with their fetish for retro tropes and styles, but one which also risks stripping the tale of its immediacy and still-pungent relevance, especially considering that with Kill List, Wheatley had revealed a gift for digging into a raw nerve of anxiety and portrayed the blindsiding quality of the late ’00s economic tsunami and the bitter aftertaste of the decade’s geopolitical adventuring better than most any other filmmaker.
High-Rise also keeps intact the flashback structure of Ballard’s novel, which commences with the instantly galvanising image of focal character Robert Laing eating a dog, and works backwards to explain how he came to this moment. Tom Hiddleston takes on the part of Laing, glimpsed at the outset exploring the mysteriously ruined, fetid, broken-down environs of his home, where strange men and dead bodies sit around apparently unnoticed, and the aforementioned act of cooking and eating a wandering dog is scarcely worth a blink. A title card announces a jump back three months to the days when Laing first moved into his new apartment building, the first completed tower in a five block project designed by genius architect and entrepreneur Anthony Royal (Jeremy Irons). Royal’s declared hope for the building is to create a civic crucible that would break down class and other social barriers and create a self-sufficient community unto itself, complete with supermarket and swimming pool, and he’s attracted a great swathe of tenants through the fashionable swank and visionary allure of his construction.
As he settles into life in building, Laing learns that the opposite situation to the one Royal hoped for is rapidly evolving, with a rigid hierarchy built on floor levels. Lower floors are filled with middle-class wannabes whilst toffs and celebrities congregate in the higher. Laing, a pathologist at a teaching hospital, hovers somewhere in between, but he captures the interest of many of his new neighbours, including the much-chased single mother and socialite a floor above, Charlotte (Sienna Miller), and Royal himself, with his tenancy application, which inadvertently portrayed him as a Byronic intellectual. Laing seems to partly fit the bill as a loner, tightly-wrapped, both physically and psychologically. He’s recently been left quietly bereft, but also subtly armoured, by the death of his sister.
Laing draws Charlotte’s further interest when she catches sight of him sunbaking naked on his apartment terrace. She invites him for a session of fine dining and rutting in her apartment, which is interrupted by her young, bespectacled, hyperintelligent son Toby (Louis Suc). Charlotte’s also being pursued by another resident, Wilder (Luke Evans), a virile, fervent, working-class man who’s climbed a few social rungs through his work as a TV filmmaker. He lives on a lower floor with his wife Helen (Elisabeth Moss) and their kids. Laing encounters other neighbours around the building, a gallery of variously fussy, pushy, eccentric types, including wealthy, famous, but desperately lonely and fraying actress Jane Sheridan (Sienna Guillory); and supermarket checkout chick Fay (Stacy Martin), who starts teaching herself French from a phrasebook Laing buys but leaves behind.
Laing is invited to meet Royal by Cosgrove (Peter Ferdinando), his gatekeeper, and is bewildered by the rooftop garden, complete with thatched cottage, that crowns the building, Royal’s concession to his wife Ann (Keeley Hawes), progeny of a great country house and the patrician mindset thereof. Royal, who limps from an injury he sustained during the building’s construction, needs exercise to keep limber: he asks Laing to be his squash partner and also offhandedly invites him to a party his wife is giving. When he arrives at the party, Laing is embarrassed to find everyone else is in fancy dress (as pre-Revolution French aristocrats, complete with chamber orchestra scratching out a version of ABBA’s “SOS”) whilst he’s in a black suit, and worse, he’s outed as a man who doesn’t understand the vicissitudes of the sphere he has entered. Cosgrove, the hard fist attached to this body politic, tosses him out after a brief window of courtesy, and Laing is forced to spend the night in the elevator when it breaks down. Royal is apologetic over both the humiliation and the breakdown, but he infuriates Laing with unchivalrous remarks about Charlotte.
The elevator breakdown proves, moreover, to be an early sign of the faults Royal dismisses as teething problems, but which soon turn out to be endemic. As the infrastructure of the building breaks down so does the nerve, tolerance, and finally the humanity of its populace. “On the whole, life in the high-rise was good,” the narrator’s voiceover (also Hiddleston) proclaims late in the film, directly quoting Ballard’s text: “There had been no obvious point when it had moved into a clearly more sinister dimension.” Part of the essence of High-Rise’s thesis is precisely the idea that perhaps there is no great divide between the petty evils (and ecstasies) of human society and the potential for total descent into what some would call anarchy; indeed, another of High-Rise’s themes is that anarchy is another kind of order. High-Rise eventually moves into overt parable, even surreal territory, reminiscent of the music room no one can leave in Luis Buñuel’s The Exterminating Angel (1962), as life in Royal’s building begins to decay and everyone, instead of reaching beyond it, becomes determined to win their various battles within it, sensing, as the very end signals, that they might at least gain the advantage of being used to it before everyone else has to do the same. It’s also a variation on an eternal theme of postwar British artists, particularly satirists and comedians: the thorny and often insufferable business of living with other people, an inevitable psychological by-product of life on a small island where politeness is not just a pleasantry, but an actual survival skill.
Great swathes of modern science fiction writing have never really had their day on screen, and the best writers of Ballard’s era, including Michael Moorcock, Harry Harrison, Robert Silverberg, and Harlan Ellison, conjured gritty, dingy, sexy, acerbic tales that threw off the adamantine postures of earlier genre writing and embraced a cynical and dissident attitude even before the cyberpunk age arrived. Stanley Kubrick’s adaptation of Anthony Burgess’s A Clockwork Orange (1971) was one of the few authentic filmings of that style in its own era; Robert Fuest’s take on Moorcock’s The Final Programme (1974) was another. Wheatley’s work here recalls Fuest’s film particularly, evoking devolution as haute couture phenomenon. Wheatley’s decision to make High-Rise in period proves quickly to have been a master stroke, in part because it accords with the material’s wilful rejection of restraint in its metaphors, turning Ballard’s tale into a kind of disco allegory slightly out of time, like Lindsay Anderson’s If… (1968). The first half, however, plays mostly like a ’70s sex farce with the underlying note of absurdist dread only registering as the faintest buzz, as Laing negotiates life in the tower and contemplates the uncommon (that is, utterly common) mores of his fellow inhabitants, from Charlotte’s nonchalant approach to sexuality (after they’ve been interrupted shagging by Toby, Charlotte lights a cigarette; Laing asks confusedly, “I thought we were doing this,” to her reply, “We’ve done it.”) to Helen’s broody, frustrated angst, expiated in dreams of moving to a higher floor and watching TV dramas set in the romantic past, and Wilder’s tiger-in-a-cage unease in his environment. Meanwhile the upper classes and their lackeys barely bother concealing their vicious defensiveness, setting the stage for a partial inversion of the world H.G. Wells envisioned in his The Time Machine where the workers would evolve into cannibalistic Morlocks and the bourgeois into effete Eloi: in this vision, the upper classes remain so precisely because of their cold-blooded determination to hold onto privileges, a lack of sentimentality that could be called monstrous or some kind of evolutionary advantage.
Laing, after his ejection from Ann Royal’s party, takes out his anger with quiet precision on one of her other guests and a fellow tenant, the foppish Munrow (Augustus Prew), who’s also one of his pupils at the hospital. Munrow faints during Laing’s instructive dissection of a human head, and though his medical scans come back showing he’s fine, Laing plays a blackhearted practical joke on him by suggesting the scans suggest he might be ill. Shortly after, Munrow throws himself off a balcony to his death. Laing’s mean joke gone wrong proves to be a psychic declaration of war that soon starts to consume the building, where minor faults and breakdowns evolve into systemic failure of power and supply.
Wilder starts a more overt insurrection with a catalyst moment that begins as literal child’s play: Wilder, edgy and itching for conflict during a birthday party for one of his kids, leads the child guests in a raiding party on the swimming pool, which has been cordoned off and claimed for a toff’s wine party. After one of the higher-floor tenants, a newsreader who works for the same TV station, promises to get him blackballed, Wilder releases his anger by purposely drowning Jane’s dog. The pool crashing coincides with a power outage, with the lower-floor residents respond to with a sprawling impromptu party, during which Wilder snorts cocaine and, confronted by Cosgrove, beats the enforcer to a pulp. Wilder certainly has all the potency and force required to lead the lower-floor faction, as social sniping becomes active warfare, but does he have the sense of a cause and the wisdom? His first instinct is stick to his job, endeavouring to make a documentary on life in the tower block even as everything goes to hell, whilst Laing’s instinct is to retreat into his intense, self-composed bubble and wait out the various storms breaking upon his door. But this proves impossible as the block spirals into chaos during the continued blackout, and supplies start to run low. A cabal of upper-floor types led by Pangbourne (James Purefoy), with Ann Royal as patron, begin to create plans to take on the lower floors and throw an even better party, a plan that shades into full-on raiding and pillaging as looting breaks out in the supermarket and it becomes clear survival and prosperity in the building is starting to become a matter of raw force and dominance.
High-Rise, in spite of its nominal period setting, has the genes of dystopian science fiction, portraying a microcosmic society in breakdown and connecting that breakdown to the processes of the human mind itself. Laing compares Royal’s building plans to a human hand—the multiple towers are shaped like the curling fingers closing around the great central car park that, in spite of being wide open, is actually labyrinthine in its confusion—a brain and nervous system, and then finally, a heart. The idea of place becoming a mimetic map of psychological function is an old one in scifi, suggested in Metropolis (1926), and here employed with a hint that it’s an illustration of a war between functional utilitarianism, implied by the resemblance to the hand, the often illogical and mysterious twists of the mind that controls it, and the force of the heart that keeps beating through all. Laing’s name suggests a reference to the influential Scottish psychiatrist R.D. Laing, who helped develop a theory that the madness that follows attacks of schizophrenia is the cathartic result of the brain receiving contradictory messages—a notion that describes High-Rise’s narrative and Wheatley’s treatment of it as a whole with great accuracy. As the situation in the tower block worsens, Wheatley’s tone straddles the zones of horror movie consummation and screwball comedy, seeing both the repulsive and hilarious aspects of people acting on their worst impulses as their civilisation declines from consumerist paradise to galvanised class structure to tribal commune.
Futuristic tales of dystopian societies and struggles against coercion have been infiltrating popular cinema of late, with films like The Hunger Games series, Joon-ho Bong’s Snowpiercer (2013), and George Miller’s Mad Max: Fury Road (2015), and the structural conceit of Snowpiercer’s social metaphor suggests the immediate influence of Ballard’s tale. Wheatley’s take on that tale feels, however accidentally, like a riposte to the supposedly dark, but actually simplistic, reassuring heroic fantasies in those films. High-Rise posits Wilder as a possible hero figure, a would-be revolutionary who wears both his class resentment and his masculine force on his sleeve, but he’s led astray in the course of the film by the very violent impulses he can’t control and by sexual egotism that finally manifests in the ugliest way when he learns that Charlotte, who has rejected him, has been Royal’s mistress and that Toby is the architect’s son: Wilder’s response is to break into Charlotte’s flat, rape and beat her bloody, and then make her feed him in a gruesome caricature of normality, with the punch line that Charlotte feeds him dog food, one of the few foodstuffs left in the building. Wilder chows down with straightforward acceptance of a new reality, apparent in some of the building’s other inhabitants. Meanwhile, Helen finds her own succour getting rogered by Lain over the unused stovetop in his apartment, a space he tries in vain to decorate and inhabit; his belongings remain unpacked, with smears of neutral blue-grey paint the same hue as the colour of the sky outside on his walls in his attempt to fashion himself a free-floating life. It’s not until he actually has to fight for ownership of a can of paint in the supermarket-turned-war-zone that he actually proves he wants anything. Wilder eventually half-compliments, half-condemns Laing for his self-possession, the kind of apparently bland, quiet rigour that can actually weather the storm that’s breaking about their ears.
Moving slightly askew from Ballard’s obsessive theme of the distorting quality of technology and its pernicious penetration of the way humans relate to it and each other, Wheatley and Jump’s interest is more compelled by social ritual — its apparent arbitrariness, the very real forces it sometimes conceals and otherwise channels — and also by the rules of power as evinced in the seeming neutral zone of modern life. Sightseers portrayed its mousy social outcasts finding self-realisation in murder, whilst Kill List depicted a returned Iraq War veteran who engaged in killing for hire to support his lifestyle, only to find the bill arriving in the cruellest fashion possible. A Field in England depicted the temptations of control and submission with suggestive political ramifications: some people certainly do want to lord it over others, but is their ability to do so sometimes facilitated by the desire of others to let them, as a release from certain pressures and anxieties of existence? Wilder’s forced ritual of making Charlotte pose as dutiful wife echoes the scene in A Field in England where the necromancer took his enemy prisoner, tortured him, and then forced him to wear a sickly smile whilst leading him like a dog on a leash. Wilder eventually harbours an ambition to climb to the higher levels and confront the god-king Royal, to tear him down or displace him, only to fail to recognise Royal when the two men meet in the supermarket after the architect descends to the lower levels in his attempts to fathom the failure of his creation and the people in it. Royal himself tries to count himself out of the chaos, but is drawn however reluctantly into the upper-floor cabal out of sheer parochial loyalty, as his anointed class’s parties devolve into raw, explosive orgies fuelled with captured riches. Royal finds himself nominated as tribal chieftain, for all his flummoxed cynicism.
Around the travails of the main characters, Wheatley offers a sprawling landscape of strangeness, offering perversely ebullient filmmaking as he charts the decline of the building from chintzy classiness to stygian pit, alternating effects of dreamy fantasia and cokey Scorsesean montages, matched to Kubrick’s ironic classical music cues, whilst visions of Sadean revelry flit by. Ann Royal is forced to run on a supermarket conveyor like a treadmill when she’s caught by a gang of vengeful spivs led by Fay; Jane rides amidst the snobs’ orgy on horseback as a porn-queen take on Lady Godiva before dismounting and asking “which one of you bastards is going to fuck me up the arse?” A team of upper-floor raiders led by Pangbourne adopt tracksuits as a uniform and march into the supermarket happy to crack skulls. Wheatley and Jump’s propulsive editing style maintains the free-flowing, anecdotal quality of Ballard’s writing, vignettes of a descent into hell—or heaven, as so many seem ebullient and released in their surrender to completely carnal realities, including Royal and his wife, who shift from mutual contempt to strange loving using Jane as sexual surrogate, the two women holding hands plaintively whilst Royal works away. As the dissolution of the building reaches it last stages, its atomises into camps—women gathered in communal suckling circles, orgiastic sprawls that would make Sardanapulus blush, the swimming pool turned at first into a miniature Ganges where people wash clothes and then a concrete Styx littered with corpses.
Laing eventually finds himself threatened with top-floor defenestration when he refuses the request of Cosgrove, Pangbourne, and others in the upper echelon to lobotomise Wilder; he is saved only by Royal’s intervention. Wilder himself, given a gun by the Royals’ much-abused housekeeper and after Helen has been snatched as a hostage and put to work as a servant, climbs up through the building’s ventilator system, determined to confront Royal, only to stir the wrath of the women who form a kind of gestalt, a band of neo-Bacchantes who respond with lethal group wrath when their priest-king is threatened. Perhaps the most subversive idea in High-Rise is not that there’s a monster lurking under everyone’s skin, but that people are the same in just about any situation, just to greater or lesser degrees, and that after a time, perhaps it’s less our individuality than our shared reflexes that allow us to survive and create worlds together. Wheatley and Jump finally locate weird visions of happiness in disintegration amidst the horror and find a moment to note humanity even in the worst and the creation of new binaries and social zones, climaxing in beguiling moments, like Pangbourne coaching Helen through her labour pains and the final survey of Laing, calm and fulfilled with a harem of wives and a shank of dog leg on his spit.
If there’s a major flaw to High-Rise, it’s that it paints, but doesn’t entirely analyse the social processes Ballard’s satire was evoking. It backs off from some of the novel’s blackest resolutions, preferring to illustrate instead in a continuum of free-form absurdism. I have the feeling a lot of material finished up in the cutting room floor. But the blackout, sketch-like structure is to a certain extent the strength of High-Rise, kicking off the strictures of narrative nicety and, as the narration says of the building populace by the end, surrendering “to a logic more powerful than reason.” Here is the suggestion its characters reach a logical psychic end point akin to survivors of Leningrad’s siege or the bombing of Dresden, continuing with the business of keeping on. Only the very end brings in a genuinely false note, as a speech by Margaret Thatcher about capitalism is heard wafting on the airwaves: this moment serves less to make a solid connection between the late ’70s rejection of grubby authenticity for neoliberal chic and the sharp edge of social Darwinism than confirming just how much their impotence before the Iron Lady and her creed still haunts the British intelligentsia. High-Rise is certainly strong meat, perhaps too strong for many, in spite of its playful flourishes. But for the most part Wheatley and Jump have made their own work, the kind cinema too rarely offers these days—audacious, dynamic, and superbly crafted.
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Director/Coscreenwriter: Michelangelo Antonioni
By Roderick Heath
Michelangelo Antonioni was a relatively minor figure in the European film scene until 1960. The former economics student and journalist entered the film world in the days of Mussolini’s regime, and started his directing career making documentaries. His early labours offered hues of the oncoming neorealist movement, depicting the lives of poor farmers in Gente del Po (1943), plied under the nose of the dying Fascist state but then lost amidst its collapse. He had the honour of being sacked by Vittorio Mussolini, was drafted, started fighting for the Resistance instead, and barely escaped execution. But when he made his first feature, Cronaca di un amore (1950), Antonioni began to blaze a trail off the neorealist path, following a contrapuntal instinct, a readiness to look into the voids left by other viewpoints, that would come to define his artistry. Although slower to make his name, he nonetheless formed with Federico Fellini the core of the next wave of Italian filmmakers. Antonioni helped write Fellini’s debut film The White Sheik (1951) before he made his second feature, I Vinti (1952), a three-part study of youths pushed into committing killings, a sketch for Antonioni’s recurring fascination with characters who barely know why they do what they do. Antonioni’s sudden ascension to cause celebre and acclaimed director had to wait, however, until his L’Avventura (1960) screened at the Cannes Film Festival. This remains one of the legendary moments in the festival’s history, as the film was met by jeers and anger from some of the audience and greeted as a ground-breaking masterpiece by others. L’Avventura took on a relatively obvious but powerful idea: what if you set up a film as seemingly one kind of story, then changed tack, refused to solve the mystery presented, and used the resulting discord and frustration to infer a different, more allusive meaning?
Antonioni sold this idea as something like a Hitchcock film without the suspense sequences and reduced to the studies in emotional tension Hitchcock usually purveyed under the cover of such gimmicks, with rigorous filmmaking and an antiseptic approach to his characters’ private obsessions that left them squirming without recourse before his camera. Antonioni was now hailed as the poet laureate of “alienation” cinema, a filmmaking brand digging into the undercurrent of detachment, dissonance, and unfulfillable yearning lurking underneath the theoretically renewed, stable world after the cleansing fires of war and the ascent of modernity. His was the intellectual, continental, Apollonian side to the same phenomenon observed in the more eruptive youth films in the U.S. and Britain like The Wild One (1953) and Rebel Without a Cause (1955); eventually Antonioni would try to unify the strands with Zabriskie Point (1970). Antonioni followed his breakthrough with two films to complete a rough trilogy, La Notte (1961) and L’Eclisse (1962), and his first colour film, Il Deserto Rosso (1964). For Blowup, he shifted to London and its burgeoning “swinging” scene. Blowup, like L’Avventura, superficially repeats the gimmick of setting up a story that seems to promise regulation storytelling swerves, and then disassembles its own motor. Blowup’s murder mystery seems designed to point up a cocky young photographer’s defeat by ambiguity and lethargy and the dissolution of his own liminal senses. Or does it? Again, there was a Hitchockian side to this, taking the essence of Rear Window (1954) and its obsessive correlation of voyeurism with filmmaking, whilst inverting its ultimate inference. But Antonioni took his motivating concept from a story by Argentine author Julio Cortazar, “Las babas del diablo,” based around a man’s attempt to understand a scene featuring a pair of lovers and a strange man he spots in the background of photos he takes of Notre Dame.
Cortazar’s main character became lost in the unreal space between the photo and his own imaginings, projecting his own anxieties and emotional journey onto the people he inadvertently captured, particular his sexual apprehensions. Antonioni skewed this template to serve his own purposes and to reflect the strange new zeitgeist festering as the 1960s matured. The assassination of John F. Kennedy in 1963 sent ripples of profound disturbance and paranoia through the common experience. Conspiracy theorists began scouring photographic evidence for evidence to support their claims even before the Zapruder film came fully to light. Antonioni tapped into a percolating obsession, which joined also to a growing mistrust of public media at large, by reconstructing the central motif of Cortazar’s story to become one of apparent murder—perhaps an assassination. But Antonioni had been delving into some other ideas present in Blowup since his career’s start. I Vinti contained one story set in London, depicting a shiftless young poet who discovers a dead body and tries to sell the story to the press: there already was the peculiar ambiguity of approaches to crime and the weird mix of venality and empathy that can inflect the artistic persona. Antonioni seems not to have lost the reportorial instinct honed in his documentary work. Like Dostoyevsky, he took on tabloid newsworthy stories about murder, vanishings, delinquency, and the sex lives of a new class jammed just between the real masters of society and its real workers. He followed such lines of enquiry through the social fabric of his native Italy at first, and then out into the larger world.
The aura of abstract elusiveness Antonioni’s works give off tends to disguise how much they are, in fact, highly tactile films, defined by an almost preternatural awareness of place, space, and décor, constructing mood and inferring meaning through the accumulation of elements. Where Fellini increasingly celebrated the inner world and the furore of the individual perspective in the face of a strange and disorientating age, Antonioni became more interested in the flux of persona, the breakdown of the modern person’s ability to tell real from false, interior from exterior, even self from other, and had to find ways to explain this phenomenon, one that could only be identified like a black hole by its surroundings. Cortazar’s protagonist, moreover, was a writer who also dabbled in photography. Antonioni made his central character, Thomas (David Hemmings), a professional photographer whom he based on David Bailey, quintessential citizen of Swinging London, an angry Cockney kid who became the image-forger of the new age. Thomas’ sideline in harsh and gritty reportage from the edges of society for a book on the city he’s working on—he’s first glimpsed amongst a group of homeless men he’s spent the night taking clandestine shots of—suggests Antonioni mocking his own early documentaries and efforts at social realism. Thomas has a side genuinely fascinated by the teeming levels of life around him, but in a fashion that subordinates all meaning to his artistic eye and ego. He shifts casually from wayfarer amongst the desperate to swashbuckling haute couture iconographer, engaging with haughty model Veruschka in fully clothed intercourse, and irritably bullying another cadre of models until he gets fed up, projecting his own tiredness and waning interest onto them, and walks out.
Thomas takes time out with his neighbours, painter Bill (John Castle), and his wife Patricia (Sarah Miles): Thomas takes recourse in Patricia’s wifely-maternal care now and then, whilst Bill stares at his old paintings and explains that he has no thoughts whilst making them and only finds hints of meaning later, a statement that recalls Antonioni’s own confession that he approaches his works less as systematic codes than as flows of epiphanies eventually gathering meaning. Thomas is nakedly on the make, a businessman-artisan who longs for wealth to become totally free. He has designs on making a real estate killing, hoping to buy a mangy antique store in a rapidly gentrifying neighbourhood (“Already there are queers and poodles in the area!”) from its young owner, who wants to sell up and hit the seeker’s trail to Nepal. Wasting time before the store’s owner returns, Thomas starts clicking snaps in a neighbouring park, eventually becoming fascinated by an apparently idyllic vignette of two lovers sharing the green space. The woman (unnamed on screen, called Jane in the credits, and played by Vanessa Redgrave), who’s much younger than her apparent lover, spots Thomas and chases after him with a frantic, breathless desire to obtain his pictures. Thomas haughtily alternates between telling her he needs them—he immediately sees how to fit them into his London panoramic, as the perfect quiet diminuendo from all the harsher facts on display—and promising their return, but is surprised later on when she actually turns up at his studio. There have been signs that she and an unknown man might have been trailing him around the city, including watching him during his lunch with his agent, Ron (Peter Bowles).
Thomas’ studio, usually a scene where his will reigns, now becomes a kind of battleground, as Thomas, fascinated by Jane’s manner, at once nervous and uncomfortable but also sensual and self-contained, keeps using promises of the photos to get her to stick around; she, desperate to obtain the pictures, tries using sex appeal to prod him into submission. The two end up merely circling in a toey, searching dance (albeit with Thomas briefly schooling Jane on how to move to Herbie Hancock’s jittery grooves), their actual objectives unstated. Jane’s pushy determination arouses Thomas’ suspicions, so he allows her to finally dart off after trading her scribbled, fake telephone number with a roll of film—a blank roll in place of the one she wants. Thomas then begins studying the pictures of her and her lover in the park. Slowly, with a relentless and monstrous intimation, Thomas begins to see signs that far from being a romantic tryst, he was actually witnessing an intended crime, with Jane acting as the honey trap to bring the man to the scene, whilst her unknown partner lurked in the bushes with a gun. At first, Thomas thinks hopefully that his presence foiled the killing, but on looking even more closely, realises the target had been gunned down whilst he was arguing with Jane, or is at least apparently lying motionless on the ground. “Nothing like a little disaster for sorting things out,” Thomas says with glib, but minatory wisdom to Jane, in reply to her cover story about why she wants the pictures. Eruptions of irrational occurrence and suddenly, primal mystery in Antonioni’s films don’t really sort anything out, but they do tend to expose his characters and the very thin ice they tend to walk on.
Like the punch line to a very strange joke, Blowup became a pop movie hit, mostly because it became prized as a peek into a scene many were fascinated by and fantasised about, and the allure of that moment, captured forever in Antonioni’s frames, now precisely a half-century old, still lingers in exotic fascination for many as time capsule and aesthetic experience. Blowup’s strangeness, implicit sourness, and assaults on filmic convention might even have helped its success, the aura of shocking newness it exuded perfectly in accord with the mutability of the moment. The ironies here are manifold, considering Antonioni’s insinuation that there’s no such thing as the sweet life and that cool is a synonym for wilful ignorance. One could suspect there’s a dash of the dichotomy apparent in Cecil B. DeMille’s religious epics, plying the allure of behaviour the moral framework condemns. But that would come from too glib a reading of the total work, which, in spite of its stringent evocation of a helpless state, is a lush, strange, attractively alien conjuring trick, a tale that takes place in a carefully cultivated version of reality, as much as any scifi or fantasy film. 2001: A Space Odyssey (1968) perhaps owed something to its patient, subliminal method and seeming ambling, but actually highly controlled form. Hitchcock himself was transfixed by it. Its spiritual children are manifold, including not just Brian De Palma and Francis Ford Coppola’s revisions on its themes (The Conversation, 1974; Blow Out, 1982) and attempts by later Euro auteurs like Olivier Assayas (demonlover, 2002) and Michael Haneke (Cache, 2004) to tap into the same mood of omnipresent paranoia and destabilised reality, but more overtly fantastical parables like Logan’s Run (1976) where youth has become a total reality, death spectacle, and nature an alien realm, and The Matrix (1999) where the choice between dream and truth is similarly fraught. There was often a scifi quality to Antonioni’s films, with their sickly sense of the landscape’s colonisation by industry and modernist architecture like landing spaceships, the spread of a miasmic mood like radiation poisoning, the open portals in reality into which people disappear.
Blowup is a work of such airy, heady conceptualism, but it is also ingenious and highly realistic as portraiture, a triumph of describing a type, one that surely lodged a popular archetype of the fashion photographer in most minds. Thomas is a vivid antihero, but not an empathetic one. In fact, he’s a jerk, a high-powered, mercurial talent, a bully and a sexist with hints of class anger lurking behind his on-the-make modernity given to ordering his human chess pieces how he wants them. Hemmings, lean and cool, the fallen Regency poet and the proto-yuppie somehow both contained in his pasty frame, inhabits Thomas completely. When he and Redgrave are photographed shirtless together, there’s a strong erotic note, but also a weird mutual narcissism, as if both are a new species of mutants Antonioni can’t quite understand that will inherit the earth, able to fuck but not reproduce. Thomas seems like a glamorous, go-get-’em holy terror for much of the film, a study in prickish potency and constant motion—perhaps deliberately, he’s reminiscent of Richard Lester’s handling of the Beatles in places, the free-form artists at loose in the city with a slapstick-informed sense of action. But Thomas slows to a dead stop and fades away altogether by the film’s end.
Space is the subject of a silent war in Blowup. Within his bohemian studio Thomas is king, able to construct a world that responds entirely to his needs. Antonioni uses its environs to create a system of frames within frames, subdividing his characters and their interactions. Thomas’ ambition to annex the antique store represents a desire to expand a kingdom, and he roams through London keen to the process of the homey old city putting on a new face, whilst energetic young students engaged in the charity ritual known as the “rag” dress as mimes and roam at loose, claiming everything as their own. The empty public facility of the park becomes, ironically, a cloistered space to commit a murder. Later, when Thomas returns to the spot, he finds the victim’s body still sprawled, pathetic and undiscovered, upon the greenery. “He was someone,” is all Thomas can bleat at one point as he tells Patricia about the business, indicating both his bewildered lack of knowledge about the man to whom he’s been left as the last witness, and also his forlorn realisation that the man’s death is the mere absence of his being.
The giant airplane propeller Thomas buys from the antique store delights him, a relic of technology, the promise of movement now purely a decorative motif for his studio. Thomas craves freedom, but has no sense of adventure: “Nepal is all antiques,” he tells the store owner when she says she wants to escape her wares and their mustiness. Thomas’ talent has made him a magnet for wannabes, a fetish object himself in minor celebrity. His curiosity for Jane, with her intensity pointedly contrasts his insouciance towards two would-be models (Jane Birkin and Gillian Hills) who come hoping for a shooting session, but essentially become a pair of temporary houris for the flailing macho artist. The sequence in which Thomas is visited again the two girls, known as only as the Blonde and the Brunette, sees Thomas revealing a scary side as he monsters the Blonde, only for this to quickly transmute into a gleefully childish, orgiastic moment as the three wrestle and fuck on the floor of the studio. Afterwards, the two girls worshipfully put his clothes back on. For them, it’s a graze with success in all its filthy glory and a moment of holy obeisance to the figure of mystical power in the new pop world. For him, it’s a moment of barely noticeable indulgence, a distraction from the far more interesting mystery before him, which in itself stirs a need in him he barely knows exists, like Jane herself. During their long scene together, Thomas pretends a phone call, possibly from Patricia, is from his wife, apparently just to tease Jane. He casually invents a history and a home life that he then completely revises until he’s left in honest limbo. The image of elusive happiness of Jane and the man in the park and the mystery of Jane stirs a wont—and then proves a total illusion, a siren call to annihilation.
The film’s crucial movement, a high point of cinema technique and style, comes as Thomas investigates his pictures. He zeroes in on anomalies and blurry, seemingly meaningless patches, even the inferences of his “actors”’ body language, and marks out points of interest and uncertainty. He then makes new prints blowing up these spots. Each reframing and zoom is a partial solution to the last puzzle and the start of a new one, until his studio is festooned with what seems an entire story, which Antonioni can now move through like a primitive flipbook protomovie. It’s a miniature film theory class, a lesson in constructing to elucidate a reality that would have otherwise been missed in the clumsy simplicity of human perception. It’s also a journey in transformation, turning the idyllic moment Thomas prized so much into a menacing and terrible opposite, and dragging Thomas himself through alternating states of obsession, pleasure, depression, and finally nullification, the film character invested with the same alternations of emotion and perception as the audience watching him.
Blowup fades Thomas out before it fades out itself, and his subjects are revealed as even stranger than they seemed: Jane’s frantic attempt to ward him off, the man’s slightly sheepish, slightly haughty disinterest. In both readings of the situation, something shameful is happening. The lurking killer’s posture and shadowiness are reminiscent of Reggie Nalder in Hitchcock’s The Man Who Knew Too Much (1956), but the thunder of Hitchcockian climax has been replaced by the shimmering, Zen-touched hiss of the trees. The aesthetic key comes from Bill, an artist working in a purposefully diametric medium, the man trying to make form out of his own strange chaos, even stating, perhaps superfluously, that it’s like tracking a clue in a detective story. The two art forms collide, mingle, reforge. Aesthetic is no longer décor, but challenge, way of being, even a danger.
What was profoundly disturbing in Antonioni’s moment has become a playful norm. Today, the manipulation and transformation of images, usually for trivial purposes and day-to-day entertainment, is commonplace. YouTube is crammed with ingeniously faked reels of monster sightings. Anyone who’s worked on retouching a picture with Photoshop has been through the experience of Thomas seeing, say, the eye of a beautiful woman turning into a swirling galaxy of colours and then an array of completely abstract cubes. The difficulty of manipulating film, with its complex chemical properties, has given way to the perfectly malleable states of digitisation. The idea that photographic evidence can automatically or even momentarily be granted complete trust is archaic. Cinema verite gave way to reality television. More seriously, huge amounts of time, energy, and bandwidth have been devoted by some to investigating footage of the moon landings and the 9/11 attacks for proof of conspiracy and mendacity, often provoking staggering incredulity over how different people can look at the same thing and interpret it in vastly different ways. Antonioni was looking forward to our time even as he rooted his film in the mood of a particular time and place—the saturation of the image and the charged, near-religious meaning it takes on in spite of being evidently profane. Many in his time saw a Marxism-inflected, Sartre-influenced meaning in his work as diagnoses of the eddying feebleness that descends when political and social motivation are subsumed by a meaninglessly material world. This was almost certainly an aspect of Antonioni’s thinking, though it also feels reductive: like all art, it wouldn’t exist if what it said could be summed up in a pamphlet. The experience itself is vital, the passage its own reality.
Thomas’ ultimate confrontation is not simply with impotence, but also with the vagaries of experience itself, as all proof of his experience vanishes and with it, assurance it ever happened. Antonioni toys with the idea that revealing the truth is only a matter of looking closely and seriously enough for something, but then undercuts it, suggesting that on a certain level, reality breaks down, or perhaps rather like the sense of matter in subatomic particles, is displaced and transmuted. Thomas becomes half-accidentally the witness to a murder, not just because he sees it, but because his merely human memory is the only repository for it after his photos and negatives are stolen. Once the murder’s done there’s no real purpose to action, something his “he was somebody” line again underscores—the only real spur to intervene in a crime is to prevent it, whereas anything afterwards is only fit for an undertaker. Thomas finds the man’s body in the park, but the drama’s over. He can’t do anything except try to enlist Ron to give independent testimony to his witnessing. Perhaps, far from simply accusing contemporary artists and audiences of ditzy political detachment, Antonioni was most urgently trying to portray his experiences as a filmmaker, his attempts to capture raw and unvarnished truths on film and then seeing that truth dissolve because of the vagaries of life and the medium shift under study. At the same time, Antonioni imposed rigorous aesthetic choices on his creation, going so far as to repaint houses in the streets where shooting took place to communicate interior states through exterior sign play: he had become an imperial creator even as he mocked his own ambitions.
The famous performance of the Yardbirds towards the end of the film in which Jeff Beck smashes his own guitar is crucial not as a mere indictment of a slide into neon barbarianism many of Antonioni’s generation saw in the rock ’n’ roll age, though that note does sound, but also a summary of Antonioni’s confession. Here is an artist’s anger with his art and his tools, his sense of form and purpose breaking down in the increasingly nettled sense of what to say and how to say it in the face of a modern world slipping away from any coherent design of understanding. The hip audience watch mostly with faces of stone, happy to let the artists act out their feelings, sublimating temptations towards excess, destruction, anarchy. Although Antonioni’s recreation of the mood of the time was the very opposite of the florid unruliness we associate with the era’s cultural scene, there’s definite sense and accuracy to his portrait, his understanding of the underlying psychic transaction. This scene converts the film’s larger experience into a jagged epigram.
Thomas needs and uses the mystery he uncovers to shock himself out of a stupor, only to find it doesn’t transcend his situation, only exemplifies it. The film’s last few reels turn into a dumbstruck odyssey for Thomas as he seeks Ron to take him to see the dead body, but is distracted by seeing someone he thinks is Jane enter a mod concert venue. He ventures into the concert looking for Jane, whose brief seeming appearance and then disappearance is one of Antonioni’s finest sleights of hand, and comes out instead with the guitar’s neck as a battle trophy, like the two models with him earlier, for the attention of the famous, only to toss the trophy away, its momentary totemic power spent. He then tracks Ron to a posh party where everyone’s doped to the gills and can barely lift a finger in response to Thomas’ news.
Some complained at the time that Antonioni’s tendency to find the same qualities in the countercultural youth and bohemians he studied in Blowup and Zabriskie Point as he did in the tepid bourgeoisie of Rome was wrongheaded and phony. But time eventually proved him right in many ways. There’s a cold, mordant honesty to the sequence in which Thomas sits watching a bunch of bohemian toffs getting high, the new lotus eaters buying out of a reality they’ve barely glimpsed anyway, faintly anticipatory of Kubrick’s historical wigs with people underneath in Barry Lyndon (1975), glimpsed in Restoration artlike friezes, and grindingly familiar to anyone who’s been surrounded by very stoned people at a party. Thomas’ resolve dissolves amongst their uninterest and his own exhaustion. He awakens the next morning, restored but now with the grip on his fever dream lost.
The closing scenes provide a coda much like the one Thomas wanted for his book: perhaps he’s projected himself after all into the zone of his fantasies, a state of hushed and wistful melancholy. Thomas finds the body gone. The drama he happened upon has now dissipated, replaced by the gang of students who have been crisscrossing his path since the start, making up their own realities. Tellingly, these characters are the only ones who have ever made Thomas smile. Thomas finally finds solace, or something, joining in, to the point where the sounds of a real tennis match start to resound on the soundtrack to accompany the fake one the mimes are playing. It’s easy to read this as the final collapse of Thomas’ sense of reality, but it’s also the first time he simply stands and experiences without his camera, his interior reality allowed scope to breathe. Perhaps what we’ve witnessed is not the defeat of the artist but rather a rebirth.
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Focusing on the debut feature work of famous, and infamous, figures of film
Debut feature film of: Terence Young, director
By Marilyn Ferdinand
Back in November 2008, Rod posted a “Famous First” on Dr. No (1962), which marked the first screen appearance of the James Bond character. The director of Dr. No was Terence Young, and so it is with some sense of continuity that I write about the first of many films in the long and successful career of this underrated British director who peaked in the 1960s with the Bond films, including From Russia with Love (1963) and Thunderball (1965), as well as The Amorous Adventures of Moll Flanders (1965), Wait Until Dark (1967), and Mayerling (1968).
Young began his film career as a screenwriter, most notably penning the scripts for On the Night of the Fire (1939), Dangerous Moonlight (1941), A Letter From Ulster (1942), and Theirs Is the Glory (1946), which were directed by his good friend, the Belfast-born director Brian Desmond Hurst. On the Night of the Fire is often considered a good example of early British noir, and this film may have given Young a few ideas about the look he wanted when it came his turn to direct. Shot in Paris, Corridor of Mirrors has the moody shadows and skewed camera angles of a proper film noir. However, it offers a story reminiscent of the horror/thriller Vertigo (1958) of a man searching for a lost love and creating a living woman in her image. Further, there may have been something lingering in the air from the fantasy films the French made when the Germans occupied their country during World War II. Corridor of Mirrors is a dreamy, gorgeous film that, whether Young intended it or not, rips the veil off the nightmare of the Occupation that the subjugated French banished from their filmmaking, making it something much closer to gothic horror film than noir.
The film starts with the noirish voiceover of our female protagonist, Mifanwy Conway (Edana Romney), a half Italian-half Welsh country wife and mother who tells us that she is hiding a dark secret that puts a lie to her respectability—she is leaving for a few days to meet her lover, who has been writing to her persistently for the past few months. Her rendezvous is to take place at Madame Tussaud’s Wax Museum in the creepy chamber of the notorious that contains lifelike French nobility having their heads lopped off during the Reign of Terror. We look around for her lover and are surprised when she reaches up to take the hand of a wax figure. His is the likeness of Paul Mangin (Eric Portman). We won’t learn what he did to earn a place at the wax museum until much later, once Mifanwy finishes her reminiscence of the strange and intense affair that began in a nightclub when she first saw his fascinating face and determined that she had to get to know him.
Paul is fabulously wealthy and lives in an enormous and opulent mansion, surrounding himself with rare and beautiful items. His particular passion is for 15th-century Venice, and he preserves all the courtly charms of that bygone era. He drives Mifanwy to his home in a hansom cab and compliments her unconventional dress as being in keeping with his own anachronistic tastes—but he can’t abide her cigarette habit. She returns several times to his home, and one day finds herself alone in it, save for the discreetly hidden servants, and invited by note to have a look around. She discovers a corridor of mirrored doors, behind which are lavish period dresses and jewelry. Unable to resist, she tries one on and is admiring herself when Paul comes up behind her and finishes the look with the necklace and tiara that accompany it. He has had all of these costumes made for the day the woman of his dreams appears; of course, that woman is Mifanwy, the spitting image of the Italian spitfire who made his life a living hell when they both lived previous lives in Renaissance Venice.
This twist definitely tips Corridor of Mirrors into the horror category, with Paul offering a strong model for the genteel type of Dracula that would become a staple of England’s Hammer Studios, a strangely apt approach considering that this marked Christopher Lee’s big-screen debut, as a party-hearty companion of Mifanwy and her night-clubbing friends. Further, we have a Renfield character in the form of Edgar Orsen (Alan Wheatley), the designer of those fabulous garments who hates Paul for dallying with his lover, Caroline (Joan Hart), but remains chained to his generous patronage. We’re even offered a crazy housekeeper (Barbara Mullen) for the purposes of plot and added menace.
French cinematographer André Thomas is really the making of the film, setting up a genuine air of romance and dread that carries it through to its somewhat ridiculous conclusion. The first dance between Mifanwy and Paul is a whirl, like a spider slipping a very delicate web around its prey. Who is the predator and who is the prey doesn’t really seem to matter as both people look equally in thrall. The benign first scene in the corridor of mirrors gives way to fear and confusion as Mifanwy’s panic at Paul’s delusions about past lives and worries about his stability have her running through the corridor anxiously looking for the door that will aid her escape, but being confronted by blank-faced mannequins at every turn and reflections of madness. She learns her laugh disturbs Paul, and the sound design of her echoing laugh in Paul’s head matches the multitude of mirror images Thomas captures.
The script, partially written by Romney, is kind of a mess when it comes to her own character. We are supposed to think Mifanwy is a modern girl who is simply intrigued by Paul’s world and whose cruelty matches that of the ancient Italian she resembles down to the last detail, signalled by her attraction to a poison bottle a la Lucrezia Borgia in Paul’s display case. The switch is neither well-planned nor well-executed, and the consequences of her rejection don’t strike the tragic note they probably should have—and certainly not with the grotesque happy ending the film has in store for us.
If this and other implausible plot twists are redeemed at all, it is because Eric Portman is such a magnetic and pleasant character to spend 90 or so minutes with. The lavish costume ball he throws to celebrate the rediscovery of his lost love is absolutely enchanting, and Young and company achieve that difficult task of making us feel as though we have really entered another time occurring within our own, as opposed to watching a straight period piece that can be viewed more dispassionately. Thomas and Portman pay close attention to the faces of the players, a handsome and exotic bounty that does much more to put the story across than the expensive-looking sets. All in all, Corridor of Mirrors casts a rather intoxicating spell that fans of classic and horror films should find worthwhile.
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Director: Terence Fisher
By Roderick Heath
Christopher Lee, son of an English soldier and an Anglo-Italian countess who had been an artist’s model, had aristocratic roots that could be traced back to Charlemagne. Born in London, he grew with a diverse education and a swathe of languages at his command, a scion both of imperial England’s waning bastions and Europe’s rapidly fragmenting identities. His gifts and experiences would serve Lee well in life, after his step-father’s bankruptcy and the coming of World War II. His service in the war was shrouded in legend ever after, and some have suggested his step-cousin Ian Fleming based James Bond partly on him. After a suggestion by another cousin, an Italian ambassador, Lee decided to try acting after the war. Lee was marked as a potential star and put through Rank’s “charm school” training, perhaps to mint another dashing screen roué like James Mason or Stewart Granger or to put his fencing talents to work in swashbucklers.
Lee, however, struggled for a long time to find his place in the cinematic scheme of things. Something about him didn’t quite fit—perhaps he had too much premature gravitas, too little untroubled charm, to be the romantic lead in the anodyne atmosphere of early ’50s British film. Lee carved out a career as a character actor instead, playing everything from a spear-carrying soldier in Laurence Olivier’s Hamlet (1948) to a comedic nightclub owner in Powell and Pressburger’s Battle of the River Plate (1956). Ironically for a performer equipped with a deep, unmistakeable, well-trained voice, he was then offered a role with no lines at all. Lee, who had been dogged by the opinion he was too tall for an actor, was offered the part of Frankenstein’s monster for just that reason. He accepted instantly, perhaps remembering that the same part had turned Boris Karloff, another British misfit, into a star.
The Curse of Frankenstein (1957) represented a gamble for Lee just as it did for Hammer Films, the small, relatively low-rent filmmaking concern built by actor William Hinds and entrepreneur James Carreras and later developed by their sons Anthony and Michael. After success adapting the Quatermass TV serials for the big screen, the company tried its luck with a series of proper horror movies, a genre that had been largely inactive since the mid-1940s. These films were produced in colour, a choice that would automatically make their product stand out when most fantastical films of the time were cheaply made in black and white, and with the disreputable but commercially smart object of shocking audiences with gore. Lee’s costar in Frankenstein was Peter Cushing, another actor whose career had been varied and frustrating but who had finally become a well-known face working on TV. Reviled by critics faced with its gaudy, painterly, potent revision of both Mary Shelley’s model and the well-worn Universal film series, The Curse of Frankenstein was nonetheless a hit, and Hammer quickly gathered the people responsible back to take on another storied horror property, Bram Stoker’s Dracula. Cushing again was cast as the lead, and Lee as the monster that he must fend off. Young screenwriter Jimmy Sangster proved himself ingenious when paired with director Terence Fisher. Fisher, a respected editor, had moved into directing like former collaborator David Lean, but where Lean quickly achieved prestige, Fisher subsisted as a quickie helmsman. Yet, like Lee, such fare gave him a chance to develop a no-nonsense professionalism that would serve his creativity exceedingly well when finally let off the leash, and he proved himself adept at dark melodramas like So Long at the Fair (1952) and injecting such cornball scifi as 4-Sided Triangle (1953) with visual drama far beyond its means.
Fisher proved to have the perfect sensibility for horror cinema, stimulated by the chance he found to play around with the established tropes of gothic horror. Fisher and Sangster had determinedly distorted the Frankenstein myth to return the scientist to the centre of the tale and strip him of nobility, an idea perfect for the growing cynicism of the atomic age. Faced with the equally hoary figure of Dracula, their take centred squarely on the understanding that the vampire overlord was a version of the ancient folk figure of the demon lover. Some critics have seen the Hammer Dracula as a prefiguration of the movie version of James Bond: a sexual fantasy incarnate, if still here held in check as an image of villainy. The film’s opening credits, exploring the surrounds and interior of the vampire overlord’s castle, resolves in a tracking shot that slowly zeroes in on Dracula’s name carved into the lid of a massive stone sarcophagus upon which blood starts to drip. This vision has a powerful quality as an abstract encapsulation of the visual texture where dusty browns and greys and the violent lustre of gory hues will dominate. But it is perhaps more important as a prototypical pop-art declaration of the Hammer brand and the changing face of pop culture, heralding an awareness of iconography, an idea that the James Bond films would exploit more fully.
Revising the story for a straitened production and with an eye to a tighter, more intimate story, the filmmakers stripped away much of the foliage of Stoker’s novel, including the long voyage from Transylvania to England, the hunt for the vampire’s resting place, and the wealth of background characters, to concentrate on the essential idea of Dracula as dark force assaulting the Victorian bourgeois idyll and faced down by the forces of iron rationality. Jonathan Harker (Fisher regular John Van Eyssen) was changed from a naïve realtor to a fellow scholar engaged with Van Helsing in infiltrating and uncovering abodes of the undead, letting himself be engaged by Dracula to archive his library as a Trojan Horse warrior bent on tracking down the vampire’s resting place and killing him. Fisher set out to bait the audience into taking Dracula as a figure of campy appeal by having him first appear as a looming shadow at the top of the stairs, and then undercut it by having Lee stride into the light, imperious, courtly, smoothly charismatic. Evil suddenly was sexy.
Rejecting the images of ruin and infestation that F.W. Murnau and Tod Browning had originally offered in their takes on the material and Expressionist stylisation, Fisher and the Hammer production team instead insisted on a firmly tangible visual texture that is lightly stylised more through use of colour than lighting. Dracula’s castle, first glimpsed under the opening credits complete with a hulking stone eagle statue hovering with unstated menace against the grey sky, is a solid, tangible abode of stonework in a perpetually autumnal land of damp mists and fleeting brown leaves. This setting resituates Stoker’s material in a solidly English tradition of gothic imagery. Sangster discarded all supernatural manifestations, like Dracula’s ability to transform into a bat or a wolf, again for budgetary reasons, but also to aid Fisher’s program to create a universe for his horror material that is substantial, enacted on the level of physical oppression and appropriation. Dracula’s castle dominates its landscape exactly as such castles were built to do: to intimidate and belittle, to ward off and keep out. Harker can only enter by guile. Stoker’s Dracula was a remnant of a legendary past now turned septic remnant; Fisher’s is a still-living force. Dracula’s status as dark romancer was hardly new–Bela Lugosi’s and John Carradine’s counts had both effectively embodied the same idea, in contrast with F.W. Murnau’s rodentlike Nosferatu (1922). But Lee, Fisher, and Sangster pushed the idea into a realm of explicitly erotic menace. Where Lugosi and Carradine compelled with hypnosis, Lee dominates with sensual and corporeal stature, and his close encounters with the women in the films shot unabashedly as erogenous preludes.
Fisher’s rigorous filmmaking, not as spectacular as Murnau’s or as densely visual as Mario Bava’s, nonetheless made the Hammer brand what it became. Settings are not transformed landscapes of the mind, but islets of obsessively fussy, romanticised folk-memory. Bava, a cinematographer, inevitably offered a decorative eye; Fisher was fascinated by the use of space and the rhythm of structure. Early scenes of Dracula move sonorously through lapping dissolves and deceptive quiet, time slowing to an eerie crawl as Harker enters Dracula’s remote castle on his mission (notwithstanding cheap effects: a “mountain torrent” that looks a bit like someone left the hose on). The sequence leading up to Dracula’s first appearance is a gem of subtle construction. Gaunt’s vampire girl appears in the background as Harker picks up spilt objects from the floor, an unexpected presence bringing unexpected, erotic appeal to the dry-as-dust scholar. Sexual egotism under the façade of gallantry is almost immediately Harker’s downfall when he is confronted after his arrival at Dracula’s castle by a young woman (Valerie Gaunt) who appeals for his help but is actually one of the vampire’s undead companions. Harker is quickly lured close enough for her to launch an attack on his jugular vein, only to suddenly stiffen and dash away. Harker, bewildered, slowly turns and gives a start as he sees a huge, menacing black shadow at the top of a flight of stairs. The shadow advances. Dracula appears, armed with Lee’s looks and impeccably polite authority, instantly dispelling any anticipations of camp amusement. The monster is a charming host, and more importantly, strangely potent. Stoker’s Dracula was a figure out of Europe’s mythical past, a remnant of an ancien regime feeding on the early modern world’s lack of vigilance and credulity for the idea of the past as a haunting thing; Fisher and Sangster’s vampire overlord on the other hand is rudely, impudently alive and assured in tyrannical domain.
The wry segue from menace to courtly savoir faire gives way later when Fisher restages the sequence for raw horror. This time, when the vampire girl draws close to Harker, his hilariously precious assurances of protective intent are undercut as Fisher privileges the viewer with the sight of the girl eyeing his neck greedily and unsheathing her fangs before plunging them into his jugular. Harker throws her off whilst Dracula appears suddenly in a doorway beyond and between them, in Fisher’s favourite rhetorical device, a single wide shot binding a sudden confluence of actions.
Fisher then dives in for one of the greatest close-ups in cinema: Dracula, teeth bared, fresh blood smeared on his face, animalistic in his fury at his chattel daring to defy his rule and attack his guest. The effect is delirious after god knows how many viewings: the cool, eerie tone suddenly turns to a display of primal evil, as Dracula hurls his bride about and grips Harker in one hand, squeezing the breath out of him, Lee’s gore-smeared maw elongating with weird and savage glee. Courtly Dracula never returns. The beast is exposed, and it’s a sight so compelling that Lee’s Dracula, for better or worse, would essentially remain in that mode in the next six Hammer entries in which he would star except for a brief scene in The Satanic Rites of Dracula (1974), where he plays a real estate tycoon and employs a plummy Slavic accent.
Harker awakens under the threat of becoming a monster himself thanks to the bite that’s festering in his neck, and sets out to destroy Dracula and his bride before the sun falls again. Harker successfully kills the girl, but her death wail awakens the Count on the threshold of night. Harker is terrified to realise he’s trapped in the castle vault with the vampire overlord, and in a memorably dark, mischievous touch, Harker is next glimpsed occupying the girl’s sarcophagus, victim of vampire bisexuality? Fisher fades out on the confrontation in the same way directors of the time faded out on imminent rape scenes.
The revisions to the novel shifts the rest of the action from England to an enclave of Britons resident somewhere in Austro-Hungary. Rather than Dracula being an exile trying to gain a foothold in a new land, the protagonists are all innocents abroad discovering life is a dank and disturbing adventure. The arrival of Van Helsing (Cushing) in the narrative signals a balancing of scales between good and evil. Van Helsing is first glimpsed with back to camera, face abstract, his status as human, but equal adversary to the monster implied. The hostile innkeeper (George Woodbridge) warns him away from prying into the reign of terror and the conspiracy of silence that enables it, but a barmaid, grateful for Harker’s decency, smuggles Van Helsing Harker’s recovered diary, enabling the erstwhile academic to understand the fate of his comrade. When he penetrates Dracula’s castle, he’s confronted by a hearse carrying Dracula away to new hunting grounds and the sight of Harker looking like a sated leech with teeth in his new bed. Conspiring to kill Harker off in this way provides a neat twist in the familiar tale and also helps make Stoker’s rather awkward narrative a bit more logical. In a manner that would permanently mark the horror film, it also offers a realisation that the traditional, romantic ingénue hero a la David Manners’ Harker in the Lugosi version, upright and decent and slightly effete in the face of evil, was not necessary or even particularly desirable in horror stories Thus, Arthur Holmwood (Michael Gough), who takes Harker’s role as husband of the threatened damsel Mina (Melissa Stribling) is something Gough’s amusingly prissy performance grasps intuitively as the essence of stuffed-shirt Victorian urbanity.
Murnau and Browning had never really seemed to know what to do with Van Helsing as a character in a drama woozy with fascination for the sepulchral. Edward Van Sloan had been appropriately intelligent and resolute in Browning version, but even there he was left a somewhat passive onlooker, a Merlinlike guide for the handsome young men and women who are the familiar protagonists of romantic melodrama. Instead Fisher and Sangster remoulded Van Helsing as a heroic figure, creating a more direct opposition of the avatars of rationality and chaos. This approach both extends and inverts that of the Curse of Frankenstein, where the scientist and monster were made virtually interchangeable to better explore the implications of science without morality. But in Dracula, the scheme is used to study the inhuman aspect of both unleashed priapism and punitive moralism struggling over the fates of the merely human and the pathetically victimised in a tug-of-war. It also bears noting that in Expressionist-style horror, the rare rational figure was an interloper in a dream world, whereas the solidity of Fisher’s vision reimagines the vampire as the eruption of the id into the everyday.
The rest of Dracula is dominated by the notion of the vampire eating the Victorian bourgeois home first from the outside and then, most ingeniously, from within. Dracula targets first Harker’s fiancée Lucy (Carol Marsh) and then Mina, wife of Lucy’s brother Arthur, in a programme of calculated revenge for the death of the first bride. Lucy’s nightly visitations by the vampire see her lying in thrall in her bed awaiting the black-clad seducer, his approach signalled by stirring autumnal leaves beyond the threshold of her open French windows, whilst James Bernard’s score swirls with increasingly feverish impatience and cloud whips by the full moon. Later, when Dracula sets his sights on Mina, he gets her to hide his coffin in the household cellar.
The prim and wan Mina turns up the morning after being lured to Dracula’s hiding place with an unmistakeably postcoital glow: Fisher’s wit extends to the impression that Mina has far more blood in her veins after being attacked by a vampire (Fisher purportedly told her to act as if she’d just had the best sex of her life). Whilst Arthur and Van Helsing watch her bedroom windows from outside, the vampire is able to walk into her room for a night of sanguinary passion, a moment as close to the outright erotic as mainstream film could get at the time, Stribling’s Mina the goggle-eyed bird fixated by the beast in her boudoir before he pins her on the bed and caresses her face with imperious appetite. Dracula has been reconstructed, not even the novel’s dark, entitled romancer anymore, but a creature of utterly uncontained sexual appeal. Meanwhile Van Helsing’s attempt to intervene and prevent Lucy’s death fails when the Holmwoods’ servant Gerda (Olga Dickie) clears out the garlic flowers planted to keep the monster out, and Arthur blames Van Helsing for her death. The professor is forced to hand over Harker’s diary as proof of the nature of the evil.
Lucy’s resurrected form haunts the forests beyond the town, enticing Tania (Janine Faye), Gerda’s daughter, out for moonlit games. Another superlatively mounted, instantly iconic sequence comes as Arthur, with the seeds of expectation planted by Harker’s diary, goes to check Lucy’s crypt and finds her arriving with Tania in tow. The setting is a nirvana of gothic fantasy, with whirling leaves, licking ground fog, and desolate stonework. Sickly intimations of paedophilia and incest abound as Lucy turns from small girl into a dead-eyed parasite delighted at the thought of partaking of her brother’s blood, begging for a fraternal kiss from the appalled Arthur. A crucifix is thrust into the frame, cutting the air between the pair: Van Helsing, the sentinel of implacable reckoning, drives the terrified vampire back and scorches her brow with the touch of the holy object. The dark side of Van Helsing’s heroism is underlined both here and when he subsequently stakes Lucy, giving her rest at the expense of extinguishing a powerfully carnal creature, both victim and byproduct of failed repression. Fisher also takes a moment to observe Van Helsing comforting Tania, giving her a “pretty thing”–the cross–and telling her to wait and watch the sun rise with the solicitude of a favourite uncle. In spite of the brutal necessities and insidious forces in this vision, Fisher accords a simple grace between such Manichaean extremes.
The flaws of Dracula stem, like its best ideas, from concatenating a complex narrative for a low budget. The relative proximity of Dracula’s homeland and the locale of the Holmwood house here means that the epic pursuit described in the book gives way to a horse chase that could have strayed out a lesser western. Comic relief is variable: the actor and writer Miles Malleson, who had helped pen the screenplay of The Thief of Baghdad (1940), one of the few British fantasy films of its age and in some ways a precursor to the Hammer horror brand (with Conrad Veidt’s Jaffar a definite ancestor of Lee’s Dracula), appears briefly but amusingly as a gabby, absent-minded undertaker, whilst Geoffrey Bayldon contributes less funny stuff as a corrupt border guard. But the proper finale is another breathlessly well-staged sequence that sees the horror film lurching close to something like action cinema. Indeed, Fisher would have an acknowledged influence on later, kinetically gifted, blockbuster filmmakers like Spielberg, Lucas, and Burton, and Cushing pushed for a climax that had a physicality worthy of Douglas Fairbanks. The production couldn’t quite stretch that far, but the battle between Dracula and Van Helsing has a ferocity that’s still gripping thanks to the combination of Fisher’s jagged edits, the actors, and Bernard’s thunderous scoring. The fight builds to a swashbuckling move where the vampire hunter leaps onto a long table, dashes down its length and pulls down curtains, pinioning Dracula in the sun’s rays, where he agonisingly disintegrates into a pile of ashes, a moment that stands as one of the most quoted sequences in horror cinema, in spite of, and perhaps because of, the resolutely low-tech effects.
Dracula was a big hit upon release, one that set a horror renaissance that would power on until the 1980s officially on course. Lee later estimated the film made upwards of $25 million, a huge sum for the day. Lee himself declined to play the vampire again, afraid of being typecast. In the interval, Fisher helmed The Brides of Dracula (1960), with Cushing returning as Van Helsing, but that film, though later reappraised as amongst the finest Hammer films, was greeted as a compromise at the time. Finally, after eight years and some commercial stumbles by Hammer and Fisher in working through the classic canon of horror tales, Lee was persuaded to return as the count in Dracula: Prince of Darkness. The result of this deal, has often itself been regarded as a lesser Hammer horror, but Prince of Darkness deserves more respect, in large part because whilst the original Dracula had been a perfect fit for 1958, the sequel has a prognosticative element, one Hammer would ultimately fail to comprehend, leading to its commercial decline. Dracula: Prince of Darkness strips down Fisher’s concept of Stoker’s mythology to an even more purified essence and, with it, the underpinning anxieties and fantasies of much horror storytelling; in doing so, it looks forward to what would happen in the genre in the ’70s. The basic plot is the same as The Texas Chain Saw Massacre (1974) and other films where a bunch of young people find themselves stranded in some evil locale at the mercy of malignant foes. This time Dracula didn’t even get a single line, and it testifies to the force of Lee’s performance and Fisher’s direction that he doesn’t need any to bend the gravitational flow of the film.
This time, Fisher and screenwriter Anthony Hinds, a regular Hammer producer working under his usual writing pseudonym John Elder, replaced Van Helsing with Father Sandor (Andrew Keir), a creation who, as a religious man, focuses the dualistic take on good vss evil more than Van Helsing could. Following a replay of the first film’s climax, Sandor is glimpsed at the outset berating a fellow priest as a superstitious idiot and warning the Carpathian villagers not go desecrating the dead in the belief the Dracula is still plaguing them. Sandor later warns a quartet of English tourists not to go anywhere near Dracula’s castle, which is missing from maps. The unwitting tourists are brothers Alan (Charles “Bud” Tingwell) and Charles (Francis Matthews) and their wives Helen (Barbara Shelley) and Diana (Suzan Farmer). Charles is the younger, glibber, mostly reformed playboy brother who delights in teasing Helen, the uptight and nervous representative of stiff-necked English mores.
In spite of Dracula’s death, the locals are still petrified by his memory, a fear that plays a part in the travellers being left stranded before his castle and forced to take refuge there–helped along by a mysterious carriage pulled by a couple of self-directing horses. They find a servant, Klove (Phillip Latham), tending to the castle and maintaining the supposed last wishes of his deceased master to take care of all visitors. Fisher stages Klove’s appearance as a new twist on Dracula’s in the previous film, stepping out of shadow to reveal himself as neither hideously deformed nor towering and charismatic, but rather like someone left Alistair Sim in the fridge too long. Helen quivers with anxiety as she senses the malevolent strangeness behind all of the odd events, but her companions remain oblivious and increasingly irritated by her mood. During the night, the sound of Klove dragging a large chest around draws Alan out to find what’s happening, only for Klove to stab him to death, suspend his body over an open sarcophagus, and use his life blood to reconstitute Dracula from his own collected ashes. Klove then entices Helen out to become the resurrected monster’s first victim/bride. Charles and Diana fight their way out of the castle and take refuge at the monastery headed by Sandor, but Klove brings the count and Helen to the monastery and lays siege.
Fisher’s direction this time around was more of an experiment in pacing, prowling camerawork suggesting the presence of evil long before it shows its face, a mood of quiet oddness dominating the first half. The narrative is deceptively straightforward, paring away distractions to create a cleverly focused variation on the original’s concerns. Hinds’ script works in elements from the novel left out of the ’58 film, including a version of Renfield named Ludwig (Thorley Walters, in a note-perfect turn), a resident at Sandor’s monastery who lost his mind after some hideous experience near Castle Dracula and now binds books for the monks. He soon proves to be a sleeper agent for the besieging monster, and the key to the moment when Dracula forces Diana to drink his blood from a gash in his chest. Fisher observes the slow gathering of forces that will attack the interlopers, with their readily familiar quirks and flaws plotted exactingly and building to the hideously beautiful sight of Alan’s gushing blood feeding the reconstituting mess in the sarcophagus. Matthews’ Charles makes for a deliberately callow hero, forced to rapidly grow up in the course of fighting for his and Diana’s lives, whilst Diana herself, though in thrall to the vampire later in the film, is, in many ways, the most forthright and gutsy character: her attempt to intervene and save her husband reveals to Sandor a way to kill the monster.
But Dracula: Prince of Darkness is essentially about Helen, a vehicle for Fisher to return to the obsessive point of duality that drives this fantasy and push the metaphors of neurotic repression and lunatic explosion to an extreme within a single character. She’s insufferable in her vinegary attitude and priggishness, the epitome of a certain cliché of English repression. She’s also the only one with the sense to see the situation for what it is, a Cassandra no one will listen to. Presented to the dark marauder lurking in the castle, Helen is transformed into a devilishly passionate creature, lusting after Diana and clinging tightly to the count. Shelley, who had only gotten to play half of Fisher’s last study in dichotomous female representation, The Gorgon (1963), here describes the shift from lamb to predator with fiendish grace, as when Helen appears at Diana’s window at the monastery, playing the lost and freezing innocent in a vision out of folk myth, then leaping for Diana’s neck with wolfish delight the moment her way is clear.
Like the use of the monster in Curse of Frankenstein as a way of revealing the monstrosity of the creator, here Fisher reduces Dracula to an almost abstract force peeling away the contrivances of civilisation, anticipating the increasingly blank and faceless avatars of evil that would proliferate in later horror films. When the monks capture Helen, the scene is staged like a gang-rape, Sandor hammering the life out of her. Here Fisher looks forward to the historical savagery and indictments of Witchfinder General (1969) and The Devils (1971). Fisher complicates by not making Sandor an obvious avatar for repressive religious fanaticism, but rather a good-natured, earthy man whose fearsome streak is stirred only by the spectacle of real evil. In spite of his relatively marginal presence in the film, Dracula is not reduced; his authority, and Lee’s, is brought out all the more as he silently and effortlessly dominates any character and any scene he’s in, as when he gestures for a mesmerised Diana to remove her crucifix necklace, a moment that perhaps better than any other captures the level of concentration and rigour Lee poured into his performances as Dracula. The film’s cobra-and-mongoose-like intensity finally combusts for another segue into serial-like action at the climax. Charles and Sandor dash across country to catch the carriage driven by Klove and carrying Dracula and the stolen Diana to the castle. Here the script makes inspired use of a relatively obscure piece of vampire lore, that running water is a fatal barrier. As Charles and Dracula fight on the frozen mantle of the castle’s moat, Sandor shoots the ice until the vampire is stranded on a frigid raft, before he pitches into the brine and sinks to his doom. Naturally, the count would be back. Having broken his ban, Lee would return to the role seven more times, five of them for Hammer. In spite of those films’ varying levels of quality and inspiration, and following a remarkable late-career resurgence as the must-have actor mascot for grand movie fantasies in the 2000s, Lee would, nonetheless and above all, always be Dracula.
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Focusing on the debut feature work of famous, and infamous, figures of film
Debut feature film of: Richard Lester, director
By Marilyn Ferdinand
This weekend, the Film Society of Lincoln Center began a weeklong retrospective of the works of American-born, British-based Richard Lester. The series will of course include his most famous works, A Hard Day’s Night (1964) and Help! (1965), but will range across his career to include lesser-appreciated films like Juggernaut (1974) and The Return of the Musketeers (1989). What it will not include is his debut feature film. The privilege of seeing It’s Trad, Dad, aka Ring-a-Ding Rhythm this week was solely that of the patrons of the invaluable Northwest Chicago Film Society, which, after lengthy negotiation, managed to pry the only projectable print out of the Sony vault for our enjoyment and edification.
Many movie buffs and Beatles fans know that Lester was hired to direct A Hard Day’s Night based on the Fab Four’s wild enthusiasm for the The Running Jumping & Standing Still Film (1959), a short film Lester made as a first foray onto the big screen after several years in television. What isn’t as well known is that another Lester effort, a TV pilot called Have Jazz, Will Travel, made an impression on Amicus Productions cofounder Milton Subotsky, another American expat in Britain with a TV background trying to reach the teen market with music, and later, horror films. Subotsky handed Lester a 24-page script, a large roster of jazz and pop stars, and a free hand in filling them both out to feature length. The result was a 78-minute concert film with a comedic story thread and a wealth of visual inventiveness that occasionally tips the film into experimental territory.
Although the film is nearly nonstop music, there is a story that Lester mines for some great visual gags. The mayor (Felix Felton) of an English suburb goes out to a cafe for a quiet cup of coffee, only to have his repast rudely interrupted by a swarm of teens coming in to dance to the rock ’n roll records on the jukebox. They also watch TV announcer Alan Freeman as he presents such acts as Terry Lightfoot and His New Orleans Jazz Band. The mayor gets the town council to approve a ban on jazz, sending two of the town’s teens, pop stars Helen Shapiro and Craig Douglas, on a mission to bring a jazz concert to town to show the townspeople that the music is just good clean fun.
The wrap-around story affords Lester the only opportunities to indulge his comedic instincts. He shows the mayor crushing records in a vise, only to stop when his aide accidentally (?) hands him a Lawrence Welk record. When Shapiro and Douglas decide to go to London to enlist the aid of Freeman, Lester breaks the fourth wall with a snappy verbal exchange and moves the film strip across the screen to change the town location to the broadcast studio; similarly, when the teens strike out with Freeman and decide to go to a nightclub to try their luck with announcer David Jacobs, he flips the scene again and pops some evening clothes on them for good measure. He ends with more visual zaniness as the mayor, who has unwittingly agreed to a jazz concert in town, sets up obstacles to the bands coming to play. Giant rubber bands bounce the musicians’ van between two sets of trees, and when the van breaks free, the police pile furniture into a high roadblock, only for the van to drive around it.
Most of Lester’s real work is in trying to provide interesting set-ups for the 26 acts that comprise the bulk of the film, and he largely succeeds. He uses masks to split the images of Terry Lightfoot and his band, creating boxes within boxes that offer the static image some movement. When Helen Shapiro sings, he gets right into the crowd of kids swirling around her and creates an almost flickering effect of her peeking out between the moving heads and bodies. He favors close-ups, perhaps thinking it would be rather funny to move into the maw of a crooner, as he does with the megaphone-wielding singer of The Temperance Seven. The gargantuan images he creates with this effect are rather monstrous, creating an impression not far off from what the mayor objected to—that hopped-up music and teen culture would take over the world, as indeed they did.
Lester and Subotsky almost pulled off a coup as the first people to capture Chubby Checker on film doing the twist—in this case, the “Lose Your Inhibition Twist”—but lost out when Teenage Millionaire appeared in 1961. The scene with Checker is notable for being at an integrated nightclub where black and white dancers mix freely on the dance floor.
It is worth noting that the film’s British title, It’s Trad, Dad, refers to the label Dixieland jazz has in Britain—traditional jazz. Thus, the film is loaded with Dixieland bands and music, including Chris Barber and his Jazz Band with vocalist Ottilie Patterson doing “Down By the Riverside” and “When the Saints Go Marching In.” My favorite was British clarinetist Aker Bilk and his Paramount Jazz Band; Lester seized the opportunity to create a visual narrative for the band’s rendition of “Frankie and Johnny” that presages similar work in the Beatles films.
A dramatic moment is Gene McDaniels singing the Burt Bacharach/Hal David song “Another Tear Falls.” Lester films him first in dramatic silhouette and then maintains minimal key lighting to reflect the song lyrics and McDaniels’ powerfully emotional voice. Sadly, the liberal lipsynching used in the film creates an unintentionally funny moment in this excellent performance when McDaniels takes a puff on his cigarette and ends up spitting smoke for several bars.
There aren’t many recognizable pop songs, though artists such as Del Shannon, Gene Vincent, and Gary U.S. Bonds were at the top of their game when this was filmed. Sixteen-year-old Helen Shapiro made her screen debut in this film, but she was hardly an unknown; she had been voted Britain’s top female singer, and The Beatles’ first national tour of Britain, in 1963, was as her opening act. Her deep voice and energetic phrasing in “Let’s Talk About Love” demonstrate what a major talent she was.
How much you like this film may depend on how much you like the music. Although some of the outdated vocal and fashion styles garnered laughs from the audience with whom I saw It’s Trad, Dad, the hands-down favorite of the evening were The Temperance Seven, a cross between the Nairobi Trio and the Bonzo Dog Doo-Dah Band. Their cheeky, untranslated French lyrics and ennui-filled performance are delightfully droll and unabashedly fun. It’s absolutely fitting that they should be in Dick Lester’s very first feature film.
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Director: Bill Condon
By Marilyn Ferdinand
I’ve been lately reading the works of Jonathan Swift and commentary thereon, a man whose self-written epitaph (“Here is laid the Body of Jonathan Swift … where fierce Indignation can no longer injure the Heart.”) proclaimed his vigorous engagement with human suffering. A Protestant minister and dean of St. Patrick’s Cathedral in Dublin, Ireland, Swift’s works cannot be fully understood without an appreciation of his belief in the doctrine of original sin, which was weakened by the growing ascendancy of Protestant rationalism, and his attempt to restore through his writings a vision of human nature as corrupt, licentious, and irrational, and in need of religious instruction and redemption.
Now having viewed Mr. Holmes, I am tempted to think that Mitch Cullin, the writer of the novel on which it is based, may be a revivalist, though of a much milder temperament, in the Swiftian mold. He chose Sherlock Holmes, the proto-machine man representing the triumph of the just-completed Industrial Revolution and embellished upon thereafter to reach the near-android superman we see in many depictions today, to spin an emotional tale of human flaw, guilt, and redemption. Despite the current, apparent return of preindustrial religion, deities and their emissaries are decidedly out of fashion in pop culture as redeemers. Instead, it is women who die for men’s sins. So it is even for Sherlock Holmes, a man who needs women like a fish needs a bicycle.
Machines, even well-built, reliable ones, need maintenance and invariably break down after long years of service. Thus, the Mr. Holmes in this emotion-laden story set in 1947 must needs be old, indeed, 93 years old to malfunction in the manner required by the story. But before we can prepare ourselves for his diminished capacity, we must know that we really are dealing with Sherlock Holmes. We first meet him (Ian McKellen) on a train clutching a furoshiki-wrapped box from his recent trip to Japan. A lad is watching an insect buzzing near the window and is just about to rap on the glass when Holmes tells him not to. Like all those stunned by Holmes’ prescient abilities, the boy asks how Holmes knew he was going to do that. The boy’s mother interjects rather unhelpfully, “He loves bees.” Holmes replies scornfully, “It’s not a bee, it’s a wasp. Entirely different thing.”
As later Holmes scribe H.F. Heard envisioned, Holmes, no longer a sherlock, lives in quiet isolation near the White Cliffs of Dover, where he tends bees. He is tended to by the latest in a series of housekeepers, Mrs. Munro (Laura Linney), a war widow, and her 10-year-old son Roger (Milo Parker). He greets his bees, disturbed to note that some are dead, and tells Mrs. Munro that he wants her to put a tincture of prickly ash—the contents of his box—in his food. Having found royal jelly unable to restore his seriously faulty memory, he has brought the plant back from Japan in hopes that it will do the trick. Indeed, he has written a monograph on the two substances, which we see in flashback handed to him by his host in Japan, Tamiki Umezaki (Hiroyuki Sanada), for his autograph.
The more important flashback Holmes seeks is to his last case, the one that caused him to retire 30 years earlier. The now-dead Dr. Watson wrote it up as “The Lady in Grey,” but Holmes is convinced that John got it wrong. He decides to write his own account of the case to set the record straight and set his mind at ease, but that is easier said than done. In dreams and free associations, bits and pieces of the case come back to him, but large chunks remain utter blanks. Roger, his own memories of his father manufactured by photos of them together when he was a toddler, joins Holmes on his quest to save the bees and finish his story.
We are told again and again that the Sherlock Holmes of fame and fortune bears little resemblance to the real man; he never wore a deerstalker, avoids smoking a pipe because it would be unseemly for the real Holmes to seem to be “dressing up” as the fictional Holmes, and lived at another Baker St. address. Presumably, the image of him as an emotionless deducer of facts is incorrect as well, because McKellen’s Holmes is very grandfatherly toward Roger, a bright child Holmes begins instructing in the ways of bees and deductive reasoning, and feeling a vague guilt about his last case that he needs to resolve before he dies.
The only problem with recreating a fictional character, especially one as iconic as Sherlock Holmes, is that there is no real Holmes at all to provide with a “corrective.” It all becomes so meta—and Mr. Holmes takes this to the nth degree by showing Holmes attending a hokey movie version of “The Lady in Grey” and laughing at the movie Holmes, played by Nicholas Rowe, star of Young Sherlock Holmes (1985)—that our impulse is to reject this latest iteration, however more realistic it may be to the life of a very elderly, well-off man. Do any of us really want a touchy-feely Holmes?
Condon and his cadre of screenwriters, including Cullin, do what they can to offer us helpings of the investigative Holmes, but they aren’t very nourishing. We guess that Holmes suspects something is not right with Mr. Umezaki when Condon’s camera lingers on the monograph’s inside cover just a little too long. Dips into the past, as the last case slowly rises from the fog of memory, show Holmes merely following the lady in grey, Ann Kelmot (Hattie Morahan), around until he easily deduces from the information he obtained from his client, her husband Thomas (Patrick Kennedy), what she’s up to. At the same time, it should not have been hard for Holmes to figure out what was happening to the bees, and the fact that he doesn’t opens the door for a melodramatic crisis that would not have been out of place in the movie’s version of “The Lady in Grey,” giving McKellen’s Holmes a chance to get overwrought and Linney to scream “I’m his mother!” at the childless, wifeless old coot.
It was a nice touch to walk Holmes around postwar Japan, with its mix of G.I.s and women in Western and traditional garb alike. A visit to the charred remains of Hiroshima, where Umezaki found the prickly ash, is too conveniently and offensively set up as another marker of Holmes’ personal growth. Holmes’ harshness with Umezaki is much more in character and forms one of the more effective scenes in the film. In addition, charred Hiroshima, like the rest of the film, looks simply too calculatedly designed to attract rather than repel. The film is altogether too pretty, evoking a tasteful Masterpiece Theatre bauble for transfer to the small screen that one of its coproducers, BBC Films, no doubt intends.
Parker, as a pint-size sidekick, is pretty appealing as he absorbs everything this old genius has to offer and becomes a bit too full of himself in the process. McKellen produces an indelible portrait of a man on the brink of death, his infirmities etched in painful detail, aided by some exquisitely realistic age make-up, though I was distracted trying to decide if the liver spots on his scalp were real. Alas, Linney’s role is pallid, and even her considerable skills cannot make a silk purse out of it. Poor Frances de la Tour has to play the standard-issue gypsy role of Madame Schirmer, who teaches the exotically outdated glass harmonica. Only Morahan is able to infuse her Christlike character with some complexity, making it almost believable that Holmes would carry an odd mix of eros and moral culpability around with him for so long. Sadly, Mr. Holmes has taken a powerfully evocative character and neutered him in an attempt to show that men are people, too. Mr. Swift would not have approved.
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Director/Coscreenwriter: Sidney Gilliat
By Roderick Heath
Outside London, 1944. During the second, lesser-known but very bloody Blitz turned on the city by Hitler, V-1 bombs, nicknamed “doodlebugs” for the insectlike drone of their rocket propulsion, rain on southern English. These flying weapons are a unique blend of the amusing, for the sound of their jets is like a noise a small child might infuriate an elder by making, and the terrifying, because when the engines cut out the bombs crash to earth in total silence, people on the ground within earshot are stricken with a moment of heart-stopping impotence as they cannot know if the bomb will explode close enough to them kill them. This backdrop of hapless besiegement is both an immediate plot device and psychic overtone vital to Sidney Gilliat’s Green For Danger, adapted from a popular detective novel by Christianna Brand.
The setting is Heron’s Park Hospital, an Elizabethan manor house in a village on the distant fringes of the city, requisitioned and expanded to serve as an emergency clinic taking care of civilians mangled as collateral victims of the war, as the unmistakably mordant drawl of Alastair Sim explains in voiceover. Sim plays Brand’s recurring hero, Inspector Cockrill, and his voiceover is the report he’s writing to his commander about his latest case, dropping alarming hints about things about to unfold, as when he notes the apparently banal progress of a postman and mentions that “he would be the first to die.” The postman, Joseph Higgins (Moore Marriott), speeds along a lonely country lane with a V-1 zooming overhead, and once he arrives at the post for rescue party volunteers with whom he works, reports dryly that the bomb was chasing him. The sound of the evil device still drones above, and then suddenly cuts out. Higgins listens for a moment, then, in reflexive fear, ducks just before an explosion erupts and the rubble of the destroyed building pours down on Higgins and company, all accomplished in what seems to be one, astonishing shot (close examination reveals a crucial, near-invisible edit). Fire gutters amidst clouds of dust. The office’s undamaged radio continues to operate, the voice of an infamous Lord Haw Hawlike female Nazi broadcasting propaganda threats and signing off with the eerie catchphrase, “This is Germany calling…this is Germany calling.”
Gilliat had become well known working with writing partner Frank Launder before the war, penning the film that gave Alfred Hitchcock his springboard for a move to Hollywood, The Lady Vanishes (1938). They also created for that film the comic characters Caldicott and Charters, played by actors Basil Radford and Naunton Wayne. The characters so perfectly epitomised a kind of preoccupied, even cloddish, but basically okay English gentleman that they were carried over to several other films, including Night Train to Munich (1940) and Dead of Night (1945), and helped give Gilliat and Launder the clout to set themselves up as auteur filmmakers and, like Michael Powell and Emeric Pressburger, create their own distinctive brand. The duo were in their element during the war and just after it, their special blend of dry-trending-black humour and drama connecting with an invigorated and engaged audience hungry to have their day-to-day lives acknowledged. The team’s early films Millions Like Us (1943), Waterloo Road (1944), and The Rake’s Progress (1945) studied the mores of life on the home front with intimate empathy and an acute sense of the human absurdity amidst the official heroics. After the war, they engaged subjects like crime and urban poverty, in London Belongs to Me (1948), and Anglo-Irish relations, with Launder’s I See a Dark Stranger (1946). As with other British filmmakers who thrived in this period, including Powell and Pressburger, Alberto Cavalcanti, David Lean, and Carol Reed, the 1950s brought waning fortunes that forced many to head overseas or face decline, but the duo prospered again when Launder directed and Gilliat produced the hugely popular, disreputably funny The Bells of St. Trinians (1954), birthing a series.
Launder loved farce and broader comedy, and was rewarded with the more solid directing career, but Gilliat was the more talented filmmaker, his elegantly cynical side meshing with an intuitive understanding for both noir and neorealist stylistics blowing in from abroad, and displaying elements of both in concurrence rather than in imitation of those movements. Gilliat’s sensibility found its greatest expression in Green For Danger. Importantly, this was a postwar film that nonetheless harkened back a mere two years, which could well have felt like a lifetime, making it partially a work of hurried anthropology bent on capturing the mood of the time before it slipped away. Rather than the unvarnished, docudrama look of a lot of wartime filmmaking, however, Green For Danger retreats to the studio to create the self-contained world of Heron’s Park—a mishmash of old and new, Renaissance gables abutting concrete blockhouses, stained and plate glass, where the workaday can suddenly morph into the menacingly shadow-ridden and alien: Powell and Pressburger’s idealised classical English landscapes of A Canterbury Tale (1944) and I Know Where I’m Going! (1945) are now riddled with the permanent mark of modernity, reflecting its jagged new sense of self. The setting has a curious similarity to the far more remote and overtly nightmarish precincts of Isle of the Dead (1945) and the lofty nunnery of Black Narcissus (1947) in the sense of being both insulated and besieged. Like Black Narcissus, Green For Danger is in part an oblique, metaphoric study of the mental exhaustion wrought by the oft-idealised Blitz spirit depicting the cost of lives led in painful sublimation and self-sacrifice through the figure of a young woman turned baleful psychotic.
This jury-rigged jangle of a workplace can also be likened to the hospital staff, a team of people forced to subsist in close proximity, working long, exhausting shifts with little respite for several years in the midst of explosions and broken bodies. Gilliat’s camera introduces the crucial players and potential suspects in the mystery about to unfold, Cockrill’s voiceover noting their names before their faces are revealed. Mr. Eden (Leo Genn) is the great surgeon and former suave playboy of Harley Street. Dr. “Barney” Barnes (Trevor Howard) is the anaesthesiologist who’s made perpetually tense by both a troubled professional history and his toey relationship with beautiful, inevitably popular Nurse Fredericka “Freddi” Linley (Sally Gray). Sister Marion Bates (Judy Campbell) is the coolly efficient and commanding head nurse silently eaten up by her lapsed romance with Eden, who seems now to be fascinated with Linley. Nurse Esther Sanson (Rosamund John) is a quiet, good-humoured, but damaged young woman, daughter of a family friend of Eden’s whom Eden has taken a paternal interest in, whilst Nurse Woods (Megs Jenkins) is the hospital’s one-woman morale booster and likeable busybody. Tensions begin to manifest as the team emerge from a lengthy operation. Linley nettles at Barnes’ proprietorial attitude and breaks off their engagement. Bates swoops about directing work with hawkish intensity and then watches Eden move off with pained longing. Woods prods Sanson about her condition when she seems woozy. An alarm bell calls them again to action, as Higgins is brought in. He’s a John Doe who has been pulled from the rubble with a broken leg, dazed and reciting the propaganda radio’s lines in delirious terror.
Linley replaces Sanson for night shift on the ward and chats with Eden about her problems until the sound of a V-1 overhead drives the two into each other’s arms in the anguish of waiting for the explosion, which fortunately goes off elsewhere. Eden kisses her in the heat of the moment, backs off shamefacedly and begs forgiveness, but Bates has glimpsed them through the window and assumed the worst. Sanson arrives back at the nurses’ quarters, quietly distraught: the death of her mother, crushed under her house and left to slowly die by a rescue team, is still a raw wound. Sanson also identifies Higgins before the surgical team operate on his leg. Recovered from his delirium, Higgins narrows his eyes suspiciously at Barnes before he can put him under and says “You’ve got a nerve.” Barnes decides to anaesthetise him on the operating table, but something goes wrong. Higgins stops breathing as he goes under, and in spite of Barnes’s quick efforts to give him more oxygen, he dies on the table from causes no one can determine.
Heron’s Park’s new administrator and chief surgeon Mr. Purdy (Henry Edwards) hopes at first to pass the death off as the inevitable result of the risks his people must take. When assured Higgins wasn’t an emergency case, he instead pressures Barnes to step down pending an investigation and help shield the hospital—and him—from blame. “I merely suggested that I was hoping the gesture would come from you,” Purdy suggests. “The only gesture I feel like making is far from polite,” Barnes retorts. He joins the party the hospital staff are throwing to blow off steam and tries to patch up with Freddi, whilst Eden contends with Bates’ spiky, forlorn jealousy. “You’re sick of me, and I’m sick of myself,” she says as they’re thrown into dancing together during the Paul Jones mixer. Bates breaks away, turns off the record player and shouts out to the staff that she knows Higgins’ death was actually murder and that she has proof.
The early scenes of Green For Danger are a master class in setting up a complex interaction of plot strands and human elements. The mechanics are readily familiar, obeying the basic precepts of whodunit detective fiction—setting up a cast of suspects, affording them all the opportunity for murder, bringing in a canny detective to disassemble the enigma—but the quiet excellence of the characterisation and the sharpness of the dialogue quickly nudge the film out of mere generic efficiency into something ebulliently enjoyable. Wilkie Cooper’s excellent photography, with future great DP Oswald Morris as camera operator, aids Gilliat in creating a probing, subtly mobile mise-en-scène with an interest in contiguity of space and action, such as the startling moment of the building dropping on Higgins’ head, that echoes Hitchcock’s fascination with such effects and looks forward to its use by many later filmmakers. For the most part, the film unfolds with a quiet realism, and yet Gilliat easily nudges it toward poles of ethereal strangeness and stygian menace. The early shot introducing the cast of suspects sees the camera adopting the position of prostrate patient, pivoting to note the masked, near-anonymous faces of the medical personnel, at once angelic and threatening in their concealing surgical whites. The hospital dance sequence is an intricate play of individuals in the midst of public revels, randomly stirred to bring both pleasant and nasty surprises to the participants. Lovers and the lovelorn are brought together, but then rearranged into less neat pairings, the change-partners motif played for both droll comedy and swift character illustration. The gang of medical heroes interact as a tight-knit, almost incestuous bunch, whilst warnings of dark and dangerous things unfolding are batted off with flip humour and drunken mordancy.
The dance is scored to an impudently catchy jazz version of “Here We Go ‘Round the Mulberry Bush.” As Eden appeals to Sanson to give up working at the hospital and tries to make her wake up to the corrosive effects of her mother’s possessiveness, Eden’s fellow surgeon Dr. White (Ronald Adam) darts into the frame, grabs Sanson’s wrist, and draws her away, chanting along to the music in comically unnerving fashion, “Don’t you believe a word he says, a word he says, a word he says…” Bates’ public eruption and ill-advised, almost exultant announcement of having discovered the hospital is as rotten as her own sense of self, segues into the film’s most alluring and well-staged sequence. Bates flees the manor house and darts through the dark hospital grounds, whilst Bates keeps catching glimpses of a fleeting shadow dogging her footsteps. A hand grabs her out of the dark; it’s Eden, claiming to be worried about her. Bates accuses him of pursuing her, and escapes his grasp. She enters the deserted, darkened operating theatre and searches for her secreted piece of evidence. Bates realises that she’s not alone in the darkened room: in a revelation that’s quite bone-chilling on first viewing, Bates sees a figure in full surgical gear standing in the shadows wielding a scalpel. Bates’ scream draws Linley, who’s been drawn to the surgical block for her own mysterious reasons; she finds Bates sprawled in the theatre, stabbed to death.
This sequence is an utter, sustained delight not just in the deftness of Gilliat’s staging, replete with camera movements racing with Bates through the aisles of a gentle English garden turned nightmarish zone of threat, but in the webs of association it evokes to the modern viewer, the prototypical edge to it all. Horror films had been entirely banned in Britain during the war, and here Gilliat skirts the edges of the genre with relish. The source of horror is no spook or monster, but a masked, gloved, homicidal maniac, an aspect that, considered with the film’s visuals, feels uncannily predictive of places the horror genre would go many years later, particularly Italian giallo cinema, which would follow Green For Danger in taking detective fiction and retaining its investigative plot patterns, but drag them into a zone of the irrational, filled with killers reduced to blank avatars of psychological menace. Much like Mario Bava’s Sei Donne per l’Assassino (1963) and its many children, like Halloween (1978), the solitary woman is stalked through familiar environs where the wind churns the bushes and autumnal leaves into an engulfing furore. As with Hitchcock’s Psycho (1960), the villain is tethered inescapably to obsession caused by the possessiveness of a parent. As in Coma (1978), the institutions and paraphernalia of modern medicine are mined for the not-so-hidden anxiety and disquiet they hold for many, the barren, empty corridors of a hospital at night, the creepy impersonality of the surgical outfit, and the inherent anxiety in putting yourself into the hands of people charged with your protection but who might nonetheless betray that trust. Gilliat mischievously repeats a bleak visual motif—earlier he had framed Bates staring from without into the nurse’s station where Eden was kissing Freddi, boxed out by both life and the frame, and again just before Higgins’ operation, and finally in gazing through the window of the theatre door at her dead body.
Darkness gives way to light, and Bates’ murder brings Inspector Cockrill to investigate, first glimpsed dodging this way and that at the threat of a V-1 and finishing up hanging from a gate in anxiety until the explosion goes off and leaves him to recover his dignity. Cockrill is a strutting bantam cock, a canny and incisive operator who also happens to be a self-conscious egoist and showy agent of justice, about as different as it’s possible to get from both the Columbo school of sly, misdirecting investigator and the scruffy, earnestly neurotic kind all too familiar from most recent detective TV shows. Cockrill is more like an overgrown schoolboy, pivoting playfully on spinning chairs and almost poking people with his umbrella, blowing his nose in front of surgeons, gloating with joy as Barnes and Eden finally lose their cool and get into a fistfight at his feet. Sim had been a popular supporting comic actor for many years in British film, but his performance here turned him into one of Britain’s oddest, biggest movie stars, warping his native Edinburgh lilt into a burlesque of a southern accent that’s alternately soft and stabbing, disarming and provocatively insinuating. It might be worth mentioning that as well as being a dark thriller and interesting pressure-cooker character study and period time capsule, Green For Danger is also one of the funniest films ever made, with Sim entering the film as both plot game changer and comic relief with his impudent, almost insulting sense of humour and buffoonish streak. The narration not only allows Gilliat to do quick storytelling but also introduces Cockrill as a character in the film long before he actually appears, which isn’t until well over half an hour in.
“Very well—pause for 30 seconds while you cook up your alibis,” Cockrill tells the assembled medicos. “Did you get us here just to insult us?” Barnes asks. “I only like to strike an informal note,” Cockrill replies. “You scare the life out of her like any flat-footed copper off the beat,” Barnes rebukes Cockrill after his interrogations cause Sanson to have a hysterical fit, to which Cockrill retorts, “The police force has not a monopoly of fallen arches Dr. Barnes. Ask any chiropodist.” Grilling Barnes over the procedures of his anaesthetising, Cockrill recognises nitrous oxide as “so-called laughing gas.” “Actually it’s the impurities that cause the laughs,” Barnes notes. “Ah—just like our music halls,” Cockrill quips. “Are you trying to make me lose my temper?” Eden asks the inspector as he prods him over his love life. “That was only a secondary object,” Cockrill admits. Cockrill is a unique creation, a postmodern character from before the idea was coined, one who points out and makes jokes out of the clichés in the story he both represents and detects. His presence lets Gilliat reflect on how familiar the tropes of detective fiction were in 1946, whilst also acting as a perfect plot disruptor by reflecting the neurotic insecurities of the suspects back at themselves. When Eden takes Freddi out for a romantic and secretive moonlight tryst in the hospital grounds, Cockrill suddenly emerges from the shadows to airily finish the quote from The Merchant of Venice Eden uses as a chat-up line, and then casually brushes aside a bush to reveal a similarly hidden, eavesdropping Barnes to say goodnight. Here and there, glints of sharp satiric comedy appear amidst the drollery, including another interestingly anticipatory moment early in the film when the blowhard Purdy is first glimpsed, schooling his staff in that most dreaded of postwar arts, management and team-building, pointing to his chalkboard marked with explanations of the principles of positive and negative thinking, and his putting these ideas into practice by having the waste bins relabelled as salvage bins. Cockrill is found lounging in bed, reading a detective novel: his face lights up in glee, having clearly guessed who the murderer is, and so turns to the back page, only for his face to drop in disappointment, his guess wrong.
Green For Danger could have finished up a tonal stew with a less disciplined director, but instead it weaves together with the spryness of a dance, as Gilliat set himself the task of pulling off a feat Hitchcock had pulled off before him and Robert Hamer would afterward with Kind Hearts and Coronets (1949) in extracting humour dry as a martini from dark situations. Gilliat may even have had ambitions of following Hitchcock, and with one film at least accomplished it. The film does become more conventional on a cinematic level once Cockrill enters the picture, though he acts like a bull in a china shop investigating the murder.
The actual crux of the mystery is the surgical gown the killer wrapped Bates in; it apparently was stabbed twice, but Cockrill notices that one stab wound was an attempt to hide the fact a hole had been cut in the gown, possibly to remove a crucial piece of evidence the gown sported. Meanwhile, four tablets from a bottle of poisonous pills have been removed from the murder scene, and Cockrill warns the others that there’s one pill for each fellow suspect for the murderer to use. But when Freddi lets slip that she noticed something important about the crucial surgical gown, the killer instead seems to try to kill her by sabotaging the nurse’s quarter’s gas supply, almost choking her to death as she slept. The fortuitous arrival of Sanson just ahead of Cockrill sees Freddi rescued in the nick of time, with Sanson dragging Freddi from her bedroom but losing grip on her and dropping her down the vertiginous Elizabethan staircase. The method of attempted murder here again points to the killer’s still unclear method of executing Higgins, but Cockrill still can’t quite fathom the method. He convinces Freddi, battered but uninjured, to help him by pretending to be badly hurt, requiring skull surgery, and pressing the others in the circle of suspects to reproduce their function in Higgins’ operation, giving the murderer the opportunity to repeat the modus operandi, something Cockrill recognises they’re bound to do because the murderer is actually insane, no matter their worldly motives. And motives they have. Barnes might have been after revenge on Higgins because of his seemingly personal knowledge of the professional mishap Barnes was investigated and exonerated of years before. Eden might have wanted to silence Bates. Woods might have covered up the truth of her twin sister’s fate: Woods told everyone her sister had died at the start of the war, but she has actually become the “Germany Calling” propaganda voice that haunted Higgins.
Another part of the unusual beauty of Green For Danger is its lack of a stand-out hero. That’s actually a common feature of much WWII-era cinema, especially those that actually deal with the exigencies of coping with the war. There is emphasis on teamwork and mutual reliance (and like a lot of such films, the credits list characters by the relative organisational rank of the personnel): the innate professional commitment of the characters is the chief value that has been both violated, and yet holds fast elsewhere. But Green For Danger doesn’t idealise the commune entirely and all of the protagonists are notably fallible. Cockrill, in spite of his cocky cleverness, is outflanked on occasion, and the finale is a particular disaster for him. Barnes and Eden seem to be offered as a polarised pair, provincial middle-class and urbane swashbuckler. But Gilliat refuses to reduce either to a type, with Barnes’s slightly pathetic chip on his shoulder and Eden’s covert decency emerging even as they compete for Freddi’s attentions. Howard had just become a major romantic movie star thanks to Lean’s Brief Encounter (1945), whose epitome of the wartime ethos Green For Danger could well be burlesquing, as Gilliat probes for self-destructing irrationalism behind the stiff upper lip and laughingly notes the commonplaceness of the dalliances Lean’s film portrayed as singularly fearful. Importantly, Eden represents the kind of slightly soured, faintly arrogant but ultimately good playboy that Gilliat was so fond of as to seem like a personal avatar, a figure usually played by Rex Harrison in Gilliat’s films, including in The Rake’s Progress and The Constant Husband (1956).
The quartet of nurses are even more interesting and diverse, ranging from Woods’ hearty presence as the team’s supplier of emotional ballast hiding a lode of humiliation, to Bates’ severe passion, as sadomasochistic and indiscriminate in her self-conceived tragedy as anything the killer does: “That hurt didn’t it? Now you know how I feel,” she comments with a quiet triumph after shocking Barnes with the news of Eden and Freddi’s kiss. Even Freddi, cast by fate as the confused object of affection and local glamour-puss, is thoughtful and aware of her naiveté as a problem, musing on how she considers Barnes “a better sort of person than I am altogether” and contemplating the nonlinearity of her emotional commitments. John’s Sanson is the quietest, the frailest, the least noticeable, so, of course, she’s the one to watch out for. John isn’t well remembered and didn’t appear in many films, eventually quitting acting after marrying a politician. But she was momentarily one of the most interesting British female stars of her time, discovered and given several leading roles by Leslie Howard before his death, usually playing quietly stoic heroines rising to the challenges of wartime in films like The Lamp Still Burns and The Gentle Sex (1943). As with Howard, Gilliat exploited that image in casting John as Sanson, whose emotional fraying makes her an object of concern for her colleagues and counts her out of the erotic roundelay eating everyone else up. Sanson retains flashes of droll humour and charm in between fits of anxiety, as when, intruding upon an argument between Woods and Eden over his play for Freddi, she notes Woods stamping out and asks Eden, ever so coolly, “Anything the matter?”
The title finally becomes clear as the penny finally drops for Cockrill right at the edge of his risky stunt costing Freddi’s life: a smudge of black paint on Woods’ gown gives away the ingeniously simple trick Sanson has used, painting a bottle of carbon dioxide, usually coloured green, in black and white to mimic an oxygen cylinder, and slowly poisoning the person under anaesthetic. Freddi is saved in the nick of time, and Cockrill reveals how his thinking finally saw all the pieces snap together, in recognising that the gown found with Bates had a similar paint smudge on it before it was doctored. Most cleverly, when Sanson is revealed as the insane murderer, John, instead of letting Sanson’s lunacy off the leash in being caught, becomes even quieter, unnervingly exactingly polite and explaining her motives with nonchalant simplicity, nominally for revenge against Higgins who had headed the rescue team that unwittingly left her mother to die—only her eerily wide eyes signal a frustrated animal’s fear, absent of reason and convinced of her the rightness of her course of action until she keels over, killed by those self-administered poison tablets, a fate Eden tries to save her from, having guessed she was the culprit, and having an antidote ready—except Cockrill wrestles the syringe from Eden’s hand before he can administer it, mistaking his actions for an attempt to kill Sanson and evade justice.
The bitter undertaste to the conclusion of Green For Danger is its last great touch, undermining the usual feeling of correct order restored and avoiding the sense that somebody heedlessly evil has gotten their comeuppance: instead the ultimate truth the film communicates is that the effect of war has turned a lovely young woman into a homicidal maniac and worn everyone else ragged. The film concludes on a joke that nonetheless still echoes the theme of professionalism as its own virtue: Cockrill offers his superior his resignation at the end of his report to express his regret over the resolution of the case, “in the confident hope that you will not accept it.”
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Director: Terence Fisher
By Roderick Heath
A fog-rimmed lake. A sonorous voice on the soundtrack telling us we are now in Transylvania. A carriage careening through the twilight forest, the driver whipping his horses in frenzy, his comely passenger panicking as her journey to a new life seems to be turning into a nightmarish ride in unknown territory. What looks like dead body lies on the road, blocking the way. A mysterious stranger watches from the woods, looking for his opportunity to stealthily climb aboard the coach and work his mysterious purpose. Now that’s how you start a horror movie.
Amongst horror movie fans and connoisseurs of Hammer Films’ output, The Brides of Dracula has slowly gained repute, to the point where some state today that it’s the best horror work the studio ever made. The film’s delayed rise to such acclaim was due to its being overshadowed and dismissed as a by-product at the time of its release. Christopher Lee had played Bram Stoker’s vampire overlord in Terence Fisher’s Dracula (1958) to audience-delighting, icon-making effect. Titling a film The Brides of Dracula without Dracula actually turning up was received as a bit of a cheat, and after Lee resumed the role, Hammer’s first stab at extending its vampire franchise was obscured. Lee, frightened with good reason of being typecast, refused to play the role again, and would not buckle until 1966’s Dracula, Prince of Darkness. In the meantime, Fisher and the creative team at Hammer tried to synthesise a replacement for Dracula whilst retaining his antagonist, Peter Cushing’s Dr Van Helsing, for another bout with evil. Lee and Cushing wouldn’t be reunited in their archetypal roles until Dracula A.D. 1972. The film’s development was rocky, with three credited screenwriters including the studio’s two main horror scribes, Jimmy Sangster and Peter Bryan, and contributions from producer Anthony Hinds, Fisher, and Cushing, and a planned finale that was dropped and then used in another film. And yet Brides stands alongside the likes of Fisher’s own The Gorgon (1964) and Frankenstein Must Be Destroyed (1969), Don Sharp’s Kiss of the Vampire (1963), and John Gilling’s The Reptile (1966), as one of the supreme Hammer films, a fiercely concentrated and lushly executed work of the studio’s peculiar brand of Technicolor Gothic, instantly recognisable for its near-operatic sense of colour and drama.
The Brides of Dracula arrived when Hammer’s budgets and ambitions were expanding, with more elaborate sets and some special effects, but still limited enough to deliver some of the shoddy pleasures associated with the brand, here apparent most particularly in a delightfully unconvincing devil bat. But Brides is a vibrant work, one that revels in being freed from the specific mythos of Dracula himself whilst still remixing the themes and images established so vividly by Fisher’s first take. Early sequences provide a tweak on Stoker’s template by placing a woman, rather than a man, in danger in a remote locale, and emphasising more forcefully the theme of the innocent abroad taking a plunge into the abyss. The innocent here is Marianne Danielle (Yvonne Monlaur), a young Frenchwoman on her way to work as a student-teacher in the small town of Badstein, in the usual hazily defined Mittel Europa of Hammer works, supposedly in what the narrator describes as, “Transylvania – land of dark forests, dread mountains and black, unfathomed lakes – still the home of magic and devilry as the Nineteenth century draws to a close.” The thunder of the opening resolves in a fake-out, as the body on the road proves to be only a peculiarly shaped log, which the fretful coachman (inevitably, Michael Ripper) clears out of the way. But this anticlimax turns out to be a ploy by the stranger in the woods (actually Black Park in Buckinghamshire, soon be all too familiar to audiences of Hammer films) who catches hold of the back of the coach and rides secretly with it into the nearby village.
The stranger’s part in the film proves the most enigmatic element, an emissary of evil who’s never named (although the credits and the famously whacko novelisation by Dean Owen call him Latour) and vanishes from the proceedings having performed his deed, as he bribes the coachman to leave the village and abandon Marianne while she’s in a tavern having dinner. Already gilded genre cliché is already in play, but with a twist: the locale is strange, the underlying mood tense, but the locals are friendly enough in a workaday fashion, until the time of dread falls upon them, at which point the innkeeper so solicitous to Marianne (Norman Pierce) and his wife (Vera Cook) are gripped by enigmatic, hysterical urgency. Fisher offers a lovely weird moment when an abrupt silence draws the attention of Marianne and the innkeeper, who have been conversing pleasantly, to the front door, and see that the stranger is standing there, watching them with a satisfied smile, whilst everyone else in the room has fallen gravely quiet. Marianne is advised to flee by the two solicitous hoteliers, but before they can bustle her away, the sound of another coach coming into town signals the limits of their bravery and resistance. “Don’t open it,” the wife says; “I must,” the man replies in bleak concession to life under a tyranny. Tyranny in this village has a courtly face, however, as the owner of the coach Baroness Meinster (Martita Hunt), who offers Marianne hospitality for night, beguiling the young woman with aristocratic indulgences, like fancy wine. Marianne accepts and dines with the Baroness in the castle overlooking the village.
The Baroness offers that most hallowed of gothic horror tropes, the devolved remnant of the ancien regime reminiscing with exultant sadness about the times when the castle was the scene of grand parties and conspicuous consumption. By this time, however, Marianne is privy to the mysterious secret of Castle Meinster, having glimpsed from the room the Baroness assigns her a young man, standing on a balcony far below. The Baroness admits this is her son, the young Baron who is, she explains, beset by a malady that has destroyed their lives, a malady he picked up in his wild, indulgent youth: “We pray for death, my son and I,” she reports, shocking Danielle but also stirring her empathy. However, during the night, Marianne catches sight again of the Baron, this time seemingly about to hurl himself to his death from his apartment balcony. She screams out to stop what she presumes to be his imminent suicide, but after she find her way through the house into the Baron’s apartment, she is confronted by the contrivance that makes his suicide by jumping impossible: he’s chained by the leg. The Baron, far from being an imprisoned lunatic, steps out from the shadows to reveal himself as a starkly handsome, soft-spoken romantic idol who appeals desperately to Marianne to find the key to the lock on his ankle in his mother’s room.
The Brides of Dracula offers a fun burlesque here on classic historical romantic fiction, calling back to British cinema’s mid-‘40s heyday of films in that genre when James Mason and Stewart Granger played roguish, black-hearted seducers not that far removed from Hammer’s Dracula. Marianne is cast as plucky damsel freeing the cruelly imprisoned heir with an impressive feat of bravery, stealing into the Baroness’s room and locating the key and then, when she’s almost trapped by the Baroness’s arrival, escaping through the window and traversing a narrow ledge to safety, all whilst still clad in her nightgown. But Marianne’s act of love-struck bravery proves, of course, to have been performed in the service of bottomless evil, because the Baron is a vampire, held in restraint by his mother and kept sated with young women like Marianne. The freed Baron shields Marianne from the Baroness’s wrath however, telling Marianne to go pack and then addressing his mother with smoothly menacing intensity that compels her to follow him back into his former prison. Marianne, once dressed and ready to leave, hears a strange cackling laugh echoing from the Baron’s apartment and descends to investigate. Rather than her beautiful prize for gallant action, Marianne only finds Frieda laughing in nihilistic delight over the Baron’s discarded restraint, and the cracked servant happily makes Marianne face the consequence of her act: the Baroness sitting dead in an armchair. Marianne, horrified and panicked, flees into the night and traverses the forest by moonlight. Frieda remains behind, muttering a Shakespearean soliloquy as she admonishes the dead Baroness for her history of indulging the young Baron until he finally become an undoubted monster, and anticipates the Baron’s inevitable return to his coffin, waiting empty for its owner’s return.
Hammer’s brand of horror was usually quite literal and straightforward, portraying eruptions of the irrational in a thoroughly tangible context, an alternative to the otherworldly approach of German expressionism. This alternative was rooted in a peculiarly British variety of magic-realism, one that had long lurked within classic gothic literature and romantic fiction, a distorted, magnified sense of the compellingly vicious that had generally only found cinematic expression in Britain through Alfred Hitchcock and Michael Powell, and the charismatic bounders and bitches of the Gainsborough Melodramas of the ‘40s. Evil, no matter how supernaturally powered, becomes a materialist thing infesting and infecting the human world in the Hammer ethos, whilst Fisher’s approach to the genre’s monochromatic moral essence was resolutely totemic and vivid, staked in flesh and blood and stone and wood. Social evil is indivisible from the less palpable kind, feeding each-other. The Brides of Dracula, however, sees the director straining beyond the studio’s usual realistic template, as he would again with The Gorgon. As usual with Fisher’s direction, the dramatic, geographical, and interpersonal relationships are all mapped with an exacting sense of linkage, progression, cause and effect in Brides. He builds a little world with the fastidiousness of a model train enthusiast, where all the elements exist precisely to facilitate others and are demonstrably connected, like the plainly visible chateau above the Meinster village set, and the keen camera movements and angles in the chateau that make the set feel both labyrinthine and spatially coherent.
Yet Fisher often invested his horror films with hints of dark fairy tale and folk myth, an inflection fully apparent in images here like Marianne stalking the shadowy halls of the fairy tale castle, trying to free her demon lover, and then running away into the dark forest like Snow White, only to be found as a sleeping beauty lying in the midst of the woods by an improbable Prince Charming. The Brides of Dracula skirts of a kind of airy cinematic mysticism usually associated with continental filmmakers like Lang, Cocteau, and Franju, with their love of permeable realities and blithe manifestations of the fantastic. The film also harkens explicitly to Fisher’s early, pre-Hammer work, the Hitchcockian thriller So Long at the Fair (1952) where another young female traveller falls through the permeable barriers between normal and abnormal worlds, faced with jarring disappearances and conspiracies of silence. Van Helsing speaks of vampirism not as individual monstrosities but a “Cult of the Undead,” a “remnant of one of the ancient pagan religions,” which introduces a note of dense, conspiratorial evil reminiscent of Lang’s films, whilst the darkly romantic fairy tale motifs in a proto-modern world anticipate Franju’s remix of Judex (1963). Moreover, Brides may well be the most specifically influential of Hammer films, certainly in its visuals the quintessential studio entry. The rich Technicolor photography by Fisher’s regular photographer Jack Asher painting a world in musty, muted blues and browns that suggest a permanent autumn in the world, punctuated by eye-gorging, saturated hues in clothing and décor, evoking Victorian lithographic and book plate illustration to generate a sense of gothic atmosphere. Neil Jordan, with The Company of Wolves (1984), and Tim Burton, in Sleepy Hollow (1999), would later pay explicit tribute to that style, with Burton even recreating the windmill featured in this film’s finale for his tribute.
The morning following Marianne’s adventure sees a passing coach halt on the forest roadside. A casual downward pan reveals Marianne sprawled unconscious on autumnal leaves. The passenger in the coach proves to be just the person you want to find you after a terrifying encounter with a vampire: Dr Van Helsing plucks Marianne off the ground and transports her to the village, where the innkeepers are surprised and happy to see her safe. Van Helsing has been invited to the village by the local Cure (Fred Johnson) who suspects the nature of the evil previously held within the Chateau and wants Van Helsing to investigate. Van Helsing carefully teases out details of Marianne’s story whilst trying to shield her from the nature of the danger she faced, hoping to speedily return her to normality, but this proves a miscalculation on his part, as he leaves the door open for the Baron to approach Marianne still playing the hapless young lover, his mother’s death dismissed as tragic culmination of her own violence. Van Helsing escorts Marianne to her new place of employment, a Girl’s Academy run by the sweet-and-sour couple Frau and Herr Lang (Mona Washbourne and Henry Oscar). Van Helsing calmly faces down the overbearing Herr Lang, whose own wife describes him as “a little bit terrifying,” when he chastises Marianne for being late and in a man’s company: Van Helsing producing his business card with its long list of impressive doctorates instantly turns petty overlord into grovelling bourgeois. This joke is repeated with a slightly more pointed inference later when Baron Meinster turns up to romance Marianne, and Lang, not knowing him, threatens to throw him out. The Baron explains he’s Lang’s landlord with suave assurance, but gets a measure of revenge as he congratulates Lang on maintaining “such a charming house and grounds – at so low a rent.”
Cushing’s Van Helsing here wields the same specific gravitas he held in Dracula, as the unremittingly rational being who battles supernatural evil with the trappings of religion and myth but with the method of a scientist, slowly cutting out the cancer of ancient ills as the emblem of modernity as faith. “Who is it is who has no fear?” Baroness Meinster asks him when he approaches her: “Only God has no fear,” he replies, but Van Helsing hesitates at no threshold. Cushing was better off than Lee in returning to his character, as Lee would find to his increasing chagrin as he was reduced to an intensely glowering monster in Hammer’s later Dracula entries, whilst here Cushing was allowed to develop nuances in the role. Van Helsing had been courageous but brutal in Dracula, embodying the puritanical force pounding life out of the sensually gorged lovers of the vampire overlord, but turning on a penny to solicitously comfort a small girl with fatherly grace. Here that side of him is emphasised as he appears as the essential crusader hero, bringing relief from tyranny and insidious evil.
Producer Hinds quipped once that he and Fisher and Sangster had all regarded these films as their own babies but Cushing was certain of it, and Cushing’s contributions to the script perhaps helped this recasting of the hero in something like his own image, kinder and with a dash of romanticism. Van Helsing engages in rivalry with the Baron for Marianne’s affection as well as her soul, the Baron’s pretty boy charms pitted against the spindly savant’s hangdog intensity and winning out initially. Cushing pulls off a marvellous scene when Marianne informs Van Helsing she’s now engaged: he congratulates her with a good grace that’s ever so slightly pallid, but when she mentions just who it is she’s marrying he reacts with horror and checks her hands for signs of the tell-tale venereal stigmata of the “kiss of Dracula.” “Do you love him?” he asks in mild incredulity, and quickly leaves when Marianne answers yes, silently astounded at the perversities of existence but not swayed from his mission.
The deep veins of perversity that spread through The Brides of Dracula are indeed a source of the film’s specific richness. The notion that vampirism was a metaphor for sexuality permeates Fisher and Sangster’s take and permanently inflected the genre, but here Meinster’s attentions are indiscriminate and suggestively pansexual. Even Van Helsing, who’s seen a thing or two, is revolted by the discovery Meinster has drunk his mother’s blood, and this comes on top of the narrative’s hints of homosexuality, as the good doctor himself comes in for the vampire’s attentions. The film’s title suggests the Girl’s Academy will be a feasting ground for the bloodsucker as one would be in Lust for a Vampire (1970), but Meinster only attacks one of Marianne’s fellows there, her fast friend Gina (Andree Melly). On the night of his first release, Meinster kills a village girl (Marie Devereux), and her heartbroken father is confused and appalled when the Cure, after finding her buried in the churchyard, tells him she must be removed. Van Helsing, who overhears, assures the Cure that he can prevent the girl’s revival, but when he arrives in the churchyard finds Frieda lying upon the grave, playing midwife in encouraging the new vampire’s emergence in a travesty of birth. This cues one of the most memorable scenes in the genre’s history as it climaxes with the ecstatically morbid images of the girl’s white hand thrusting out of the earth, and then pushing back the lid of her coffin and sitting up with a dead-eyed smile of sensual gratification.
Van Helsing can’t help but watch in disgusted but mesmerised fascination, a spell only broken when the Cure, who’s just arrived, bellows his protest and then leap to secure Frieda whilst Van Helsing chases the vampire. Van Helsing’s pursuit is stalled however by Meinster, transformed into a huge bat which dive-bombs the vampire hunter until his kitbag tumbles open and his crucifix spills out. Van Helsing heads up to the Chateau Meinster, where he finds the Baroness, now revived as a vampire, haunting her own castle. The splendidly patrician Hunt was most famous for her role as Miss Havisham in David Lean’s Great Expectations (1946), which Fisher had edited, and her casting here plays on that role as a reclusive and haughty grande dame whose hospitality entails destruction (Jackson, playing her servant, was also in the Lean film where she played the fearsome Mrs Joe), but here is allowed to retain more pathos as an eerie, existentially tormented victim who hides her new vampire fangs like a demure maiden behind a veil. The Baroness recites with dread the indulgences that brought disease upon her son and self and now believing herself cursed to eternally bend to her son’s will. David Peel, chiefly known as a stage actor, was received badly as a stand-in for Lee when the film came out, an understandable response as far as it goes.
Peel is, nonetheless, a coldly confident presence as a younger, more sadistically callow but superficially debonair evil lord, charming Marianne with his Mod hairdo, hints of intense sensuality, and precise, plummy Old Vic accent reminiscent of a better-looking edition of fellow Hammer alumnus Michael Gough: he’s the vampire prince as a mix of boarding school bully and toffy-nosed pop heartthrob. Meinster is presented as a Byronic sleaze who takes active delight in spectacles of cruelty, stripped of even the faint remnant of noble hauteur Lee gave his Dracula. Peel handles the alterations between the smooth façade he puts on to people he needs to charm and the animalistic savagery of his true nature with élan, particularly when he suddenly appears from nowhere whilst Van Helsing talks to his mother, teeth extended and mouth dripping blood, hissing like a snake at the sight of its only natural predator.
Meinster and Van Helsing have brief but vigorous tussle as the doctor fends off vampire by sliding his crucifix down the length of a table toward him, forcing the vampire back, cringing in pain. Meinster flees after upending the table to trap Van Helsing in turn, leaving Van Helsing alone with his mother. Fisher offers another starkly simple yet rhythmically powerful aside as Van Helsing waits for the dawn to give the Baroness the release she craves, whereupon he takes out stake and hammer and drives it through her body: Fisher cuts from the spurt of red blood to a deep crimson curtain which Van Helsing rips down and spreads across her body with solicitous care that mirrors the vampire midwifery, laying the desiccated matriarch to rest like a mother himself putting a baby to bed. The scoring by Malcolm Williamson, an Australian-born composer who later became Master of the Queen’s Music, is particularly notable in this sequence, a lightly funereal organ on sound rising to a crescendo that helps the vigorous cutting and colour inflate the brief sequence into something rhapsodic. Van Helsing’s return to the village coincides with news of Gina’s death at the Academy. At the Cure’s urging, Van Helsing goes with the local GP, Tobler (Miles Malleson) to look at the body, and convinces Tobler to let him deal with the problem by quickly quarantining the body locked in a stout, padlocked coffin and assigning reliable people to keep a watch over it. Marianne relieves Frau Lang in this task and waits with the school’s stable master Severin (Henry Scott). Before Van Helsing can return with his vampire killing kit, however, Severin is killed by Meinster in bat form, whilst Marianne is confronted by Gina rising out of her coffin.
Fisher borrows a flourish here from M. R. James’ “Count Magnus” as the padlocks on Gina’s coffin fall one by one to the floor unlocked. The vampire Gina stalks the terrified Marianne with fiendishly sensual intent even as she begs her forgiveness for “letting him love me” whilst urging Marianne to kiss “your little Gina.” The lesbian vampire film still has to wait until the following year’s Blood and Roses to come out of the coffin however, as Van Helsing arrives in time to chase Gina off, but Brides does rack up the possibly more interesting landmark of gay vampiric activity later. Van Helsing breaks his unspoken compact to protect Marianne from the truth as she confronts her with the Baron’s nature and forces her to tell him where she expects to meet him. This proves to be an old windmill at the edge of town, a marvellous arena for a final confrontation where Van Helsing finds Gina and the other vampire bride with a harshly mocking Greta. Van Helsing holds off the two girls with his crucifix but Greta simply jumps on him and fights for the talisman, only to accidentally plunge with it over a balcony and crash to her death on some boards laid over a well. The cross drops through a crack into the well before Van Helsing can retrieve it, leaving him vulnerable to Meinster when he enters producing a chain from under his cape and almost throttling Van Helsing to death with it, before gleefully biting his nemesis, taking enough blood to put him under his command. The Baron then goes to drag Marianne out of the Academy and bring her back so that he can force Van Helsing to watch her initiation into the undead fold.
When he wakes up, Van Helsing is distraught to find the vampire’s mark on his neck, but he isn’t out of tricks yet. In another of the film’s innovative and clever ideas, much mimicked in vampire cinema ever since, Van Helsing tries a radical cure. He stokes a branding iron red hot in a brazier and then jams it against his wound, scalding him hideously but removing the stain of this most transgressive “kiss.” A little dab of holy water from a cask the Cure gave him heals the burn immediately, and Van Helsing is back to form. When Meinster returns he doesn’t realise his enemy is able to fight, and before he can vamp on Marianne, Van Helsing helps to a face-full of holy water that leaves him horribly scarred. Meinster escapes after warding off Van Helsing by kicking the brazier over, turning the windmill immediately into an inferno, but Van Helsing escapes with Marianne to the mill’s upper balcony.
The climax originally intended of Brides was for Van Helsing to use a curse to call down other vampires as bats upon the Baron, for his transgression in drinking his mother’s blood. Budget constraints and Cushing’s objection to the idea Van Helsing would engage in black magic meant this concept was abandoned, only to be used a few years later in Kiss of the Vampire. Meinster’s comeuppance here is less spectacular but still original and memorable, as Van Helsing jumps onto the mill’s sail and drags it down to turn the whole structure into a crucifix, pinioning the Baron under the shadow of religious sanctity and finally killing him, leaving a fade out with Marianne in Van Helsing’s arms and the mill with the two vampire girls within going up in flames as the credits roll. The Brides of Dracula was released in what proved a banner year for horror cinema as the commercial force of Hammer’s success unleashed a new wave of films, including Mario Bava’s La Maschera del Demonio, Roger Corman’s House of Usher, and Alfred Hitchcock’s Psycho, and it stands tall with them in the genre’s mottled history. After all but dying out in the mid-1940s, the horror film was well and truly back from the dead.
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Director: Alfred Hitchcock
By Marilyn Ferdinand
The touring show The Hitchcock 9—the nine surviving features from Alfred Hitchcock’s catalog of silent films restored by the British Film Institute—finally hit town this weekend. For those unfamiliar with the director’s formative years, The Hitchcock 9 will prove enlightening, as nearly all of the films represent comedy and melodrama rather than classic suspense. The one exception, and my favorite of Hitchcock’s silent output, is The Lodger: A Story of the London Fog. The film, based on the best-selling 1913 novel by Marie Belloc Lowndes, establishes in one package all of Hitchcock’s major obsessions—the wrong man, blondes, voyeurism, and the threat of nature. The latter, more suggested by the subtitle Hitchcock tacked onto Belloc Lowndes title than an actual menace, nonetheless is used to great effect to veil the title character in mystery and menace.
The Lodger is based loosely on the exploits of Jack the Ripper, and Belloc Lowndes’ book was widely known and read when the film premiered (in fact, it’s still in print today). The key, therefore, to building suspense is to arouse fear in the audience that our heroine, vivacious blonde Daisy Bunting (June Tripp), is to become a victim of the man who has been slaughtering golden-haired women in a pattern that suggests Daisy’s street is the next to be hit.
First, though, one must fill their hearts with dread. A terrified woman looks up into the camera and screams in the night. Too late, as would-be rescuers find only her mangled corpse on an embankment and a note marked with a triangle and the scrawl of “The Avenger” claiming to have done the deed. A witness says she only saw a man with a scarf covering the lower half of his face. A music hall marquee blinks “To-nite. Golden Curls,” ironically taunting the audience that blondes will be murdered over the next 80 or so minutes to provide us with a guilty pleasure perhaps not unlike the killer’s.
Daisy, a mannequin at a London atelier, returns home to her parents’ (Marie Ault and Arthur Chesney) boarding house, where her suitor, Detective Joe Chandler (Malcolm Keen), drops by to flirt with her and gossip about the Avenger case. The doorbell rings, and Mrs. Bunting goes to answer it. Enveloped in the fog and a heavy cloak, a pale man (Ivor Novello) stands before her carrying a small grip and wrapped up to his nose in a scarf. When asked to state his business, he raises a ghostly hand toward the “To Let” sign above the door. After being led upstairs to inspect the room, he pays a month’s rent and becomes the lodger. He asks that the various pictures of blonde-haired women be removed from the room, and when Mrs. Bunting sends Daisy up to help carry the pictures out, she and the lodger meet for the first time.
Novello’s acting in the opening scenes is very broad, emphasizing the lodger’s peculiarities and secretiveness, filling him with a torment that seems largely overdone. There’s no doubt that Hitchcock the control freak wanted this type of performance, which shows up one handicap of soundless pictures—the inability to use vocal inflection to inject subtly suspicious tones and phrases. He throws further suspicion on the lodger when Novello admires Daisy’s golden curls and locks away his grip, which looks like a doctor’s bag in direct reference to the theory that the Ripper was a physician skilled in using surgical tools. One night, when the lodger goes out at about the same time another woman is murdered, Mr. and Mrs. Bunting start developing their own suspicions and quake at the thought that the murderer is living under their roof and, as it turns out, romancing their daughter.
There’s nothing terribly subtle about The Lodger. Daisy is a flirt who keeps Chandler on a leash until she finds someone she deems better, and Chandler is an overbearing blowhard who would love it if the girlfriend-stealing lodger were the killer. When we get to the truth that the lodger is wealthy (of course) and lost his sister to The Avenger, we understand his fixations and sensitivities. His promise to his dying mother that he will bring The Avenger to justice has worn on his last nerve, which is better exemplified by Hitch’s trick photography—letting us peer through the ceiling to see him pacing in his room—than with the sunken-eye make-up and fragility Novello displays.
Nonetheless, the murder of one of the Golden Curls dancers (Eve Gray) shows Hitchcock at his suspenseful best. The Avenger has been a topic high on the list of the dancers for weeks. Gray’s character is no less wary than the other girls, but she is often met at the stage door by her boyfriend and feels safe in his company. One night, they have a quarrel, and she storms off without him, blinded by her anger to the danger she has just put herself in. The scene unspools like any fateful encounter, building from the stage door to a secluded square where Gray fumbles with the undone buckle of her shoe. The dreadful build-up and horrible end to this scene, perhaps the best of the film, reflects the economy with which Hitchcock can terrify an audience.
He also knows how to titillate the old-fashioned way. In what a modern viewer can only see as a precursor to the shower scene in Psycho (1960), Daisy prepares for a bath. We watch her strip off her garments one by one until Hitch cuts to the bathtub drain and Daisy’s toes wiggling in the water. The lodger has no peephole like Norman Bates’, but he listens at the door nonetheless, and we get to see Daisy in her all-together, though the rim of the bathtub obscures any flagrant nakedness. Norman would have killed her, but the lodger’s interest is amorous, not murderous. I was quite overwhelmed during a love scene between the two when Hitchcock practically climbed up Novello’s nose with a close-up that took up the entire screen; this is one time I can honestly say the effect—and what Hitch was going for is anyone’s guess—would not be the same watching a DVD at home.
Hitchcock takes a dig at vigilante justice as well, when the lodger is arrested but breaks free, only to be chased by a mob and beaten as he hangs helplessly by his handcuffs from a wrought-iron fence he tried to climb. Carefully placed shadows make the lodger into a Christ figure, and Hitch would return to the court of public opinion with no less than a priest at the center of suspicion in I Confess (1953).
All’s well that ends well, as the lodger is saved by Chandler and his men when they get word that the real Avenger has been apprehended. Failing to give the audience a glimpse of the killer is not only anticlimactic, but also a cheat. We are at the movie because we have a certain bloodlust that needs slaking, but Hitch proves to be more the moralist than usual and scolds us for suspecting the wrong man. The disappointment that must have greeted this omission was not lost on the master, however. He would not make that mistake again.
It was a treat to see this film with its restored color tints, and what looked like two-strip Technicolor in the penultimate scene of the mob chasing the lodger. The title cards, a clear homage to German Expressionism, must have been a delight for the director to work on, harkening back to his days of drawing them for other filmmakers. Finally, the live accompaniment of the Mont Alto Motion Picture Orchestra was appropriate, elegant, and a huge asset to enjoying this classic from the silent screen. If you have the opportunity, make time to see some or all of The Hitchcock 9, and especially The Lodger.
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Director: Basil Dearden
By Marilyn Ferdinand
British director Basil Dearden hasn’t got nearly the reputation he deserves. As one of the creatives at Ealing Studios during the 1940s and 50s, his films captured a specific time and place in his native land and helped to broker the image to the outside world of a public-spirited country working to come to terms with the changing social landscape of postwar Britain. He had a particular penchant for confronting social problems—particularly race relations—in his films, of which Sapphire (1959) is probably the best known. Originally a theatre director, Dearden used plays as his earliest cinematic material, a well he returned to with All Night Long.
Indeed, All Night Long taps the grand master of British playwrights, William Shakespeare, as a loose adaptation of Othello. As drama, All Night Long suffers in a way many music fans might wish more films would—by featuring prominently the many jazz luminaries who provide the music for an anniversary party thrown by millionaire Rod Hamilton (Richard Attenborough) for jazz singer Delia Lane (Marti Stevens) and her musician husband of one year, Aurelius Rex (Paul Harris).
The milieu for All Night Long is both gritty and exclusive—a loft in a rundown area near Soho, the capital of cool for 1960s London. We know we’re in for a hip time when Hamilton enters the loft to supervise preparations for the party and finds jazz great Charles Mingus plucking idly at his double bass. The set-up crew vie to act as waiters for the party, and then the guests start to arrive.
In terms of the drama, the most important partygoers are saxophonist Cass Michaels (Keith Michell), a close friend of Delia’s from before her marriage, and Johnny Cousin (Patrick McGoohan), a drummer in Rex’s band who is desperate to go off on his own. The only way Johnny will receive backing from impresario Lou Berger (Bernard Braden) is if Delia will sing with Cousin’s band. But Delia has retired to prove to Rex that he is her top priority. Therefore, Johnny hatches a plot to break up their marriage that very night, using Delia’s relationship with Cass to provoke Rex to jealousy.
It was smart for Dearden to choose a timeless classic to drive the film’s plot, as he needed something that could stand up to the musical performances that comprise about half of the film. In general, he does a good job of melding the two and pacing the film to accommodate the musical digressions—or perhaps I should say, the plot digressions. For it is impossible to gauge this film’s importance and entertainment value separate from the many legendary musicians who provide the incidental music and jazz set-pieces.
The musician given the most prominence is Dave Brubeck, who is featured performing two of his own compositions, the superb “It’s a Raggy Waltz” and “Blue Shadows on the Street.” The long list of British musicians who contribute their talents to the film includes Keith Christie, Bert Courtley, John Dankworth, Ray Dempsey, Allan Ganley, Tubby Hayes, Barry Morgan, Kenny Napper, Colin Purbrook, and John Scott. Dearden regular Philip Green and Scott contributed most of the tunes and soundtrack elements played in the film. Marti Stevens is a decent actress and terrific British songbird who performs affectingly the ballad “All Night Long” and shows off a more swinging style—intended as a surprise for Rex—with the great jazz standard “I Never Knew I Could Love Anybody Like I’m Loving You.” I was disappointed that Mingus, one of my favorite jazz musicians, had almost no screen time; indeed, his dialog at the beginning of the film comprised his “showcase.” Nonetheless, watching the jam session and performances in this stage-managed loft felt like the real deal to me, revealing Dearden to be a canny verite director with a sensitivity for making music at least partially a visual experience.
In general, the performances of the actors were quite fine. I was particularly taken with Paul Harris, a commanding actor who was every inch an Othello, and seemed to be adept at the piano as well. His demeanor when confronted, bit by bit, with evidence of Delia’s apparent infidelity built with a contained fury that released in a final, near-deadly confrontation for both Cass and Delia. When he knocks Cass over a railing on the second level of the loft, the shock of watching him in a high-angle shot fall and hit a coffee table is sudden and painfully real.
The Australian-born Michell is one of Britain’s finest actors, one who knocked me out as Henry VIII in the BBC production of “The Six Wives of Henry VIII.” I believe I see a bit of the young Henry in his portrayal of the sensitive, but immature Cass who can’t make up his mind about committing to his girlfriend Benny (Maria Velasco). This interracial couple, like Delia and Rex, simply exists in this movie without comment, offering us the colorblind world of jazz before it was widely accepted elsewhere.
As with Othello, All Night Long belongs to the Iago character, Johnny Cousin. Patrick McGoohan adopts rather unnecessarily a mediocre American accent, but not much else about his performance seems off. His machinations are a bit difficult to follow because, like the jazz musician he is, he seems to be improvising his plan as he goes along. Nonetheless, his single-mindedness is portrayed with cold calculation by McGoohan, and his increasing desperation reflected by Emily (Betsy Blair, in a terrific performance), the wife he never loved, in her pathos at being his well-worn doormat.
The climax of the film might have been the wrenching scene in which Rex tears Delia’s pearls from her neck and chokes her, but this film isn’t meant to be a bloodbath. Johnny’s scheme is uncovered by a barely conscious Cass, who awaits an ambulance with Benny at his side. Johnny’s rage drives him to the drum kit, where he beats out his frustration in a brilliant stroke by Dearden and McGoohan. Reportedly, McGoohan taught himself to play drums over several months of locking himself away to practice, and the extra effort makes this scene the emotional core of the entire film. We may feel relieved that love survived Johnny’s efforts to kill it, but the villain’s passion commands our attention as well.
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Director/Screenwriter: Peter Strickland
By Roderick Heath
British sound engineer Gilderoy (Toby Jones) arrives at the Berberian Studio of Post-Production, a labyrinthine facility and a niche for creating the aspect of cinema perhaps least appreciated by laymen and yet amongst the most vital. This particular netherworld, where glowing, pulsing red lights wait with infernal meaning for Gilderoy, is guarded by a beautiful Circe, Elena (Tonia Sotiropoulou), armed with all contempt for the merely human expected of a fashion plate functionary in a magic kingdom filled with makers of fame and fortune. Gilderoy, middle-aged and gnomic, certainly seems especially human, like the intrusion of a sewage worker in a royal bedroom. But Gilderoy has gifts, gifts impressive enough to have inspired director Giancarlo Santini (Antonio Mancino) to have imported Gilderoy from England to mix the soundtrack of his latest film, The Equestrian Vortex.
Gilderoy has recently won an award for his work on a documentary about rural England, evoking the delicate textures of a genteel and pastoral landscape, but now he finds, to his queasy discomfort, that he’s engaged on a blood and thunder flick, filled with bizarre supernatural emanations and grotesque torture. Light years out of his comfort zone, this homely, homebody savant of sound is worried about his aged mother back home, disturbed by the material he’s working on, and gnawed at by financial distress since he spent all his money on the plane ticket and can’t get anyone to reimburse him. He finds himself surrounded by people driven by unpredictable emotions and private agendas, the alienation exacerbated by a language barrier. Gilderoy sets to work with his exacting and deeply introverted method, only to find himself falling into an abyssal trap of anxiety and mystery.
Writer-director Peter Strickland’s only previous feature work was the eerie, compelling revenge thriller Katalin Varga (2009), set and shot in Romania, and it’s possible Strickland’s experiences working on such menacing fare in a foreign language and locale helped inspire this far more enigmatic, deeply discombobulated follow-up. Berberian Sound Studio is, on the surface, a tribute to, and evocation of, the hallowed era of Italian giallo horror film, which came near the tail-end of an epoch of Italian exports from a film industry uneasy with English-language cinema, which it constantly tried to annex. Tales of disconnection and confusion in that time and place are many and amusing, and have already provided fodder to some filmmakers as far back as Vincent Minnelli’s Two Weeks in Another Town (1962). The mood of Berberian Sound Studios is similar to some other movies about moviemaking, particularly Anthony Waller’s chiller Mute Witness (1995), which offered Hitchcockian suspense in a near-deserted Russian film studio; Roman Coppola’s playful CQ (2000), depicting this often happenstance, esoteric and self-involved world where personal creativity and messy necessity often blend in unpredictable ways; and Brian De Palma’s Blow Out (1981), which turned the craft of its hero, a sound-effects man, into a deeply tactile, experiential drama where bottomless depravity is uncovered through layers of media. Strickland, whilst evoking such progenitors of method, ultimately has a distinct and peculiar purpose. Rather than segueing from the fakery of filmmaking into a zone of “real-world” drama, Berberian Sound Studio instead uses the paraphernalia and artifice of film to conjure an interior journey into places of disquiet and dread.
Gilderoy is the innocent abroad here, and innocent he is, a bachelor and mummy’s boy who seems to have scarcely ventured out of the garden shed of his recording studio in years. He’s no signposted weirdo, however, only a timid and easily cowered man who has to undergo a sink-or-swim immersion in the ways of a corner of experience at once even more hermetic than his own but through which far more worldly characters occasionally tramp, violating the texture of his immediate surrounds and expectations with excruciating results. Gilderoy, upon arrival, learns that Santini worships his talents, but his hoped-for meeting with the director is delayed for some time and then proves a frustrating meeting with a patronising egotist. Gilderoy spends most of his time accompanied by Francesco (Cosimo Fusco), the film’s producer, always poised on a knife-edge above poles of professional facility and virulent irritation. When Gilderoy presses him about getting his ticket reimbursed, Francesco fobs him off on Elena, who passes him on to anonymous functionaries before Gilderoy learns about dealing with such matters here—get loud, get angry, and get the money—which is, of course, extremely difficult for a timid Englishman, especially one faced at every turn by language problems and wilful obfuscation. For extra genre cred, the studio is, in neat mid-’70s fashion, beset by random power cuts, with candles ready to illuminate the place after sudden plunges into stygian blackness.
Gilderoy is hired specifically as a sound mixer, but as the post-production lumbers on and the shortfalls of the film shoot have to be plastered over, he’s drawn into helping create sounds through foley work, the artful manipulation of elements to create apt aural versions of what’s occurring on screen. Strickland’s wicked sense of humour in exploiting this element is introduced early on as Gilderoy is first shown some footage of the film whilst the two official foley artists, Massimo and Massimo (Pal Toth and Jozef Cseres), provide accompanying effects. They hack at watermelons with brutal force, evoking the savagery of killing on screen through the most blackly hilarious of indirection, as Gilderoy squirms in his seat: one of the Massimos offers him a slice of the melon to eat, and Gilderoy regards it like a severed body part.
Strickland’s core conceit is that he never shows any footage from the film, allowing the sound effects the crew are providing and sometimes with a sketchy description of the plot to do the work. Ironically, the only bit of the film we do see is the opening credits sequence, a dynamic pastiche of ’70s-style design effects, which stands in for Berberian Sound Studio’s own credits. The Equestrian Vortex is evidently inspired by Dario Argento’s Suspiria (1976), though with overtones that seem closer to the work of trashier giallo directors like Lucio Fulci and Sergio Martino: the plot seems to involve young women who find that the equestrian school they attend is infiltrated by witches with a history dating back to gruesome medieval witch trials. Santini balks, naturally, at having Gilderoy describe his movie as a horror film: “This not a horror film. This is a Santini film! … This is a part of the human condition.” Santini airily expresses his desire to evoke the horror of historical misogyny, but, our suspicions that it’s utter trash are confirmed by the reactions of his crew and particularly the female cast members like Veronica (Susanna Cappellaro) and Silvia (Fatma Mohamed).
Berberian Sound Studio is a display of dazzling technique attached to a mysterious-feeling, ultimately interior tale of a solitary man’s mental disintegration, or possible transcendence, conveyed through the methods of his own craft. A gift for film buffs but one that nimbly avoids descending into a mere pastiche for the sake of tickling facile recognitions, Berberian Sound Studio is more an attempt to comprehend the peculiar nexus of artistic endeavour, private psychological credulity, and workaday labour. Strickland celebrates a world, one rapidly fading into history, of analog technology by which so much of the great cinema of the past was created. In its time, Gilderoy’s art represented cutting-edge capacity, but now it smacks of retro fetishisation as Strickland delights in depicting methods of constructing the densely layered compilation of devices we glibly call a movie. Strickland reminds us of the almost fanatical attention to craft that often goes into even the seamiest piece of crap, and which, on the level of contemporary blockbuster cinema’s scrolls of hundreds upon hundreds of crew names in closing credits, feels close to a religious enterprise. There’s more than a hint of connotation here, in that culturally we want to reward modest DIY artisans like Gilderoy, but the industry tends to win out in every other respect. Strickland’s camera roves over Elena’s desk with typewriter and rubber stamps arranged on a trestle like an abstract sculpture, the buttons and dials and charts and tapes that form the paraphernalia of Gilderoy’s art becoming runic, inscrutable alchemic devices for conjuring spells.
Strickland creates a uniquely strange atmosphere, and tension, but not by offering any specific source for unease, save for the oneiric atmosphere generated by his work. A parade of actors moves through the studio, making perverse and unnerving sound effects for terrified and slaughtered women, witches, and lurking goblins, filling the studio with disturbing inferences and the unpleasant sensation of everyday technical effort being suffused with menace and the ghosts of appalling acts. One scene sees Katalin Ladik, playing herself, recording the sound for her role as a witch, acting the incantatory part, face twisted into a visage of terrible delight, mimicking the faces of death and morbid ecstasy often glimpsed in De Palma and Argento’s films, exposed in artifice and yet still wielding a strange power. Santini proselytises to Gilderoy about his need to depict the horrors of witch trials to awaken his audience to historical crimes, except, of course, that Strickland notes the same crimes, in a far subtler and less immediately deadly fashion, going on in the studio. Santini, the smooth and imperious stud, is accused of casting with his dick, and Silvia, evidently involved with him in some fashion, is filled with disquiet and disillusionment. She forms a tenuous bond with Gilderoy, with his seeming status as meek, attentive gelding in contrast to the brash Italian alpha males, and advises him in how to combat the studio bureaucracy. Francesco warns Gilderoy about getting too close to Silvia: “Be careful of that girl…There is poison in those tits of hers.” Like Gilderoy, Silvia is another foreigner out of her element. Appearing with witchy portent in the dark of the studio and seeming alternately entrapped by the filmmaking and its dark avatar, Silvia finally goes on a rampage of destruction all too cruelly exact for the filmmakers: she destroys reels of sound and footage to announce her furious departure from the project, a special kiss-off to Santini.
Meanwhile Santini and Francesco push Gilderoy in implicating himself in the professional drama that has overtones of the imaginary one, finally conflating as Francesco forces Gilderoy to turn up the volume on recorded sound effects to literally torture a potential replacement for Silvia into giving a decent sounding scream. The sneaky truth to the casual sexism and contempt for employee needs, like Gilderoy’s, passed over for the joy of working in the big wonderful world of filmmaking, melds with Gilderoy’s evident frustrated sensuality, a sensuality channelled into his work. Gilderoy is something of a gentle magician: in one mesmerising scene, when a power cut leaves the actors and crew bored, Gilderoy is talked into entertaining them by creating eerie sounds with household items, conjuring a UFO from a lightbulb scraped across a grill. Just recently I’ve been much fascinated with the work and life of Delia Derbyshire, a brilliant boffin who helped invent electronic music from the anonymous ranks of the BBC’s Radiophonic Workshop, most famously creating the Doctor Who theme: Gilderoy is characterised as just such a classic English eccentric whose introversion masks the ability to create worlds and invent futures, a delicate gift unable to withstand the pressure of industrialised art filled with egotists and moral vacuums.
One of the film’s most evanescently strange moments comes in one of the several turns in which Strickland uses the blackouts as a way to seamlessly and, with momentary disorientation, change scenes: Gilderoy is awoken in the night, and leaves his room, passing into blackness. The sounds of crunching detritus, as if he’s walking on fallen leaves, are heard, and Silvia emerges from the darkness, clutching a candle, an emanation from an ethereal beyond. Actually, they’re in the studio during another power cut, with Gilderoy recording his footfalls as background noise. Nonetheless Gilderoy’s tactile enjoyment of the moment evokes the very different world he’s used to, a quieter, more natural world. This moment reminded me powerfully of a similar motif in Seijun Suzuki’s Branded to Kill (1967), in which the antihero smothers his face longingly in natural detritus, mourning his isolation in a denaturalised world. Gilderoy sleeps in a room adjoining the studio, and his situation, and seemingly fragmenting consciousness, often seems to dissolve boundaries between liminal and subliminal zones. The rubbish bin filled with all the pulverised vegetables used in the foley work begins to turn into a toxic mass of putrefaction, standing in for the mangled flesh on screen: “Well, I was hoping for a more dignified end than this,” one actress quips upon seeing the mashed marrow that represents her on-screen character’s brutal death.
Berberian Sound Studio is, in many respects, an experimental film, an extended attempt to explore the pure texture of cinema, a layered journey through the act of creation itself that becomes at the same time a mesmerising experiential plunge. There seems to be an emerging strand of what could be called pseudo-abstract genre work in recent independent filmmaking, mimicking the forms of traditional horror and science-fiction films, but doing so to extract and isolate qualities of tone and method whilst excising literal story development: the U.S. and British film scenes have produced several filmmakers, including Shane Carruth, Brit Marling and collaborators Mike Cahill and Zal Batmanglij, Ben Wheatley, and Ti West, who have deconstructed filmmaking pitched on the edge of the fantastic or the ominous to varying degrees; works by European filmmakers like Michael Haneke and Lars Von Trier have also grazed this zone. Strickland’s effort here stands closer to Hélène Cattet and Bruno Fonzani’s Amer (2009), which boiled the traditional visual essentials of giallo down to an enigmatic narrative freed from responsibility to the boilerplate requirements of genre entertainment. Rather than offer the usual coded metaphors for a descent into a realm of nightmares and the irrational, Strickland goes straight for the purified sense of dread and implication of a solitary man who specialises in creating hints of wonder but is too vulnerable to being immersed in his own works.
Berberian Sound Studio therefore feels closer to some far more offbeat by-products of the ’60s and ’70s film milieu than to the giallo to which it pays surface tribute. David Lynch is an evident touchstone. Strickland references the shibboleth of Mulholland Drive (2001) through the flashing sign “Silenzio” outside the studio, the intimate examination of decay suggests Blue Velvet (1986), whilst the narrative doublings and dreamlike metamorphoses recall Lost Highway (1997). But where Lynch was fond of creating surrealist textures out of pulp stories, Strickland offers much less immediate strangeness, preferring to create a more definably psychological texture. The peculiar counterpoint of a technologically enabled tinkerer able to transform everyday ambience into strange art and a situation rife with discomforting expectation of violence recalls Jerzy Skolimowski’s The Shout (1976): the heroes of both are sound experts engaged in creating evocations of the uncanny and faced with the disintegration of their presumably stable lives. But the ultimate method feels to me closest to Ingmar Bergman, as in Persona (1966), mental breakdown is conveyed through the literal breakdown of cinema itself, whilst Hour of the Wolf (1968), where an artist’s neuroses consume his life, realised through dreamlike reductions of gothic horror imagery to their phobic essences. Where Bergman referenced the expressionist chillers and Bela Lugosi flicks he’d loved as a youth, Strickland evokes giallo, but both modes are for each filmmaker a style to emulate rather than a genre to copy, a wellspring of expressive ambiguity and nightmarish textures.
Like the protagonist of Hour of the Wolf, Gilderoy disappears within the ghostly fantasia his mind seems to be projecting. As Gilderoy’s perception of his world becomes increasingly warped, everything becomes charged with a capacity for communing with a nightmare world, and the very filmmaking conspires against him. Gilderoy’s periodic letters from his mother take a dark twist as she recounts the massacre of a nest of bird hatchlings they’d been watching over before he left. Gilderoy’s private reality becomes increasingly mixed up with the film as one of the auditioned replacements for Silvia recounts the letter. We know who Gilderoy is, but what’s his last name? Why was he hired for this project? Why can’t the studio accountants find his flight booking? Is he here at all? Is the whole experience just his dream? Or is he, as the film repeatedly suggests, simply a figure at the mercy of his filmmaker, free to create him and then pull him apart, like Daffy Duck in Duck Amuck (1953)? This seems ultimately the perfect analogue for Berberian Sound Studio, an exercise in layers of cinematic construction becoming its own malefic stunt. Time eventually reboots; Gilderoy, suddenly a speaker of fluent Italian, becomes the high priest and witch hunter, pummelling the eardrums of his actress-witches and lighting candles in prayer to dark gods of nature even as he remains ensconced in his technological cocoon.
Strickland saves his smartest antistrophe for a sequence in which Gilderoy imagines some hidden force crashing against the door of his bedroom, snatching up a knife and stalking out to search for the shadow enemy, only for the footage of his earlier fear in the room to start unspooling on the projection screen. Then the film melts and gives way to, of all things, the rural documentary Gilderoy won his prize for, tranquil footage of English dales and grass-munching sheep presenting a far more jarring and mercilessly funny twist than any supernatural ambassador could provide. Gilderoy is terrified of the price he will pay for success, of the world battering in his door and implicating him in its evils, anxiety attaching itself to the art he’s prostituting himself out to create. As in many horror films, however, the forces of good and light may have their victory over darkness. Gilderoy finds himself confronted by self-animating equipment that projects a spot of growing light, transfixing Gilderoy and promising to swallow him up, 2001–style, the beckoning promise of transcendence into ecstasy, or obliteration, a final surrender to the irrational. It’s easy, too easy, to imagine Berberian Sound Studio earning the wrath of viewers who would have it finally offer some sort of familiar gothic pay-off. But for anyone who engages with Strickland’s seriously peculiar yet remarkable style, this is a genuinely galvanising film experience—and those are pretty rare at the best of times.
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Director: Maurice Elvey
by Marilyn Ferdinand
One of the best things about being a cinephile in Chicago is the wealth of informed, passionate fellow travelers who are in a position to bring the best from the world of cinema into our theaters week after week. I have mentioned the Northwest Chicago Film Society here before as one of the best of the programming outfits around town. The NCFS has had a rough time lately, first losing the theater that housed the 40-year-old classic film series they took over; then facing a battle with a Christian congregation that wanted to buy and convert their new home, the Portage Theater, into a church; and now with the theater’s current owner, who abruptly locked the doors of the Portage over a dispute regarding the theater’s liquor license.
Nonetheless, there’s nothing quite like the solidarity of the film community here, as two other movie palaces helped the show go on by lending their facilities to the NCFS to continue their summer schedule—and what a schedule it has been! With the addition of the estimable Kyle Westphal, late of George Eastman House, as a partner and programmer, NCFS has learned of and been able to secure prints of rare films and restorations that have flown under the radar of most other venues. I was fortunate to be part of a packed audience at the Patio Theater to see High Treason, an extremely rare British talkie made on the cusp of the conversion from silent to sound pictures, with both silent and sound versions created and released. The restoration of the spotty nitrate and badly damaged soundtrack was funded by the Library of Congress/National Film Preservation Foundation and The Film Foundation, but the new print has only been shown once before at the Library of Congress Packard Campus Theater. Thus, we were only the second American audience in more than 80 years to see the sound version of High Treason on the big screen.
High Treason, an ambitious production that clearly was influenced by Fritz Lang’s Metropolis (1927), is set in the future—1940!—when, after the horrible destruction of World War I, individual countries are now formed into federations throughout the world to work in harmony. A sustained period of peace, encouraged by a worldwide organization called the Peace League, has caused an economic downturn for those in the business of war. Thus, a cabal of monied industrialists plots to inflame passions and start the war machine rolling again. The peace is disturbed in Europe by a border incident instigated by the cabal in which a vacationing couple and a slew of border guards are gunned down. When this first incident isn’t enough to shake the peace, a train traveling through a tunnel beneath the English Channel from England to France is bombed, killing all aboard. When the decision to go to war is considered, President Stephen Deane (Basil Gill) breaks a tie vote and casts his lot for war. His soldier son Michael (Jameson Thomas) prepares to mobilize, while Evelyn Seymour (Benita Hume), Michael’s sweetheart and daughter of the leader of the Peace League, Dr. Seymour (Humberston Wright), tries to dissuade him and eventually breaks with him in bitter anger. As men and women all over are called up to fight, Dr. Seymour makes a last, desperate bid for peace.
What may strike you from this brief synopsis is how eerily accurate this film was in predicting the European Union and the Chunnel, and how the idea of a military-industrial complex, which was criticized by progressive movements during the 1960s, is presented here credibly, not as some delusional conspiracy theory that would be ridiculed today. High Treason, however, stays very much of its time in celebrating the Jazz Age. Michael takes Evelyn, in full flapper mode, out on the town for an extended and very enjoyable scene in a nightclub full of fashionable Gatsby-esque extras dancing and drinking the night away. The parallels to the nightclub scene in Metropolis are obvious, as the first vision from inside the club is of a gigantic nude statue of a woman overseeing the revelers. While there is no actual nudity in this or any other scene, as there is in Metropolis, there were enough long takes of women in their silk undies that the film was actually banned in New York.
Elvey produced another fine set-piece in the train sequence. A first train goes through the tunnel, and the conspirators on board drop a time bomb out the train window and onto the tracks. With the dread of the inevitable gripping the audience, he then offers a scene of high comedy, as the doomed second train teems with lively characters, particularly a rich, elderly woman doting on a small puppy, which she puts in her bag and hangs on a hook while she and her husband have their supper. The sweetness of the scene contrasts suddenly and violently with the explosion that upends the train and collapses the wall of the tunnel, sending cascades of water in to drown the passengers. Again, the parallel with the flood scene in Metropolis is hard to ignore, but the scene has a drama and integrity all its own.
The critique of the idle rich that was present in Metropolis is absent here, as the message of the film is not so much about class struggle as about maintaining a lasting peace in a world programmed for conflict. This perspective is another unique aspect of High Treason. The film takes its pacifism—itself a rarity in world cinema—to a logical, if extreme conclusion. Dr. Seymour is as influential a figure on the world scene as any warlike world leader might be today. President Deane allows him to make a statement before Deane announces over the radio that war has been declared; Seymour uses this time to kill Deane and announce that the nation will remain at peace, but he has destroyed another human life and refuses to defend his action as necessary for the greater good. Elvey frames Seymour as a Christlike figure, with a circular window in the background surrounding his head like a halo at his trial. However, Seymour is no martyr, simply a man who sees moral relativism as the greatest danger to the common good, to peace, by suggesting that one life is more important than another. This Eastern notion of the godhead in all of us put me in mind of another utopian vision put to film, Lost Horizon (1937).
Aside from its status as a rarity and important transitional film, High Treason has other qualities to recommend it. While the acting is generally overwrought, particularly from Thomas, the film perfectly exemplifies the transition of acting styles from the broad pantomime needed in the silent era to a more naturalistic rendering of dialogue and expression. The ramp-up to war that has young women lining up to work in an aerodrome factory, guarded by Deane and his troops, is offered in a high crane shot as a moving tableau not only of the legions of lives hanging in the balance, but also of how war reduces human beings to little more than identically uniformed ants marching in line. This impression, however, is mitigated by one woman who begs an intake worker not to accept her; the worker guesses that she has children at home and stamps her orders with an exemption, offering the possibility of mercy against the tidal wave of violence. In perhaps the most compelling scene in the film, the women, led by Evelyn, are prepared to defy Michael and his troops. Seeing the two sides square off in deadly earnest is a genuinely tense moment perfectly staged and paced by Elvey.
Gaumont British had high hopes for High Treason, a prestige export they hoped would put them on the map. Unfortunately, its lackluster box office and complete absence from New York doomed it, and High Treason vanished quickly from view. Thanks to the Library of Congress and The Film Foundation, High Treason is back. Urge an arthouse in your neighborhood to book it today!
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The Days of High Adventure: A Journey through Adventure Film
Director/Screenwriter: Neil Marshall
By Roderick Heath
English film editor Neil Marshall burst out of the gate as a director with Dog Soldiers (2002), a vigorous, gory, refreshingly cheeky spin on the traditional templates of low-budget horror with a strong dose of hyped-up style. He quickly achieved cult status with his follow-up, the claustrophobic post-feminist nightmare The Descent (2004). Seen as a member of the early ’00s wave of splatter-loving horror filmmakers, Marshall then switched directions from horror to action-oriented fare with 2007’s Doomsday and Centurion in 2010. Marshall’s obvious worship of ’80s genre cinema in particular was crossbred in each with an amusingly parochial sense of humour and hip revisions of certain stock situations, giving his faux-blockbuster material a jolt of outsider energy and impudent perspective.
Dog Soldiers set the template he’s followed consistently: placing a collective of tough and resilient people in the middle of a relentlessly dangerous situation and picking them off one by one, be it by monsters or hordes of angry Scotsmen. If The Descent was a touch overrated because of its original tweak on an old formula, and Doomsday underrated for being excessively indebted to Marshall’s favourite trash films to a degree that would make Quentin Tarantino blush, Centurion suggested new ground that, alas, Marshall has thus far been unable to pursue further. Watching the leaden conceptual snoozefest that was Gary Ross’ The Hunger Games (2012), my early feeling that the story was tailormade for Marshall became all the more powerful.
Marshall isn’t above some modish tricks of modern cinema, and Doomsday falls prey to some excessively choppy editing and dodgy CGI. Most of the time, however, he is a pellucid, rigorous stylist, rare enough in modern filmmaking and particularly in his branch of cinema, with films that improvise on frameworks provided by his favourite influences marked with a personal brand. Centurion, although fast-paced and structured with elegant simplicity, is also littered with some of the most arresting and well-framed images in recent cinema. Centurion built upon the conceit of Doomsday, which had turned Scotland into a post-apocalyptic, Mad Max-esque landscape where modern civilisation began to devolve into barbarism. Centurion inverted the approach as an outright historical adventure film, indeed, the best example of such in the West in recent years. Centurion is a fight-and-flight action film par excellence, but one that encompasses all kinds of fascinating reflexive interests, deepened and given contemporary edge by distinct hints of political parable. With this relative complexity, Marshall outclassed many attempts to revive the historical action epic by filmmakers like Ridley Scott, with his clunky Robin Hood (2011), Antoine Fuqua’s moronic King Arthur (2005), Gore Verbinski’s overworked Pirates of the Caribbean movies, and Mel Gibson’s various bombastic entries, in spite of their infinitely greater resources. Centurion itself is easily recognisable to the adventure film buff in its working parts: a little bit of Michael Mann’s The Last of the Mohicans (1992), John Ford, Kurosawa, some The Naked Prey (1966), combined with hints and hues of decades of sword-and-sandal flicks.
On top of the film’s true historical foundation, Marshall superimposes a quiet, but powerful echo, implicitly evoking various phenomena like British Imperialism, the Wild West, and the Iraq War, through the efforts of the Empire to suppress Britain in a nihilistic, vicious struggle of suppression and reaction. He goes a step further to link the bombastic machismo behind the urges that began the Iraq War with that of the Roman expansion, with the phallocratic force of General Titus Flavius Virilus (Dominic West), commander of the Ninth Legion. His very name communicates virility, and the man is avatar for this underlying spirit. His counterforce is presented concisely in the form of lethal female warrior Etain (Olga Kurylenko), a brutalised engine of destruction working for the Picts.
The setting is 154 AD, and the decades-long stand-off between the Roman Empire and the Pictish peoples of present-day Scotland is building to a head. The Romans, all swagger and politicking, are trying to hold on to a network of border forts. A Pict raid upon one fort sees most of the Romans wiped out; the conscientious officer Quintus Dias (Michael Fassbender) is taken prisoner because he has learnt to speak the local dialect, in obedience to his father’s maxim that one should know one’s enemy. He is brought before the Pictish king Gorlacon (Ulrich Thomsen), who has troubled the Romans endlessly with his sophisticated guerrilla warfare. Gorlacon has him tortured and shown off as captured prey, but Dias manages to escape from Gorlacon’s stockaded capital and flees south across the snow-crusted Highlands.
Meanwhile, the Roman Governor Agricola (Paul Freeman) decides to send a punitive expedition against Gorlacon north from his base at Carlisle, detailing the Ninth Legion under Virilus, a former foot soldier who’s risen to command whilst not losing his link with his men. Introduced in a tavern engaged in an arm-wrestling match, Virilus skewers his opponent with a dagger when it’s plain the man intends to do the same to him and joins the all-in brawl between his men and the locals that results. Washing up the next day, he’s mistaken by a messenger for a ranker. Agricola gives Virilus an unusual guide and scout in the form of Etain, a superlatively skilled, perpetually unspeaking woman whom Agricola introduces to Virilus through the expedient means of having her kill a slave in a play-act assassination.
On the march into the fog-shrouded forests of the north, Virilus’ troops save Dias just as he’s been cornered by some of Gorlacon’s men. But a well-prepared ambush, into which they’ve been led by the double-agent Etain, sees Gorlacon’s army devastate the Legion and take Virilus captive. A handful of survivors, including Dias, regroup over the corpses of their dead fellows, and Dias enlists them to pursue Virilus and his captors back to Gorlacon’s city. They fail to free Virilus from his chains, however, and are forced to abandon him as Gorlacon’s forces begin to stream back into the city. But they soon find they’ve stirred up a new hornet’s nest, because one of their number, Thax (J. J. Feild), has throttled Gorlacon’s young son (Ryan Atkinson) to silence him during the raid. Incensed, Gorlacon has Virilus pitted in single combat against Etain, who quickly, brutally disposes of the General. She then leads a hunting party after Dias’s band of survivors until they or their chasers are all dead, and, in time-honoured style, the Roman survivors have to try to make it back to their own lines fighting every step of the way.
Marshall starts with a structural nod to many classical epic poems that commence in medias res (mid action), resolving his opening, a series of helicopter shots of the Highlands that lay out the turf of the following action, and plunges deep into the one-time heart of darkness, zeroing in finally on a lone figure racing across a snowy ridge: Quintus, in his first flight from the Picts, bloodied and half-naked in an inimical landscape. Centurion plays loose with history: Agricola, who actually conquered most of Britain and defeated a large Caledonian army in a field battle, is transposed to the time of Hadrain, whose famous wall is depicted under construction in the film’s final phases, offered as a classical Green Zone. Moreover, the traditional belief that the Ninth Legion disappeared in Scotland, has been challenged by recent scholarship that shows it might have been met its end in Spain instead. Still, whilst it’s been much fictionalised—Rosemary Sutcliffe’s popular The Eagle of the Ninth novel series and its adaptation The Eagle (2011) also play with that contentious historical fillip—Marshall takes the legend a step further in suggesting the Legion’s vanishing from the history books was no accident, but a conspiracy perpetrated by Agricola and his fellow Roman bigwigs to cover up their own failure, a touch that happens to coincide nicely with the hunt for weapons of mass destruction, Abu Ghraib, and other suspicious travesties in Iraq. Moreover, whilst Centurion hardly slows for a breath, narrative-wise, Marshall paints a coherent vision of the past as present, with the polyglot of nationalities, economic conscripts, and continental refuse that was the Roman Army confronting a native enemy that resists with every tool at its disposal. Marshall interestingly casts European actors, like Thomsen and Kurylenko, as Picts, to emphasise that this historical land isn’t the same one as modern Scotland nor its people exactly the same, with only one Pict, the exiled “witch” Arianne (Imogen Poots), a woman stranded between cultures and a product of the middle ground, who has a modern Scots accent.
Etain, on the other hand, has no voice, a trait that adds to the impression that she’s not entirely human anymore, but rather an animal mother in a human body, a beast that stalks Quintus in his dreams as well as in the primal forest. Etain’s savagery is revealed to be a Frankenstein creation of this invading force: forced to watch her father’s blinding and her mother’s gang rape by Roman soldiers as a young girl, and then being gang raped herself, Etain’s tongue was then cut out. Raised by Picts as an expert warrior and tracker, Etain is the personification of wrath against any force intruding upon a homeland, raw and mindless in antipathy but infinitely cunning in resistance. Kurylenko, since being stuck playing the most superfluous Bond girl in history in Quantum of Solace (2008), has evolved into one of the current film scene’s more interesting satellite stars, and here she brings a striking level of charisma and expressive intensity to Etain, displaying what Christopher Lee once said of playing Dracula, a silent, hypnotic power that can be the hardest kind of acting. Not that Etain, conceived with visual and attitudinal power, was ever going to be less than a striking figure: her compellingly atavistic visage, smeared in pancake white and daubed with streaks of blue woad, is the film’s obsessive, almost fetishistic refrain, laced with erotic appeal that blends weirdly with her completely inimical hate. Following Marshall’s recreation of Snake Plissken as a stoic one-eyed woman in Doomsday, Etain is an equally potent adversary. Marshall and Kurylenko imbue her with hints of masochism and distraught pain even as she’s committing horrendous acts, beheading a Roman she captures with a grimace as if she’s hacking a piece of herself off, and, after she kills Virilus, releasing an anguished scream of insatiable hate and unappeasable grief, her tongueless maw barking at the gods. As Arianne puts it, she has a soul that’s an empty vessel that can only be filled by Roman blood.
Marshall is one of the few action-oriented directors at the moment really interested in female characters, usually mixing up the bag in allotting them good and evil parts, and the twinned poles of Etain and Arianne are joined by another Pictish warrior, the strident archer Aeron (Axelle Carolyn); indeed, between her and Etain the most formidable foes in the Pictish force are their women, whilst Agricola’s wife Druzilla (Rachael Stirling) proves an altogether different, but no less dangerous threat. Marshall offers a cheeky shot early in the film that confirms the link between his conquest-era Britons and Native Americans as pantheistic opponents of steely intrusive forces when Etain performs an ash-scattering ritual as tribute to ancestors before riding off with the Legion. She fulfills her mission as a sleeper agent to deliver the arrogant Romans into the best place for an ambush in a sequence where Marshall stretches his budget superbly with simple tricks and modern graphics. The imprint of Anthony Mann’s work on The Fall of the Roman Empire (1964) is particularly strong throughout Centurion: like Mann, Marshall sees the links between the Western and the classically set action drama. The sequence in which the Legion is attacked and wiped out evokes both the forest barbarian battle in Roman Empire and the attack on the British column in Last of the Mohicans.
More fundamentally, like Mann, Marshall captures a sense of spiritual and psychological extremes in depicting the violent disparity between first and third worlds at a time when those worlds were much closer together geographically but even farther apart in everything else, a maddening clash of nascent civilisation intruding upon primordial places and peoples who are less “civilised” but no less human in both good and bad ways. One shot presents Etain presiding over the incineration of the legion’s eagle standard, a perfect visual encapsulation of the infernal results of the clash between nascent despotism and fringe ferocity. Marshall goes on to suggest the charged counterbalance of humane feeling and dark, extreme mysticism in his Scottish landscapes that is authentic to the quality of the nation’s mythology. In the course of Quintus and his team’s flight from the Picts, the scene moves from mist-shrouded woods to craggy, snow-crusted mountains to hazily beautiful spring morns at Arianne’s hut, a safe ground from the predations of war ironically because she lives in cursed isolation, the flooding rays of sunshine giving visual substance to the air of regenerative tranquillity around her.
Marshall isn’t above some of the less pleasing flourishes of many modern directors, particularly his love of adolescently vivid, CGI-enhanced gore. Visions of pikes being shoved into groins, heads being cleaved in half, and spears entering mouths are not as gruelling as they sound, largely more amusing in effect than sickening, and that’s actually the problem. But that’s really neither here nor there in a story that races with the verve and spunk of a classic drive-in flick whilst mixing with a genre more associated with grand scale production and pretence. And, indeed, Marshall’s delight in brute force is conjoined with his work’s vivacity and fierce, new-fashioned, balls-and-all attitude. Marshall plays some deft games, in a manner that’s becoming a distinct trait of his when it comes to apportioning empathy and thematic emphasis. He doesn’t romanticise either the honourably turf-defending, but feral and brutal Picts or the rapacious, war-loving Romans, viewing each as competing varieties of the same thing. That the lost Roman survivors, except for the conscientious, morally probing Quintus, are finally the heroes is only because of their assailed, outnumbered desperation. His company comes to include the psychopathic Thax, Indian-via-Syria Tarak (Riz Ahmed), North African runner Macros (Noel Clarke), cleaver-wielding Greek cook Leonidas (Dimitri Leonidas), and the lumpen Roman duo of Bothos (Neil Morrissey) and grizzled vet Brick (Liam Cunningham). The latter’s name proves to be sourced in a Latin pun, with Marshall’s sneaky sensibility nascent here, as Brick turns out to be is short for “Ubriculius,” aka, testicles. Quintus is dubbed the band’s centurion, after being left in command, a responsibility to which he rises, but not without qualm: as the son of a freed gladiator, he aspires to be a model soldier but has never entirely escaped his outsider status. When he and his team run away from Gorlacon’s city, all they can take with them is Virilus’ helmet. One of the men hands it to him sarcastically as he gives orders; Quintus leaves in a shrine.
The Romans hardly prove an infinitely resourceful band of brothers: many of the remaining men die with stunning rapidity in spite of their individual qualities. After performing a regulation adventure movie stunt of leaping from a high cliff into a frigid river, most of the men flounder out together, but Macros and Thax are separated and finish up forging their way across open heaths chased by wolves. Thax sneakily cuts Macros’ Achilles tendon, leaving his fellow soldier as dog meat to ensure his own survival, in a nasty spin on that old joke about the man who puts on his sneakers to outrun not the lion but his friend. Only Quintus, Brick, and Bothos, who’s been wounded in the leg, remain of the original force when they come across Arianne, who gives them food and shelter. She saves the men by hiding them when Etain and her party arrive on the hunt, with Arianne almost getting her throat cut by Etain for facing down her malevolence with truculent wit: “Cat got your tongue?” Ardour sparks between her and Quintus, but the film’s most intimate moment actually comes when Brick apologises to Arianne for not trusting her, and the ever–terrific Cunningham is particularly good in this moment as he offers, “I’m sorry I misjudged you…there it is.” When the trio take their leave, Quintus leaves behind a carved horse in a pose of delicately artful expression that doubles as his memento for her, concluding a sequence that’s closer in spirit to Ugetsu Monogatari (1953) than Seven Samurai (1954).
The terrific final battle between the Roman runaways and the Picts takes place in another familiar trope of adventure sagas, a remote fort that proves tragically deserted when the trio reach it—one almost expects the Romans to find Gary Cooper in there—because Agricola has ordered a general retreat to the new walled frontier. Unable to run any further, they set the fort up for a confrontation and successfully pick off several of Etain’s warriors, including Aeron, before she charges in for a frantic duel with Quintus, finally pitting native speed against gladiatorial art. Brick dies, but not after going out in the most badass way possible, skewering his opponent at the last breath by pushing the spear lodged in his own chest right through. Quintus finally defeats Etain, but only by the narrowest of margins, and her death comes across, aptly, like being put out of her misery.
Victory segues into despair in a cynical final movement strongly reminiscent of Henri-Georges Clouzot’s fondness for last-act bastardry and some ’70s epics of dark revelry. Thax rejoins the surviving pair, but as Quintus lets slip his realisation that Thax killed Gorlacon’s son, Thax and he finish up fighting to the death, whilst Bothos is killed by snipers on the wall as he rides shouting toward it. Quintus kills Thax, but is left to despairingly cart Bothos’ body into Roman lines. Even once he’s safe, fate hasn’t finished twisting for Quintus, because, in order to save his reputation, Agricola lets his wife set up an attempt to kill him. Quintus survives again, but, badly injured, now has to flee again into the forest. Marshall closes the film with an aptly ouroboros-like flourish with Quintus’ admonition that “this is neither the beginning nor the end of my tale,” as he finds his way back to Arianne, cut off from his homeland. Yet the tale of Quintus’ struggle hardly suggests surrender to the dark forces, but the start of something else, with the distinct suggestion he and Arianne will found another tribe to inhabit British soil and invent the future. Either way, Centurion is a curt, rowdy, rousing gem and proof that the adventure film tradition hasn’t been entirely trammelled in the age of the blockbuster, whilst the class of the old can mesh with the vigour of the new.
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Director: Terence Davies
By Marilyn Ferdinand
I did something strange the other day—I picked up a book at the library by a British author known for writing old-fashioned stories with old-fashioned values aimed at women in or approaching their golden years. My reason for choosing the book had to do with trying to suppress a bleak and angry outlook that has seized me in recent weeks, to escape into a fantasy of romance and tradition and charm. After about 60 pages, the plot conveniences, cliché-filled language, and attitudes about women with which I vehemently disagree shook me out of my fog and, if not exactly in the finest shape to face the world, I nonetheless saw that looking backward isn’t all it’s cracked up to be.
It seems that director Terence Davies, 67, is experiencing even more acutely the pull of the past. His 2008 poetic documentary Of Time and the City revealed the passage of time and the frailty of the physical as filtered through the environs of his hometown of Liverpool. With The Deep Blue Sea, Davies has lifted a 1952 chestnut from the British stage penned by Terence Rattigan, who would come to defy the trend in British theatre and film of so-called kitchen sink realism that bowed in 1959 with John Osborne’s Look Back in Anger. Rattigan and Davies, both gay men in a country where homosexuality was illegal until 1967, could justifiably claim anger in their works. Their attraction, however, is to the refinement and moral uprightness of the days of empire, their sensibilities lodged squarely in the coded gay traditions of the stage and screen.
Sadly for Davies, his loathing of his sexual orientation and acute nostalgia have sent him into something of an artistic neverland. I say this with enormous regret, as his adaptation of Edith Wharton’s The House of Mirth (2009), one of my very favorite films, is admirably clear-eyed about the rot beneath the veneer of high society while still exploring the tragedy of a fatal love. The Deep Blue Sea is squarely in the tradition of the 1950s women’s films Davies grew up on and loved, a genre I also love but recognize as hopelessly out of date. To recreate one of these films in 2011 without burrowing beneath the gay code or reflecting on contemporary attitudes toward a sexual coming of age makes this brand-new film a premature museum piece.
Set in 1950, The Deep Blue Sea tells with unabashed sentiment the story of Hester Collyer (Rachel Weisz), a young woman married to a kind, older member of the peerage, Sir William Collyer (Simon Russell Beale), who is awakened from her comfortably dull life by the raffish sexuality of Freddie Page (Tom Hiddleston). Freddie, an RAF pilot during World War II, is restless and angry, offering an avatar of adventure and danger from his experiences that Hester finds bewitching. She believes she loves Freddie, so unacquainted is she with lust that she can’t distinguish one emotion from the other. Freddie remains tantalizingly out of reach, treating her with an offhand contempt for her bourgeois romanticism and inexperience. When her despair drives her to the suicide attempt that opens the film, Freddie is deeply offended that she absolves him of blame in a note she left for him, a magnanimity he neither needs nor believes, and determines to end the affair. Despite her husband’s willingness to take her back, Hester won’t put the genie back in the bottle, preferring to live in misery rather than to feel nothing at all.
On its surface, this is a story worth telling, one of a sexual and emotional awakening that sets its protagonist on the path to leading a more authentic life. Yet, in the oh-so-stately telling, there’s not much to distinguish The Deep Blue Sea from a Victorian frolic like Lady Windemere’s Fan except for its lack of wit. My, this story could have used a bit of Oscar Wilde’s social buffoonery or Douglas Sirk’s playful gay coding or even some down-to-earth sincerity. As directed by Davies, Simon Russell Beale plays a very nice man whose impeccable breeding and good English sportsmanship won’t allow him a moment of messy breakdown even though his life has just cracked wide open. The direction he’s given to be mild-mannered and magnanimous is, I suppose, Davies’ attempt to show the passionless marriage Hester is running away from, but Sir William just seems kind of pathetic and insubstantial. Surely Hester’s suicide attempt must have been at least partly a provocation to her husband’s maddening even-temperedness, but nothing about their relationship manages to break the surface.
Hiddleston’s Freddie comes off as a bit of rough trade, shouting incongruously like a caricature of the Angry Young Man, dumping on Hester without apparent motivation other than his slim backstory as a damaged war veteran. In the beginning of their affair, he and Hester certainly do seem physically magnetized, and I appreciated the sensuality that flairs through a couple of scenes. Their parting, perhaps the best scene of the film, gives Hiddleston a chance to show his tenderness and humanity as well.
The one redeeming facet of The Deep Blue Sea is Rachel Weisz. Rather than fall into the Harlequin Romance notion of a suffering woman in love, Weisz fills her Hester with genuine emotion. You can practically smell her longing for Freddie, feel her slightly contemptuous regret at hurting her husband, understand her seemingly foolish resolve to remain outside the comforting confines of her marriage after Freddie throws her over. When Davies gives us the cliché of a back alley through which Hester walks to find Freddie at the local, his frequent home away from the one-room flat they share in London, her posture shows that her helpless addiction to Freddie sits on her like the proverbial monkey on her back.
Davies is enraptured with Weisz’s limpid eyes, perhaps too much so. For all her beauty, Hester comes off as a weepy drudge too often in his hands. Worse perhaps, after the activity of Hester sealing her digs off so that she can die from gas asphyxiation and a somewhat cinematic start at letting her life flash back in her mind’s eye, nothing much happens. I’m surprised that the normally theatre-phobic film critics who have been captivated by Weisz haven’t torn this film a new one for being so stagey. With three anemic central characters, the film just becomes a boring slog, relieved at moments by the earthy pragmatism of Hester and Freddie’s landlady (Ann Mitchell) and the savage elitism of Barbara Jefford as Sir William’s mother.
It is equally baffling to me why this film generally has been critically embraced whereas the 2012 film that bears a close resemblance to it in theme, Anna Karenina, has foundered. Admittedly, the latter film is more modeled on the costume epic, whereas The Deep Blue Sea is a women’s film, yet Anna Karenina makes deliberate, effective use of theatricality to forward the story, whereas Davies’ film seems retrograde in nearly every respect. Even the cinematography, which Davies normally codirects with unusual aplomb, is all misty memory. Like Of Time and the City, this film feels too personal a project for me to relate to.
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Director: Joe Wright
By Roderick Heath
Joe Wright’s fifth feature film, adapting Leo Tolstoy’s feted 1876 tome, seems on the face of it like a retreat to the safe ground of the period, prestige-laden works with which Wright first made his name: Pride and Prejudice (2005) and Atonement (2007). Wright’s smart, stylish revival-cum-critique of the globe-trotting action movie, Hanna (2011), was a departure for the director, and stood tall as one of last year’s best films, even if it didn’t quite add up to the sum of its parts. It proves to have been only a warm-up for this extravagant rendition of Tolstoy’s panoramic tale of adultery and social hypocrisy. Financial difficulties meant that Wright had to reconceive his intended adaptation, penned by no less a personage than Tom Stoppard, and hit upon the idea of rendering it as a variety of theatrical melodrama. The result is a teeming pageant of artifice, and heightened, almost dreamlike beauty that throws into relief the always powerful, often raw and disturbing emotions experienced and expressed by its characters.
Tolstoy pushed the 19th century realist novel to its utmost limits of scope and inquiry whilst managing to maintain a grip on essential dramatic intimacy. The canvas of the average mainstream film is far more limited than what Tolstoy offered in creating around the centrifuge of Anna’s romantic tragedy an ontological portrait of his society in all its grandeur, contradiction, and pathos. This limitation is, ironically, one of the best arguments for rejecting Tolstoy’s measured, sprawling realism in film and adopting a style that can evoke the same meaning through cinematic means. Moreover, Tolstoy’s novel has been adapted many times, most famously with Greta Garbo in 1935 and a much-admired Russian version from 1967 by Aleksandr Zarkhi, thus raising the stakes for the worth of another version, whilst clearing room for radical interpretation.
Wright’s chosen approach is clearly patterned after Laurence Olivier’s Henry V (1945), beginning amidst overtly theatrical settings that gradually give way to stylised reality and then general verisimilitude, and back again. There’s a certain similarity, also, to the porous boundaries of life and performance found in the films of Carlos Saura, where the performance consciously strives to recreate human drama and, in turn, bleeds over into “real life.” Whereas Olivier and Saura were paying heed of the theatrical origins of their material and turning the audience’s awareness of the artifice into an aspect of their cinema’s texture, an adaptation of a novel has no such original strictures or preordained conventions. On this level, the choice is less immediately apt, except that this setting invokes the closest thing there was to cinema at the time of the novel’s publication. For Stoppard, the author of Rosencrantz and Guildenstern Are Dead, this sort of thing is hardly new, and Wright avoids any obvious meta-narrative structures, a la The French Lieutenant’s Woman (1981), another probable influence, about the nature of the performance.
Wright’s choices reorganise the predictable rhythms of the period literary film with boldness, vivacity, and a narrative that drives like an unstoppable machine. That’s very much the point, as the first third of the film turns stage machinery into a visualisation of the governing laws and dancelike niceties of a society that is narcotising in its materialism and formalism and alienated from itself. Anna (Keira Knightley), a wife and mother who is still young and something of a case of arrested development, is swept up in a passion that manifests as an elemental imperative, a natural law made manifest by Wright’s intricate staging that transforms the erotic passion overtaking its heroine as a fatefully choreographed tötentanz.
The early scenes of Anna Karenina, then, are a whirl of stylised spectacle, as Wright’s camera roars around the interior of a huge stage, observing as cast and crew “create” the world of period Russia, stripping down and erecting sets for changes of scene, with actors shifting from squared-off illustrative postures to naturalism. The very first shot is of Prince “Stiva” Oblonsky (the ever-splendid Matthew Macfadyen) framed on stage in a barber’s chair awaiting his shave, the barber marching in and swinging his towel like a matador’s cape before proceeding to circle the prone Oblonsky, sharpening his blade. The suggestion of violence, with Oblonsky as a bull perhaps about to be skewered by his servant, reverberates throughout the film, where a promise of death lurks, of course, but also with one eye fixed on the future, still far off and yet dreadful and unavoidable, when the society it portrays will collapse. The opening’s tone is set, however, by a series of swift, overtly theatrical tableaux, true to the droll mood of the novel’s beginning, as the fatuous, cheerfully licentious, but sufficiently respectable Oblonsky has his domestic bliss ruined when his wife “Dolly” (Kelly Macdonald) discovers his affair with their children’s French governess (Marine Battier). In a fillip of Dickensian humour, Wright’s dancing camera glides across the theatre floor transformed into a room full of bureaucratic factotums, labouring in synchronised rubber stamping, and Oblonsky, master of what he surveys, marches amongst them. The bureaucrats then rise from their chairs and change uniforms on stage, or flee to the corners, and the ministry becomes a restaurant where Oblonsky lunches with his old friend Konstantin Levin (Domhnall Gleeson).
The teeming variety of human action in these scenes borders on the frantic, as the extras rush to change roles and erect new settings, but is also intricately choreographed, all moving with purpose and design, movement and labour tellingly contrived to support the illusion of opulence, ease, and natural motion for the governing class. As such it serves as a portrait of this communal existence, its structure, pretences, and underlying laws, far more concisely and intelligently than any number of exterior shots of passing carriages would have in a more familiar adaptation. Oblonsky begs the intercession of his sister Anna to convince Dolly to forgive him, though Oblonsky has no actual intention of restraining his extramarital appetites. Anna bids farewell to her husband, Count Alexei Karenin (Jude Law) and son Seryozha (Oskar McNamara) in Moscow, and, arriving in St. Petersburg, succeeds in convincing Dolly to reconcile with her husband.
Levin, a landed idealist and fretful, unconfident intellectual, has set his own heart on marrying Dolly’s younger sister “Kitty” Shcherbatskaya (Alicia Vikander), and meets with Oblonsky to discuss it. Oblonsky warns him that he has a rival to his affections in the form of one Count Vronsky. “Oh, you don’t need to worry about him,” Oblonsky assures his pal dismissively, “He’s just a rich, good-looking cavalry officer with nothing better to do than make love to pretty women.” Kitty is vivacious but naïve, and she turns down Levin’s proposal in the hope of getting one from Vronsky (Aaron Taylor-Johnson). But her suitor, whilst meeting his mother Countess Vronsky (Olivia Williams) on the train from St. Petersburg, catches sight of Anna, who has been conversing with the Countess during their journey, and is instantly drawn to her.
Tolstoy’s name itself has long been a byword for artistic enterprise that engages with the macrocosmic as well as the immediate drama. The brilliance of Wright’s conceit is steadily revealed throughout these sequences he uses for holistic realisation of theme. The “theatre” serves a multiplicity of settings and functions: whereas its aptness for evoking artificiality is passing trite, the cleverness here lies in the dialogue of settings, as, in the bustle and closeness of the “backstage,” realism, even authenticity, is located. Its ropes and catwalks and narrow stairwells offer a cunning simulacrum of the labouring grit and functional claustrophobia of the urban world in this period in Russia; it is the street, the market, the hovel, the factory, the hiding place, the feminine retreat. The gilded world erected on the stage and in the auditorium is a constant interplay of spectator and drama, social form and personal viewpoint, barriers ruptured most effectively and dramatically in the film’s central set-piece. Levin’s ill-fated proposal to Kitty sees him approach the girl who, situated upon the “stage,” is glimpsed lounging amidst painted swirling clouds, actualising his perception of her as a creature from a higher realm, one who tantalises and delights Levin’s fervently romantic heart even as he acts the solemn, sober intellectual. The clouds part, and Kitty descends to the stage level as part of a soiree. After his proposal is rejected, Levin climbs up the backstage fly space, which becomes the other, unromantic world, a slum, where he finds radical brother, Nikolai (David Wilmot) dissipating in a haze of fever and vodka.
The floor of the auditorium then becomes the railway station for the fateful meeting of Anna and Vronsky, a setting at once stylised and animated, replete with vividly visualised binaries: beautiful, white snow that crusts the thundering black locomotives, the whirling, colour-drenched crowds and the Morlock-like rail engineer whose appearance before Anna, covered in soot, perturbs her like a bad omen. When she lets Vronsky kiss her hand, it seems to shake the entire train—actually the portent of a dreadful accident, as the worker is glimpsed having been cut in half after being knocked under the wheels by the train’s sudden jolt. This moment is both an apt quote from Doctor Zhivago (1965), where the first physical contact of Zhivago and Lara was announced by a cutaway to the sparking coupling of a suburban tram: Wright cuts to sparking wheels and shuddering steel redolent of a more fervently sexual connection, and also a portent of bleaker tidings of Anna’s own predestined end. Vronsky is charmed by Anna’s concern for the engineer’s dependents, and in his own showy desire to charm her casually hands over a great wad of cash to rail staff to be given to the dead man’s family. This is a pungent moment where Wright’s feel for the underlying fiscal realities of this society are revealed as mixed inextricably with the vagaries of individual natures and brute reality, and the beginnings of a process of systemic rot.
The subsequent ball sequence cranks steadily into an erotic and emotional crescendo: Wright repeats one of his signature conceits from Pride and Prejudice in a shot in which Anna and Vronsky, dancing, are suddenly, dramatically isolated from the cotillion, hovering in bright light that excises them from reality. The sequence continues with an increasingly frenetic series of whip-pans and drunken camera whorls, evoking the great waltz sequence of Vincente Minnelli’s Madame Bovary (1949) in sustaining the sensual force of both the dance and the emotions enacted. Whereas in Atonement Dario Marianelli’s scoring provided the film with an unnerving aural analogue for the reality-ordering drive of its antiheroine, here it approximates her overheated psyche and palpitating flesh. The dancers’ serpentine arms weaving around each other with increasing suggestiveness, and Kitty becomes increasingly distraught as she watches from the sidelines, Anna and Vronsky’s instant ardour in dancing every dance together is all too obvious for both her and other onlookers.
Only after this sequence does this hermetic vision of period Russian society begin to break open. Wright’s theatricality expands to absorb Golden Age Hollywood’s mythical stylisation, with model trains standing in for the real things, and an ebulliently beautiful moment that seems torn from the most classically styled expressionist melodrama. Vronsky emerges from a haze when the train taking Anna back to Moscow is paused on a siding, snow piled, seething smoke and saturated light and colour, like the very ghost of Anna’s repressed desire. Taylor-Johnson’s Vronsky, every inch the dashing gallant with blue eyes unwavering in every shot, dressed in uniforms so crisp and clean he could have been carved from a solid hunk of ice, has an eerie, otherworldly beauty, seeming at first to be an incubus born and bred specifically to locate the fault-lines in bourgeois propriety and strike hard at them, a male bimbo seducer without depth or character. Yet he’s actually as high-flown a romantic as Anna, obeying the natural simplicity of his ardour for her with fixated intent, even as his strong-natured mother tries to offer up alternative partners and dissuade her son from a course of action that will harm her son’s prospects.
Importantly, Stoppard and Wright preserve Tolstoy’s oft-denuded contrapuntal narrative, where Anna’s experiences are contrasted with those of a classic Tolstoyan seeker-hero, Levin, who searches for personal stability and happiness, whilst also trying to shake off what he sees as the ills of his society, including a self-loathing engendered by its Westernisation and the evils of its traditional hierarchies. Levin’s viewpoint offers a substantive diegetic channel for Wright and Stoppard’s inquiring, ironic approach—Wright based the film’s style especially in the tension between the Western affectation of the period’s Russian society—and offsets the raw, biological level for which romantic love manifests for Anna, who is plunged into a tragedy that plays out specifically because of social constructs which the characters themselves try to work around, but fail. The early shot of the barber sharpening his razor gives way to a scythe being sharpened, as Levin joins his peasants on his estate in reaping wheat. They’re frightened and confused by his labours, however, especially as, since their emancipation, they’ve lost the life security they used to prize, whilst Levin is beset by constant contradiction in his attempts to live by reason, which often dictates acting against his instincts, manifest most particularly in his love for Kitty. After being spurned by her he toys with the idea of marrying a peasant woman, and keeps swapping charged glances with one of his workers. Levin’s relationship with his more overtly radical brother informs, and haunts, his choices, as Nikolai, dying slowly of consumption, has married Masha (Tannishtha Chatterjee), a prostitute he plucked from a whorehouse to prove his radical cred, though he treats her as basic chattel.
It is Levin who, notably, ruptures the film’s ravishing, yet stifling interior mise-en-scène when he first returns to his estate, the doors behind the stage parting and allowing him to step into snow-crusted fields. This visualises a clear schism between artificial city and natural landscapes, and sets up the dialectic that reverberates throughout. Later, Wright again refines an earlier piece of his own filmmaking, coinciding beautifully with a moment from Tolstoy’s writing: Levin is stricken by an epiphany when, having slept atop a haystack, he awakens in the dawn-light-drenched mist and sees Kitty driving by in a carriage, a gloriously visualised moment that evokes the romanticism of Pride and Prejudice’s similar dawn-light climax, but with an added spiritual aura and impact. Levin is ripped out of the ambient earthiness of his setting and announces not only his still-compelling love, but also his awakened self-knowledge and his surrender to forces larger than his reason, a surrender he doesn’t acknowledge entirely until the concluding scenes. His second proposal to Kitty, who, chastened and matured in her spurning by Vronsky, accepts the less glamorous but more substantial suitor, sees the duo avoid verbalising their feelings by spelling them with children’s letter-blocks. Vikander’s performance is particularly good in suggesting Kitty’s emotional authenticity and worthiness even when she makes childish mistakes, and the smartness of Levin’s choice becomes apparent when he takes her to his estate. They find his brother and his wife are there, with Nikolai dreadfully ill. Levin moves to obey the niceties of societal presumption to eject Nikolai’s woman, but Kitty instead sets about helping her nurse Nikolai, a triumph of humanist instinct that proves Kitty might actually be her husband’s moral superior as an embodiment of empathy.
The time Wright spares for this aspect of the story is indicative of the underlying attentiveness of this adaptation to the thematic breadth and heft of the tale, rather than reducing it purely to a tale of adulterous passion and social crucifixion: the possibility of a different kind of union is evoked and sustained. Nonetheless, Anna’s story proceeds with merciless force and clarity. Visions of her and Vronsky, both swathed in white and glowing in the sun on a picnic cloth, give way to the trap of space that Anna’s homelife becomes, mirrors and glasses turning faces upon themselves and conflating individuals into functions of one another, as when Vronsky and Karenin catch sight of each other in the mansion’s double doors. There passion gives way to domestic pretence—there’s a ruthlessly funny shot of Karenin neatly plucking a Victorian condom from a silver case on his desk before retiring to bed with his wife. Karenin, played superbly by Law, swings between poles of powerful emotion, from self-pity to vengeful fury to chastised forgiveness, but finally settling into a default mode of acquiescence to socially demanded wrong-doing. His sister Lydia (Emily Watson) talks him into banning Anna from coming to visit their son on his birthday, an injunction Anna ignores; Karenin guiltily watches from the sidelines, looking as if Anna’s angry glare burns a hole right through his self-respect. The film’s major set-piece and pivotal sequence, which sees the private become public and truths forcibly acknowledged, is a horse race in which Karenin observes Anna with chilly suspicion; Anna, in turn, spies on him in with a purse mirror, and drama unfolds on “stage” as Vronsky tries to win the race.
The audiovisual impact of this scene, with the horses thundering out of the darkness from off stage, is tremendous, and so, too, is the vividness of the shattering of the fourth wall as Vronsky’s mount falls and he crashes with it into the “audience,” wrenching Anna into an unfettered moment of hysterical concern that, like Barry Lyndon’s eruption of anger in Stanley Kubrick’s great film, leaves her fatefully exposed to forces that are inimical to individual definitions of happiness. The physical beauty Wright and DP Seamus McGarvey bestow on this film, and the gaudy, highly unreal spectacle in its most florid passages, is ravishing, even hypnotic in its lushness. The major objet d’art is Knightley herself, who perhaps represents the most lustrously fetishized screen presence since Marlene Dietrich, a possibly deliberate evocation. The costuming, providing eye candy par excellence, is also intricately employed as another dramatic device. Vronsky’s chill blue uniforms cut through the earthier tones surrounding him with the keenness of a straight razor. Anna’s veils, at first flatteringly thin, become thicker as she seeks to hide her face from the world, and yet they resemble cracks in a broken mirror, declaring the turmoil behind the perfect face they obscure. A deeper template revealed as the film continues is the ironic romanticism and orchestrated sedition of Luchino Visconti, especially Senso (1953), where every frame is drenched with physical lustre and yet eaten away at by the alternation of powerful, often ugly, but always authentic emotions that rupture that always-present fourth wall of social expectation. And hanging over the production as a whole is the spirit of Ken Russell, the doyen of radical Brit directors, an influence particularly apparent at a soiree where Anna and Vronsky’s affair is finally, properly sparked amidst the dazzle of fireworks and Kabuki-like posturing. I draw attention to these influences not to brand Wright as a filcher but in noting the depth of awareness of cinematic models evident here.
Wright constantly offers a tension between the immobilising spectacle and frantic movement redolent of hysterical energy, and, like the movie, Anna is defined by her constant, extremely neurotic movement; her triumphant moment is, paradoxically, the one where she’s practically paralysed by fever, a crisis that sees her able to achieve an almost saintlike scene of mutual forgiveness and rapprochement between herself and her two men, conquering Karenin’s righteous fury. There’s a touch of Ibsen’s A Doll’s House in Knightley and Law’s early scenes together as she charms her pasty overlord with her still-girlish mannerisms, mannerisms that fade and give way to leonine ferocity as she enters her affair. The filmmakers and Knightley allow constant glimpses of Anna’s vanity, mental instability, and faintly sado-masochistic impulses, side by side with her admirable qualities, making her a different order of character to the usual run of blankly admirable females bound to be tortured in such period fare, several of which Knightley has played before. Knightley, more restrained than in her full-blown neurotic mode in A Dangerous Method (2011), maps out Anna’s journey as one of compulsions, until she’s finally beset by a cringing disgust and reactive grief in the face of social disgrace and the probability of being exiled from both her home with Karenin and the temporary bliss she has with Vronsky.
The wonder of this Anna Karenina is the precision with which it captures and depicts the inner turmoil of Tolstoy’s characters, and the skill with which it finally removes, rather than adds, elements until, finally, emotional immediacy inverts the focus and the artifice retreats into the background. The film’s most striking moments are those where effect and matter are entwined, like the horse race, and when Karenin, tearing up a letter from his wife, hurls the pieces in the air, and they fall upon him and transform into snow, and his beset solitude in the midst of a fake city is rendered inescapably beautiful and sad. Karenin’s pathos is especially sharp, Law questioning “What did I do to deserve this?” as he sits before the darkened “theatre,” perfectly visualising his punch-drunk bewilderment and the gruesome sensation of being at once hollowed out by emotional shock and left exposed. Anna’s social crucifixion, an outing to the theatre that sees her confronted by her own most lethal anxieties, including watching Vronsky converse with Princess Sorokina (Cara Delevingne), the “child” his mother is trying to foist on him, and being loudly denounced by a society dame (Shirley Henderson) after her leering husband loans Anna a programme, results in Anna’s speedy spiral into a psychic collapse. This is momentarily assuaged, ironically, by Dolly, who cheerfully states to Anna she wishes she had the guts to follow in her footsteps.
By this time, the stage surroundings have faded to a near-general realism. But Anna’s fracturing psyche and perception of herself and others, communicated by images fragmenting in mirrors and the sight of Anna stripped down to her support garments, reveal Anna’s very person is the stage, stripped back to the frame to reveal the ludicrous assemblage required to sustain the illusion of polite femininity. Anna’s suicide, a breathtaking sequence, takes place backstage, where onlookers are locked in friezes, reduced to props in Anna’s aching loneliness and despair, rescued by the prospect of a pummelling juggernaut, a force that both saves her from and mimics the forces that have already run over her, and a bliss of extinction. Wright nods again to Lean’s Brief Encounter, zooming in to the exultant fear on Knightley’s face as the lights of the train carriages whip across her visage; unlike Celia Johnson, she takes the plunge. The final images of the film, with Karenin seated in a verdant field as his son with Anna and her daughter with Vronsky play together whilst Karenin himself seems to have found peace in paternal solitude watching over the children, resolves with a sense of natural grace and maturity. The stalks of grass invade the “theatre,” presaging the breakdown of the order depicted in the film. Anna Karenina is an orgy of cinema, undoubtedly likely to be too rich for the blood of some, and yet it offers an experience far too rare in this year’s cinematic output—a film both boldly conceived and successfully realised on many levels.
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The Days of High Adventure: A Journey through Adventure Film
Director: Harold Young
By Roderick Heath
The true romantic adventure film is a rare breed. Not an action film where a romance is grafted on as a momentary distraction from stunts and gunfights, a romantic adventure film generates excitement not just by posing danger to the characters’ bodies, but also to their innermost selves and their relationships. The Scarlet Pimpernel, a true romantic adventure film, was produced by Alexander Korda at a time when he and Alfred Hitchcock were the key drivers of British cinema in the early sound era. Korda’s productions, with their determinedly classy, yet peculiarly minimalist, intimate style, gained initial success with The Private Life of Henry VIII (1933), buoyed by Charles Laughton’s Oscar-winning turn as the rapacious monarch. This and other productions tried to make virtues out of some of the perceived faults in the British industry, with its reliance on a theatrical tradition and cramped budgets, and exploited Britishness for its own sake whilst also bringing a noticeably tart perspective on that Britishness that perhaps only an immigrant like Korda could. At its best in films like Henry VIII, Rembrandt (1936), and The Scarlet Pimpernel, Korda’s house style interrogated assumptions about cinematic structuring that were quickly becoming truisms under Hollywood’s influence. With a gentle sense of dramaturgy, and intricate, dramatically encoded sequences playing out in a fashion moulded after historical tableaux plays, Korda’s films shared a spirit in common with those of William Wyler and Jean Renoir and anticipated Andre Bazin’s theories of mise-en-scène over montage. The Scarlet Pimpernel is a peculiar by-product: an adventure film without set-piece derring-do, and hardly even a gunshot—and it’s one of the most exciting films ever made.
The Scarlet Pimpernel is based on Baroness Emmuska Orczy’s literary hero, an English aristocrat who rescues the innocent victims of the Reign of Terror that accompanied the French Revolution. Orczy was herself actually Hungarian, but had married into the English aristocracy. Her first Pimpernel book debuted in 1905, and she was still alive and churning out books about her hero when this film was made. Orczy’s creation was and is fascinating and deeply consequential for pop culture, as she can in many ways be said to have invented a crucial type of modern hero: the man of action defying oppressive forces with disguises and cunning whilst maintaining a secret identity that masks his true nature. Simultaneously, whilst she stopped short of creating a proper female action hero, Orczy clearly invested a telling amount of interest and energy in creating Marguerite, Blakeney’s beautiful, intelligent, resourceful, yet initially morally questionable French wife who evolved throughout Orczy’s cycle into one of Percy’s agents. The Scarlet Pimpernel is built as much around the central romantic tangles and tortures the couple put each other through—an extended and fascinating metaphor for the problems of identity of many a couple actually settling down to the problem of really living together—as it is about period gallivanting and historical fancy.
Orczy had constructed that historical fancy around the plausible wish fulfilment of saving innocents from the worst excesses of a political movement. As the 20th century progressed, this fantasy was to become increasingly urgent, and when Korda’s production was released, geopolitical overtones vibrated through the whole affair. Leslie Howard would play an updated version of the hero he plays here in Pimpernel Smith (1941), and in doing so, reputedly inspire Raoul Wallenberg’s efforts to save Jews from the Holocaust. In the 1934 film, the sensation that something evil is happening just over the horizon, played out in icy diplomatic niceties and by men utilising proto-Cold War techniques, is nonetheless palpable, and the period French Revolution setting starts to sound more and more contemporary as Percy condemns men who “use high-sounding principles an excuse for the most bestial cruelty.” Indeed, The Scarlet Pimpernel, made five years before WWII started, feels more than a little like the first WWII movie, offering as it does a template of flight, disguise, and infiltration that any number of spy adventure melodramas in the coming years would. It even lays out a template for the kinds of patriotic encomium such films would often see, as when Percy recites the “this England” speech from Shakespeare’s Richard II. The coolness of the Korda style, at odds with the kind of florid historical filmmaking becoming popular in Hollywood that would soon flower in the second coming of the swashbuckler, builds and emphasises tension in an entirely different fashion to what one expects. As witty and defiant as Percy can be, there’s no campy winking at the audience in the fashion of Errol Flynn’s films, and the absence of a music score, already by 1934 an unusual lack, emphasises the sombre, subtle pitch of the drama.
The film begins with a discursive sequence of soldiers parading under the window of the Prince of Wales (Nigel Bruce). The Prince’s bluff and hearty charm seems for much of the movie as disconnected as the rest of his countrymen from the international reality, his soldiers marching prettily but not actually doing anything. The Prince confesses his pride in the fact that the Scarlet Pimpernel, rapidly becoming famous for his escapades, is English. In Paris, the situation the Pimpernel is fighting against is coldly depicted as victim after victim is sent to the guillotine in an assembly line of slaughter, and a neat dissolve from the guillotine itself to the Revolutionary logo of Liberty, Fraternity, and Equality packs ironic punch. A priest (Bramwell Fletcher, of The Mummy “He went for a little walk!” fame), actually one of the Pimpernel’s agents, gets an earful of bloodlust from a barber, before visiting a prison where families of the fallen nobility cringe in the cellar as a revolutionary official announces: “Madame Guillotine has fresh meat today.” The fake priest delivers a message in a bible to the family of the Count de Tournay (O. B. Clarence), his wife (Mabel Terry-Lewis) and daughter Suzanne (Joan Gardner). De Tournay, the former ambassador to Britain, is introduced playing cards with his fellows and contemplating with hard-won wisdom that his class has been “sheltered all our lives,” establishing him as a nice aristocrat fit to be rescued. As victims are called up to the tumbrel, rapid vignettes of grace under pressure include one aristocratic woman placing aside her book and adjusting her gloves with seemly calm, whilst outside the baying crowd awaits. Wife and daughter are dragged away to their deaths, torn from the Count, who is held back to be taken Robespierre.
But the Pimpernel’s promise to the De Tournays is good, as the crowd is distracted by a man on the rooftops shouting royalist slogans, a first sign of the depths of Percy’s cleverness in using the crowd’s own inchoate passion against it. As they pursue the rooftop agitator, Percy is able to swoop in and spirit away the family. The Pimpernel himself is disguised as an aged hag transporting her plague-ridden son out of the city, successfully bluffing his way past a guard who has already been seen capturing an aristocrat trying to escape and congratulating himself on his ability to sniff out his quarries. Moments after the Pimpernel gets out, a squad of mounted soldiers arrives to inform the guard he just let the Pimpernel escape, but the soldiers, under Sir Andrew Ffoulkes (Anthony Bushell), are themselves members of the Pimpernel’s band, and they escort the De Tournays across the Channel to safety. Meanwhile, Percy loses his hag’s guise, after a moment of deadpan transformative humour as Percy takes some snuff from his gold box whilst still in full ratty regalia, and then maintains the most businesslike of attitudes as he strips off the drag. He’s alerted by his operative Armand St. Just (Walter Rilla) that they have to return to rescue the Count and that a new, dangerous enemy has been set after them, Citizen Chauvelin (Raymond Massey), the Republic’s envoy to England. Armand also happens to be the brother of Percy’s wife, the former actress Marguerite (Merle Oberon), who is regarded as a traitor and murderer in French aristocratic circles because of her apparent role in the execution of the Marquis Saint Cyr and his family, the first aristocratic clan to go to the guillotine.
The remainder of the narrative revolves around a peculiar question: is Percy’s wife one of the people he despises? Is he operating out of guilt for her actions? Marguerite is first mentioned in a tavern conversation between Ffoulkes and the De Tournays, as they tell him about her evil acts, and he states with defensive pride that “Everyone in London knows Lady Blakeney.” Marguerite is introduced thus, like her husband, first through gossip and second-hand perception, an accumulation of legends that address only one apparent side of their natures. She is first glimpsed properly having her portrait painted by George Romney (Melville Cooper), supervising her conversion into a perfectly aestheticized image as Romney would do for Emma Hamilton. Percy studies the work twice, once in full fop character and then again more like himself, and finds it frustratingly lacking, as he attempts to discover the true woman behind the various images of her. As the husband wears a mask of false identity, he is questioning whether his wife does, too. When Armand asks about the chill between the couple, Percy explains that he once asked if she had truly denounced the Saint Cyrs: “She flashed back a yes as sharp as the guillotine!” “So that is why you ceased to love her,” Armand says, “What a tragedy.” Percy replies, “I shall love her ‘til the day I die, that’s the tragedy.” Such a line captures The Scarlet Pimpernel‘s rare feel for the smouldering romanticism lurking under the seemingly stoic and staid English surface. The very French and expressive Marguerite is conversely suffering her sudden and chilling alienation from Percy, who, as far as London society is concerned, is a shallow, witless gadabout obsessed with fashion and trivialities.
True to Quentin Tarantino’s maxim about secret identity as a mask that reveals and critiques, the version of himself that Sir Percy Blakeney presents to the world is a stinging study in English upper-crust complacency and cloddishness. Percy maintains his cover by playing a jackass, fop, and effeminate pseudo-wit. He predicts Beau Brummel by advising the Prince in fashion, ridiculing his tailor’s efforts (“I’ll have you know that this is the last word in sleeves!” “Oh I should hope so, for there should never be another like it!”), and reciting to anyone who’ll listen his poem about the Pimpernel (“They seek him here, they seek him there…”) which he has to censor when repeating it to society ladies. The fat, old former soldiers he teases as they lounge about his club congratulate themselves on their superiority to such callow youth: “What that young man needs is a year of two’s hard campaigning, facing powder and shot!” declares Winterbottom (Edmund Breon), whilst one of the Prince’s circle, contemplating the horrors in France, muses, “What do you expect of a lot of foreigners with no sporting instinct? If it wasn’t for our fox hunting and grouse shooting, I dare say we should be cruel, too!” When Marguerite wonders if Ffoulkes might be the Pimpernel, Percy derides the idea: “The fellow couldn’t hit a ball at Eton!” This tint of satire on the worst traits of the English upper crust is, of course, contrasted in how Percy and his fellows actually represent their class’s best qualities. Even the Prince finally reveals his hidden grit when, disgusted by news Robespierre is planning to execute the French King, he’s introduced to Chauvelin, who he welcomes as a private citizen: “We shall try to forget the government that sent you,” before turning his back and getting on with his pleasant evening.
The Scarlet Pimpernel’s layered and wit-laden script was composed by many hands, with Korda and Orczy adding some material to the credited foursome of Lajos Biró, S. N. Behrman, Robert E. Sherwood, and Arthur Wimperis. As per the Korda style, and perhaps partly reflecting the fact that the story had first appeared not as a novel but as a stage play, the narrative moves forward in a series of intensely orchestrated and carefully composed sequences. The actual job of direction fell to American Harold Young, making his third film after a long career as an editor: Young’s subsequent career would be largely unremarkable as a maker of B-movies, including The Mummy’s Tomb (1942). But the entire production bears the imprint of Korda, particularly in the carefully composed crowd scenes. Korda’s approach to spectacle was strange, offering lavish sets, casts, and costuming, and then often dismissing them, preferring to concentrate elliptically on peripheral details. The Scarlet Pimpernel deliberately detours from many key moments of action, and yet avoids staidness with its supple and functional cutting and quietly musical visual pacing.
Notable are little minuets of telling close-ups and dramatic camera angles in compositions that are fastidiously balanced, often with characters framed in association with statues that match their personality. A brilliant, pivotal moment occurs when Marguerite finally realises her husband is the Pimpernel, camera zeroing in on a tell-tale feature of a painting she stares at, and cutting back to a high shot of Marguerite gazing up, the moment of realisation rendered electric. The effect shifts emphasis from the physical intensity of the drama to the emotional, making The Scarlet Pimpernel all the more singular. It’s tempting, if running the risk of making facile presumptions, to ascribe some of the emotional intensity of The Scarlet Pimpernel to the way it offers such a fervent metaphor for the lives of so many of its creators. Korda and Howard were Hungarian with Jewish backgrounds, busy dissembling as perfect English entrepreneur and actor, whilst Orczy was also Hungarian, and Oberon was part-Indian, a side of herself she had to keep suppressed to avoid the censure in a still often segregated cinema screen.
One doesn’t look to The Scarlet Pimpernel for in-depth political considerations, and yet the brief depiction of Robespierre (Ernest Milton) is an amusing study in dictatorial power as the self-dramatized posturing of a child prodigy, one that seems cleverly pitched to evoke caricatures of Mussolini and Hitler as bratty buffoons for audiences of the 1930s. He stalks away from his desk after writing a death warrant with showy gravitas and situates himself before a nobly bearded bust, before calling Chauvelin and declaring effetely to De Tournay that “I send you people to the guillotine for the future happiness of the human race, but I don’t allow torture!” Chauvelin is both smarmy and serpentine in his confident espousal of the revolutionary cause, and also acutely aware of his vulnerability, tasked with capturing the Pimpernel and knowing it means his neck if he can’t. Chauvelin blackmails Marguerite into helping him identify the Pimpernel, having traced the various leads to Percy’s social circle. To manipulate Marguerite, he uses both standard pressures—arresting Armand and holding his fate over her—and his sinuous and unsettling psychological grip on her, as the keeper of her darkest secrets. Chauvelin was partly responsible for Marguerite’s denunciation of the Saint Cyrs, though her animosity towards the clan after the patriarch had her thrown in prison when his son wanted to marry her, was still powerful.
The film’s multiple story strands collide in a lengthy sequence at a ball held by Lord Grenville (Allan Jeayes) in which dancing is dismissed as frou frou in favour of the far more intricate cotillion of role-playing and gamesmanship. Percy swaps gracefully between fop and spymaster (he’s able to rescue himself from the coterie of trailing women and make contact with one of his agents with the cry, “Zounds! That’s a monstrous good collar!”), Chauvelin stalks through the proceedings with his hunting-dog smirk, and Marguerite is caught between camps, cold-shouldered by the De Tournays until the Prince, who worships Marguerite, commands them to make friends. Marguerite is tasked by Chauvelin to obtain a message Ffoulkes has tucked in his sleeve, and Marguerite rises to the challenge in a sublimely odd sequence in which dance music drifts sonorously in from the ballroom, Ffoulkes tries to both aid Marguerite and read the message, and Marguerite looks for a chance, any chance, to see it, too, whilst a confused crackle of the erotic and the illicit infuses the game of deception. She finally succeeds in getting hold of the letter and is able to reveal its contents to Chauvelin, that the Pimpernel will be in the library at midnight, which proves true, only Percy makes a play of being asleep on a couch, sprawled with indolent laziness. Percy seems to fake Chauvelin out by this means, but his joke proves to have been a bit too clever, for Chauvelin quickly realises the truth and sets in motion a plan to catch Percy the next time he ventures to France.
The weight of sustaining the film falls heavy on Howard’s and Oberon’s shoulders. Howard was just hitting the height of his fame, as he was starring in the hit play The Petrified Forest and had played the lead in a Hollywood adaptation of Somerset Maugham’s Of Human Bondage opposite Bette Davis. At first, Korda had offered the role of Percy to Charles Laughton after the success of Henry VIII, but fans of the books objected. Howard’s specific screen persona here came to the fore, in playing a man who seems emotionally obtuse and physically mild, and yet who actually possesses surprising moral and mental force; Howard would offer several variations on this character before his sad death in 1943. His performance as Percy, nonetheless, has a clarity and simplicity of technique that puts me in mind of Paul Scofield, in the precision of his shifts of character registered in diction and restrained physical emphasis, his delightful skill in swinging from pallid overcivility (the curse of his Ashley Wilkes in Gone With The Wind, 1939) and mincing foppishness, to an unconventional, but steely, convincing rectitude. He’s particularly excellent in the key scene the couple have after the ball, in which Marguerite distraughtly confesses how Chauvelin has used her, and Percy asks just what she’s done in exchange for her brother’s freedom, with a sudden revelation of the anger and pain he’s been sitting on. As Marguerite breaks down and appeals to him with real desperation, he comes precariously close to kissing her as he realises she’s a victim and not a villain, but remembers himself at the last moment and pulls back with obvious difficulty.
Oberon was still a fairly fresh-minted movie star, although she had been leading a life laden with novel-worthy mystique for much of her life, rising from headliner in Bombay nightlife in her early teens to several years of bit roles after landing in Britain, and discovery by Korda, whom she would marry. She would go on to be an underutilised but reliable star in Hollywood, but she inhabits the difficult role of Marguerite perfectly. She keeps Marguerite’s emotional quandaries in focus, smouldering with guilt and disaffection even as she’s called upon to be the perfect, nerveless beauty, wife, secret agent, and emotional prostitute, speaking with rueful sadness after her husband’s made another of his embarrassing displays, “The biggest fool in England has the most complete contempt for his wife,” and insulting Percy with bite, “You were a man once!” The quiet romanticism of the film is indeed laced with the bitter taste of its opposite, the Noel Coward-esque cynicism apparent as Percy, in character and yet delivered with cold brutality, responds to Marguerite’s proposition that they should help Armand get married, “What has poor Armand done to be sentenced to matrimony? You should know better, my dear.” Massey likely never quite had as much fun in a film role as here, playing Chauvelin with a plummy, come-and-go accent, but more effectively offering his hangdog face and perpetual five o’clock shadow to imbue a faint air of shifty dishevelment to Chauvelin’s pretences to elegant villainy, the inelegant method and functionary brutality underneath constantly in evidence. His exchanges with Percy in foolish guise are droll in Chauvelin’s recoiling disgust of the seemingly oblivious aristocrat who sneakily makes jabs at Chauvelin’s fear of the guillotine under the pretext of giving him fashion tips; whenever Percy reaches to adjust Chauvelin’s cravat, the envoy recoils in alarm.
Chauvelin has his moment of triumph as he thinks he finally has Percy exactly where he wants him, in front of a firing squad, mouthing orders in anxious delight until he hears the shot. Once Marguerite ventures into enemy territory to warn Percy that Chauvelin is laying a trap for him, but once again makes herself perfect bait, as Chauvelin takes her prisoner and uses her as a means of forcing Percy into exchanging himself for her. Here the moral, physical, and romantic danger facing the characters crystallises in another marvellous moment of smouldering romanticism, as Marguerite declares she wants to die with her husband and fainting, Percy offering a last, breathlessly romantic kiss to her prone form before letting her be carried out. Percy pauses for his moment of poetically graceful patriotism before heading out to die—except, of course, Percy is too clever for Chauvelin, and, in one of the great action hero bluffs, his firing squad proves to be formed entirely of his own men. What’s rare about this last act is that in avoiding traditional action movie stunts, it generates a fervent tension that’s altogether sublime. The very finish twists Percy’s earlier black description of matrimony as a sentence, as he revises Chauvelin’s own pronouncement that Marguerite would be free when Percy died into an epigram of fidelity of a couple reforged into strong and confident partners in adventure. It’s worth noting that a sequel was produced three years later, but the only returning cast member was Bushell, and the film, whilst competent, was essentially an afterthought, which goes to show that half-hearted sequels are hardly a recent phenomenon.
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Director: Kevin Macdonald
By Marilyn Ferdinand
Reggae is in my blood. Around 1980, when I was only a couple of years out of college and on my own in Chicago, I started visiting a new club called the Wild Hare & Singing Armadillo Frog Sanctuary that featured live reggae music seven nights a week. Lodged a block from Wrigley Field among traditionalist neighbors who fought the installation of lights at Wrigley for night baseball until just a few years ago, the club’s marijuana perfume and rhythmic music filled with revolutionary messages and prayers from musicians who worshipped Ethiopian Emperor Haile Selassie I as the reincarnation of Jesus Christ were an endless source of irritation.
For a person like me whose early enthusiasm for the blues, jazz, and bossa nova turned into a passion for world music like reggae before it became a market niche, the Wild Hare let me escape the great white stiffs of the Great White North as the only club where I could reliably count on a man—always Jamaican or Ethiopian—to ask me to dance. As I worked up a sweat on the concrete floor that always turned my legs to rubber bands, I could only glance with condescension at the uptight white boys who did nothing but sit at the bar drinking Guinness at one of the few places in the city that served it while I chanted uncomprehendingly (and probably offensively) “Jah Rastafari” along with the band.
Along with local and small touring bands, a lot of big reggae stars played at the Ethiopian-owned club, including Jimmy Cliff, Dallol, and Shabba Ranks. The biggest star of them all, Bob Marley, was already too big a draw by the time the Wild Hare opened to play there. He made his one small-club appearance in Chicago at another of my hangouts, The Quiet Knight, back in 1975, but alas, I had not caught rasta fever in time to see him. In fact, until yesterday, I had no idea he had played there; a mention of the appearance is only one of numerous eye-opening facts I learned while watching Marley.
From its conception in 2008, Marley was meant to be the definitive documentary about the life of the Jamaican superstar. Martin Scorsese and Jonathan Demme, both superb craftsmen of music documentaries, picked up and then dropped the project. It fell to Kevin Macdonald, an impressive documentarian in his own right with a spotless film pedigree as the grandson of Emeric Pressburger, to meld archival footage with talking heads to tell the cradle-to-grave story of Bob Marley. Ziggy Marley, the oldest son of Bob and his wife Rita, acted as an executive producer of the film and provided photographs and footage that had never been exhibited publicly to help flesh out many facets of his father’s life.
One important facet of Bob Marley’s life was that he was so-called “half-caste,” with a white English-Jamaican father and a black Jamaican mother. The film shows the only known photo of Norval Marley, a handsome plantation overseer who was “the” Marley of Jamaica until his charismatic son took over that title. Norval had almost no contact with Bob and his mother, traveling constantly and fathering other children with other women, a practice Bob would pick up along with his father’s good looks. Bob would also deal with the prejudice against half-castes by saying his allegiance belonged to the god who chose to make him half-black and half-white; his shaky status and his life with his black mother most likely turned him toward his African heritage and his pride that Africa is the place where the human race began.
Marley has footage of Haile Selassie’s visit to Jamaica in 1966, a rather funny portion of the film in which we learn that Selassie emerged from the airplane in Kingston, saw the massive crowd on the tarmac, and turned right around and went back in. Selassie’s visit, however, marked a turning point for Marley in becoming a Rastafarian and growing his trademark dreadlocks. Scenes of Marley smoking marijuana in spliffs and pipes, lost in a haze of smoke, follow. Marley’s wife admits that Bob was almost perpetually stoned, though whether you view this as the religious devotion Rastafarians say it is or a consequence of being a poor musician, or both, is up to you.
Regardless of your views, there is something to the assertion in the film that pot smokers are laid back and peaceful, something Marley and his band The Wailers always preached and lived. It is rather amazing to see footage of two violently opposed political groups in Jamaica come together briefly during Marley’s 1978 One Love tour and Prime Minister Michael Manley of the People’s National Party (PNP) join his rival from the Jamaican Labour Party (JLP), Edward Seaga, onstage at Marley’s urging. This gesture is even more extraordinary considering that extremists tried to kill Marley and The Wailers at his Hope Road compound only two years before when a planned free concert by Marley was coopted for political capital by the PNP, angering JLP supporters.
Interviews with family members and intimates are sprinkled unobtrusively throughout the film, which mainly concentrates on Marley and the music. Incredibly, Macdonald talks with Mrs. James, Bob’s grade school teacher when he lived in his rural hometown of St. Ann, who remembers his musicality. After Bob and his mother moved to a Kingston slum called Trench Town, Bob met aspiring musician Desmond Dekker. Jimmy Cliff recalls auditioning and recording Dekker, and then being approached by Marley. He immediately noted Bob’s use of lyrics to convey a message, recalling Marley’s first recording “Judge Not” as an assertion of his human rights; Macdonald shows a young boy looking stern and punching the air as the song plays in the background.
Thus, the interviews become voiceovers with scenes that illustrate what the speakers are discussing, for example, a tall Rastafarian walking along a street in Trench Town with his enormous dreadlocks piled high under a knit hat and Marley’s song “Knotty Dread” playing under the voiceover. A result of this “reenactment” is that we get a sense of Bob Marley’s life as it was lived, a visual representation of his inspiration, and lively and colorful images that invite audiences to participate rather than nod off to a wall of words. Amusing and interesting capsule facts are scrawled on the screen as well, such as that there is no record that “Captain” Norval Marley ever rose above the rank of private.
Each step in Marley’s rise to superstardom is given attention, with remembrances from such figures in his life as childhood friend and original band member Neville “Bunny” Livingston; Chris Blackwell, who signed the Wailers to Island Records; and manager Danny Simms. Simms recalls how ambitious Marley was, agreeing to open for The Commodores in Madison Square Garden less than a year before his death so that American radio stations would play his records. Marley may have thought that the concert and radio plays would find him an audience among African Americans, which seemed as indifferent to Marley as white audiences were enraptured by him. The film is chock-full of concert footage and music, charting his career in a way any fan will absolutely adore.
Marley’s personal life adds to the film’s well-rounded portrait of the artist. Cindy Breakspeare, Miss World 1976 and Marley’s most famous lover, figures prominently in the film; when asked why Marley attracted so many women, she says incredulously, “Look at him!” Rita Marley seems to have had a laissez-faire attitude to Bob’s lovers and their children (she took lovers of her own), and thought that the key to his romantic success was that he was shy, recalling their own courtship. Cedella Marley, Rita and Bob’s daughter, is not so forgiving of the free love that pervaded her parents’ life, asserting that her mother was made unhappy by Bob’s philandering. In truth, Cedella seems the most unhappy with her father, complaining throughout the film of his lack of attention and even a lack of time alone with him in the days before his death.
Most informative and touching for me was an account of Marley’s final illness. I had always heard he had brain cancer, the joke going around that the ganga got him. In fact, in 1977, he was spiked in the toe while playing soccer, and when he went to have it looked at, the doctors diagnosed him with melanoma in the nail bed. Marley refused advice to have the toe amputated, worrying that he would not be able to dance or play soccer. In 1980, after a run in Central Park, Marley collapsed. When he was taken to the hospital, he was found to be riddled with cancer. Without real hope for recovery, he played his last concert in Pittsburgh, lost his dreadlocks to chemotherapy, and vainly sought relief at a holistic clinic in Germany. The film concludes by showing his burial site in St. Ann and surveying Marley’s lasting influence on world culture.
There is a lot of information out there about Bob Marley, much of it false or half-true. Marley is a treasure to fans and future generations who want as accurate and big a picture as may be possible on film of a man who freed a lot of people with his music.
Live concert audio from The Quiet Knight in Chicago, 1975
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Director/Screenwriter: Charles Sturridge
2012 Chicago International Film Festival
By Marilyn Ferdinand
More than 50 years after Robert Hamer, director of such classic British films as Kind Hearts and Coronets (1949) and The Long Memory (1952), directed a faithful adaptation of Daphne du Maurier’s novel The Scapegoat, another well-regarded British director, Charles Sturridge (“Brideshead Revisited”), has given the story another go. Moving it from France to England and slightly tweaking the motivation of the central characters has yielded a less schematic, more psychologically true rendering of the identity-switch theme at the center of the tale.
Unlike the original, in which a schoolteacher has his fateful meeting with his doppelganger while on vacation, in this tale, John Standing (Matthew Rhys) is a Greek teacher in a primary school who is let go because conversational French is thought to be a more useful subject for the languages department to offer. With prospects for another job dim because of his obsolete skill, he literally decides to drift, that is, take a walking tour of England. Thus, when he meets his double, Johnny Spence (Rhys), in a pub, gets drunk with him, and wakes up to find all of his belongings missing and Johnny’s chauffeur George (Pip Torrens) waiting to take him back to his estate in a Rolls Royce, John has no circumstantial ties that bind him to the truth.
Naturally, one small lie leads to another, as he is introduced to “his” family—his wife Frances (Alice Orr-Ewing), his daughter Mary Louise (Eloise Webb), his sister Blanche (Jodhi May), his brother and sister-in-law Paul and Nina (Andrew Scott and Sheridan Smith), and his mother Lady Spence (Eileen Atkins). The imperious housekeeper Charlotte (Phoebe Nicholls) shuttles John from one person to the next, and the poor man has to stumble through conversations that mean nothing to him and try to locate his mother’s room in the vast mansion, blundering into Nina’s room at one point. Her embrace indicates that she and Johnny were having an affair.
It becomes apparent fairly quickly that Johnny has wrecked his family and made a complete hash of the foundry business that built their fortune; his inability to negotiate a badly needed contract sealed his determination to flee from his life. Once John gets the lay of the land and starts to insinuate himself into the Spence household, he learns that Johnny and Lady Spence engineered his loveless marriage to Frances to get their hands on her trust fund—one that will not be settled because she has not produced a male heir or died. Lady Spence, shrewd and bitter, has taken to her bed where she is attended by her priest, Father McReady (Anton Lesser), and Charlotte, and uses morphine supplied by Johnny to provide her only slice of happiness. Paul’s confidence has been sapped by his mother’s hectoring putdowns and preference for Johnny, and Blanche hates Johnny with every fiber of her being for a variety of reasons.
The idea of the good versus evil twin, or dark versus light, has been explored in works as disparate as the various versions of Dr. Jekyll and Mr. Hyde, the melodrama A Stolen Life (1948), and the Star Wars franchise. The influence of a good nature, however, is more the thrust of this film as it downplays the thriller aspects of the Du Maurier novel. However, John isn’t exactly Pollyanna playing the glad game to cheer everyone up. Instead, he uses the gentle patience he developed as a teacher and his desire for the loving family he doesn’t have, echoing the feelings of the orphaned Joey in the family drama In the Family (2011), to fall in love with the Spences and give them what Johnny never could. He owns up to the lies he told out of ignorance, the most important of which is that he landed the contract, but offers his ideas to put the business back on the right track after doing his homework about the financial situation and business plan. He lets Paul take the spotlight, encourages Lady Spence to get out of bed by telling her the house needs her, and shows a deep understanding for Blanche’s rage and grief by saying he wants to make things right.
One has to work to suspend disbelief not only that John can put things to right in only a week, but also that none of the Spences suspects John’s deception. Only Johnny’s French mistress (Sylvie Testud) and Charlotte guess that John is a fraud, perhaps highlighting how blind the upper class is to the reality around them. However, George and the foundry manager never suspect him either, so it’s anyone’s guess whether Sturridge intended to imply this subtext. On the other hand, making John a potential member of the permanently unemployed was a stroke of genius in driving his decisions in this film, though the film tends to underplay the obvious material appeal of impersonating an aristocrat, even one whose business is in trouble.
Welsh actor Matthew Rhys is unfamiliar to me, but he has a strong, but mutable physical bearing that can move easily from a sacked teacher to a lord of the manor, thus largely getting over one improbable hurdle this story poses. He adopts a different spine for John and Johnny, and is impressive in both, making me wonder if the film actually had identical twins in the two roles. As can normally be expected of a British cast, the performances are uniformly wonderful, though they fall just short of being the cohesive ensemble of other films. The look of the film is appropriately rarified and atmospheric, and fans of PBS’s Masterpiece dramas and such prestige films as The King’s Speech (2010) will lap The Scapegoat up, particularly as the coronation of Queen Elizabeth II forms an underlying rationale for John’s final decision to stay or go. The Scapegoat is a finely crafted, if somewhat superficial character study that is engrossing to the end.
The Scapegoat screens Thursday, October 18, at 8:15 p.m. and Sunday, October 21, at 1:15 p.m. All screenings take place at the AMC River East 21, 322 E. Illinois St., Chicago.
Tey: Telling the story of one day—the last day—in the life of a young man, a fact known, celebrated, and mourned throughout his community, this film confronts our peculiarly human tragedy of knowing we will die, and gives us a few answers about coping with that frightening inevitability. (Senegal)
Mr. Sophistication: A familiar story of a comedian trying to make a comeback is made compelling by great performances, an intelligent script, and deft direction and camerawork. (USA)
The Three Disappearances of Soad Hosni: The life of Egyptian movie star Soad Hosni, a cultural icon and touchpoint for unity in the Middle East, is interpreted in a biopic using nothing but footage from her 82 films. (Lebanon)
Shun Li and the Poet: A tone poem of a film depicting the longings of a Chinese emigrant to Italy and the loving friendship she forms with an elderly Yugoslavian man in a small fishing village near Venice. (Italy)
The Last Sentence: A gorgeously photographed biopic of Swedish newspaper editor Torgny Segerstedt that focuses attention on his romantic intrigues as he wages a relentless campaign against Hitler and Swedish neutrality. (Sweden)
The Exam: In a taut thriller set in 1957 Hungary, a member of the secret police unknowingly undergoes a harrowing loyalty test under the watchful eye of his own mentor. (Hungary)
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Director/Screenwriter: Mike Leigh
By Marilyn Ferdinand
My mom was born in 1926 on the Near West Side of Chicago. She went to grade school and high school in Chicago, and moved to the Near North suburbs along with many of her friends and relatives in the 1950s. She and my dad still had friends from their school days, and after he died, she and her childhood friends became constant companions. She spoke to me about their quirks, especially Shirley, whose mind was starting to wander and who would repeat things over and over again and yell at waitresses for hot coffee when she finally took a sip only to find it had gone cold while she rambled on. My mother had some complaints about the people from the old days and her early days in the suburbs who had come with her into old age, but never was she discourteous to any of them, never did she think of giving them the heave-ho, and never were they less than friends.
You don’t have to be past 50 to appreciate Another Year, Mike Leigh’s most subdued, cohesive film in years, but it helps. My memory of my parents’ friendships has helped me internalize their values of loyalty and acceptance of human frailty, particularly as I get older. I sense that younger, Internet-age viewers may have a very different take on friendship, and much more difficulty finding the kind of acceptance my parents’ generation—and even mine—were generous with. I’ve seen a number of youthful film critics criticize the central married couple, Tom (Jim Broadbent) and Gerri Hepple (Ruth Sheen), as smug and condescending to their unhappy, unattached friends Ken (Peter Wight) and Mary (Lesley Manville). In my opinion, this view says rather more about the critics than it does about the characters. All I see are two people who have room in their hearts and lives for the people they have known for many years and provide them with a soft place to fall when life has dealt them the hard knocks Tom and Gerri have been fortunate to avoid by dint of luck, love, and commitment.
A deeply pessimistic note is set during the film’s prologue. A very sour-faced woman (Imelda Staunton) is having trouble sleeping and has gone to her local clinic for some sleeping tablets. Tanya (Michele Austin), the pregnant doctor tending to her, sees her obvious anger and depression. Tanya writes her a short-term prescription, but suggests she see a counselor at the clinic to get at the underlying cause of her sleeplessness. The counselor turns out to be Gerri. Gerri’s affinity for helping depressives may explain why she and Mary, an administrative assistant at the clinic, have remained friends for 20 years, all through Mary’s financially ruinous divorce and long-term affair and break-up with a married man. But Gerri has an energetic, partying streak in her, as evidenced by a seven-month trip she and Tom took from Australia back to England early in their lives and some hell-raising she remembers when talking with Ken; in the early years of their friendship, Mary would have been a natural fit for Gerri, and their bond seems genuine.
Because he loves Gerri and is an amiable person, Tom also befriends Mary, a frequent dinner guest and occasional overnight lodger when she’s had too much wine to drink. Gerri returns the favor with Tom’s old friend Ken, a civil servant who’d retire if he had anything to do with his free time, and whose gluttonous eating and endless beer guzzling fill the void left by his bitterly ended relationships and the deaths of his closest friends. He rails against the young people who have taken over his favorite pub, feeling as the aged often do, that he and all he values are being discarded and forgotten. Tom and Gerri try to remind him that they were once loud and obnoxious, too, to help him see that every generation has its day.
Leigh literally pushes the notion of “to every thing there is a season, and a time to every purpose under the heaven” by dividing his narrative into the four growing seasons, beginning in the spring as Tom and Gerri plant their crops in a community garden and ending with the plow-over in winter. Other new beginnings in “Spring” include Mary’s decision to buy a car that she expects to change her life and Gerri and Tom’s 30-year-old son Joe (Oliver Maltman) heading to Dublin to attend the wedding of yet another friend. “Summer” sees the birth of Tanya’s baby, and love is on Mary’s mind, as she rejects the good-hearted, but physically revolting Ken at a garden party at Gerri and Tom’s to make an awkward, understated play for Joe. Mary’s new life curdles fast in “Autumn” when her car turns out to be a costly fixer-upper and her traffic and parking fines mount up. Worse, Joe brings home his girlfriend Katie (Karina Fernandez) to meet his parents for the first time on a day Mary is scheduled to come by. Mary’s romantic disappointment comes out in extreme rudeness to Katie. “Winter” brings endings as Tom’s brother Ronnie (David Bradley) and the rest of family mourn Ronnie’s wife Linda, the deep-freeze Mary has been in with Gerri since her rude behavior finally thaws, and Mary’s “glass half full” finally empties in a closing shot of her thousand-mile stare into the abyss of her sadness.
As is obvious from this synopsis, nothing terribly dramatic occurs onscreen, or offscreen, for that matter. The film is, to use Tom’s word, “inexorably” about life. Leigh and his actors have emerged from the months-long creation of their characters with rounded, relatable human beings. None of the characters got where they are overnight, and they’ll move forward inexorably as well. We learn their histories in bits and pieces, in remembrances, cold glances, a warm pat on the bottom. They have work they perform onscreen and talk about in their off hours: Mary, Gerri, and Tanya at the clinic, Tom at a building site where he works as a engineering geologist, Joe advising an Indian immigrant at a public-aid office. There is conflict, for example, when Ronnie’s resentful and long-absent son Carl (Martin Savage) comes late to Linda’s funeral and quarrels with his father and Tom back at Ronnie’s house. Yet nothing horrible happens—Carl rudely tells Linda’s coworkers who have come to pay their respects to leave and then flees himself, while Ronnie packs a bag and goes to stay with Tom and Gerri for a few days. The emotion of a funeral is there and real, but mainly in a dislocated, quiet way. Even Carl never gets very loud; he seems genuinely distressed in his prickish way.
Many of the performers, like Wight, Broadbent, Savage, Sheen, and Manville, have worked with Leigh over the years, and the family feeling of an ad hoc repertory company greatly enhances the deep emotional resonance of the film. Broadbent and Sheen work so harmoniously that one might mistake them for a married couple offscreen. I was particularly taken with their teamwork in the garden, perhaps reflecting on my own experiences with the hubby in our community garden. It all was so familiar, so real. Leigh’s regular cinematographer Dick Pope outdid himself in this film, creating an ambience for each season that strongly communicates the passage of time. In “Spring,” for instance, his camera seems to so capture the dampness and fecundity of the soil that I could practically smell the mulch and feel the relief of a hot cup of tea Gerri clutched to warm her from a sudden rain. Similarly, the first shot of “Summer” is a landscape of gold, with Gerri turning her face upward to gather in the sun’s warmth. Indeed, from the way she is photographed to the plush sweaters she favors, Gerri is a fully realized creature of warmth, a fitting flame for the rest of the characters to fly to.
Lesley Manville, however, really seems to be at the core of this film. That may be due to her fearlessly vulnerable performance that shines just a bit brighter than anyone else in the magnificent cast. Mary is infuriating, but impossible to resist. One wants to slap her for the horrid way she treats poor Ken, but Manville never lets us lose sympathy for Mary, a lost soul if ever there was one. My sympathy for her increased exponentially after Joe’s cruel treatment of her when she flirts with him at the garden party. He leads Mary on, agreeing with her that they “click,” playing a teasing sexual game about naming his body parts, and then telling Mary when she asks him how old she looks “…. 60 …. 70.” She assumes after he says 70 that he’s goofing on her, but her initial shock at “60” reveals Joe to be, as Katie says, a “dark horse,” that is, more cruel than his genial facade would suggest. This scene is a master class in acting, with Manville and Maltman hitting their beats with exquisite timing, Joe’s yielding impenetrability deflecting Mary’s tired feints and faded hope. The scene also encapsulates the indifference of time to the pain of the old and weary; Mary deserved more out of life, but time waits for no one, and youth will laugh as it pushes age over the side of the ark.
Films that not only capture aged adults moving off the main highway of life, but also treat them with good-natured sympathy are rare indeed—as rare as friendships that last a lifetime. I wonder what will happen to the ascendant generation that is so heavily invested in virtual friendships when it is their turn to move along. Whatever it is, I hope they meet up with some of the kindness and acceptance found in Another Year.
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Director: Cyril Frankel
By Roderick Heath
Hammer Studios first moved into making films in the cinefantastique genres with adaptations of Nigel Kneale’s epochal TV serials in the mid ’50s. But Kneale had surprisingly little to do with the studio, except for adapting his own work with the 1957 film The Abominable Snowman, and penning the script for this ripping mid-’60s work that sports one of the House of Horror’s few imported star turns, in the person of Joan Fontaine. Director Cyril Frankel’s name doesn’t conjure many associations, which perhaps partly explains why this film has fallen under the radar: after initial film work, he worked chiefly as a TV director. But The Witches is a fine slice of classic British genre fare offers much the same deeply neurotic mood of repression and explosive release that also marks out other great, thematically similar British horror films like Night of the Eagle (1961) and The Blood on Satan’s Claw (1971). It anticipates, in many ways, The Wicker Man’s ironic contrast of idyllic hamlets and uncanny threats, if without the calculated inversions of story expectations, and looks forward to more modern studies on similar material like Wake Wood (2010) and the satiric landscape of Hot Fuzz (2007).
The Witches is an adaptation of a novel by Norah Lofts, who also provided the source material for John Ford’s last feature film, shot the same year, 7 Women, an equally interesting revision of genre film with a female-centric viewpoint. Here, a bizarre and jarring prologue immediately hits a note of frantic alarmism, as it offers a fin-de-siecle twist on colonial do-gooder tales like The Nun’s Story (1959). Fontaine’s character, Gwen Mayfield, running a school in a colony beset by a Mau-Mau-like uprising, tries to pack up and flee before the menace comes calling. Her native assistants are so frightened by the curse of the local Juju man they finally abandon Gwen. The door is bashed in, and the Juju men, one wearing a colossal tribal mask, enter, presumably to rape and abuse our heroine.
After the credits, Gwen reappears in London three years later. She’s patched herself back together but is still bearing signs of trauma, fending off an attack of nerves as she’s interviewed by the pleasant, but fusty eccentric Alan Bax (Alec McCowen) for a job teaching at small, rural school of which he’s a patron. Gwen’s new position takes her to the hamlet of Heddaby. Alan and his sister Stephanie (Kay Walsh) are the wealthiest people in the area, and the town is a backwater without a government school, which is why the Baxes fund their own. Gwen shares duties with another teacher, Sally Benson (Ann Bell), and begins to settle into her job, until the romance of two of her adolescent students, Ronnie Dowsett (Martin Stephens) and Linda Rigg (Ingrid Boulting), is discovered. Linda’s guardian “Granny” Rigg (Gwen Ffrangcon Davies) objects to this coupling, and Gwen finds herself called upon to find a way of keeping them apart. She encourages Ronnie’s talents, and soon he wins a chance to go to a better school out of town. Rather than send him away, which Gwen thinks will make him unhappy, she begins personally tutoring him, making him vulnerable to secret forces who control the village, and want to protect Linda’s virginity. Ronnie falls into a coma one night and is hospitalised.
Gwen makes a disturbing discovery, of a male doll Ronnie had bought for Linda as a suggestive partner for the female figurine she perpetually sports. Gwen finds this hidden in the crook of a tree with its head removed and riddled with pins, and it stirs her suspicions that she’s dealing with something she has encountered before. Ronnie’s mother (Carmel McSharry) flees town with her son when he recovers, and her husband (John Collin) visits Gwen one night in the schoolhouse stinking drunk, distraught at the collapse of his life. When Gwen lets slip that she suspects Granny Rigg might have cursed Ronnie in some way, he goes to visit her, but turns up drowned in a nearby lake. Before she can report her story at the inquest, Gwen, staying overnight at the Bax’s house, is stricken down with a vision of the Juju mask and she awakens in a nursing home, having completely lost her memory of the past three years.
Like many great horror films, The Witches cunningly uses other, more humdrum genres and everyday familiarities as a starting point. Although the prologue announces things are going to be sensational and garish, most of the first half is deceptively casual and evokes a traditional depiction of an English village that might have stumbled out of soap operas from The Archers through to Heartbeat. It avoids even the signposted oddness of The Wicker Man, with only a slightly tweaked atmosphere of estrangement, apparent in touches like the cheery brutality of the local butcher Bob Curd (Duncan Lamont), beaming with overemphatic friendliness as he rips the skin off a rabbit, the coolly unexaggerated bigotry of the local mothers aimed at Ronnie because of his father’s reputation as a layabout, and the discomfort Gwen experiences in trying to negotiate small-town politics. She plays the beneficent teacher helping give the poor young lad a leg up in a victimising world, almost a prototype for Kes (1969).
Frankel’s unmannered, clear-eyed direction helps the film walk a tightrope of tone, only skewing from the realistic in such odd moments as Granny Rigg telling her grey cat to follow Gwen, and a slowly manifesting sense of more than usual evil lurking under the surface, as when Ronnie tries to alert Gwen, claiming to have seen Linda being punished by Granny Rigg, who jammed her hand into a clothes wringer. Ronnie’s romancing of Linda isn’t just verboten because she’s important to a witches’ rite, but also because his mother isn’t local: the other children are all so in-bred, as Sally says, it’s hard to distinguish the variations on the “Heddaby face.” Frankel wields Hitchcockian technique as Gwen notices details like the many bare footprints scattered in the mud by the lake where Dowsett drowned, only to be erased as a flock of sheep charges through, panicked by Stephanie’s dogs; it’s a moment clearly reminiscent of the erasing of Miss Froy’s dust-written name in The Lady Vanishes (1938).
Perhaps another reason The Witches isn’t as well known to Hammer fans as it ought to be is because it mostly eschews the studio’s usual gothic stylistics, preferring crisper, restrained hues in the photography to the usual saturated tones. It also sports an uncommonly good cast of actors not at all associated with the genre, redolent of an attempt to elevate studio fare that was beginning to slide into the blood-and-boobs formula of many later Hammer works. In addition to Walsh and McCowen, Leonard Rossiter turns up late in the piece as a smug, yet hapless doctor who takes Gwen in charge when she suffers a second breakdown after being hexed. The comely Boulting was a daughter of film director John Boulting, and whose most recognisable role is perhaps the mysterious object of affection in Elia Kazan’s The Last Tycoon (1976).
Witchcraft has often been one of the more neglected fields for horror films to draw on, in part because it often demands suggestion of unseen forces at odds with the declarative demands of genre cinema, and also because the modern mind is largely inclined to give witches the benefit of the doubt. Frankel doesn’t draw out fulminating sensuality and neurotic energy like Terence Fisher or Don Sharp at their best, but he does master the necessary rhythm of slowly composing strangeness leading into outright nuttiness. Whereas Fisher’s tackling of similar notions in the following year’s The Devil Rides Out is a lushly orchestrated spectacle, Frankel and Kneale’s film builds toward something like black comedy in its depiction of dowdy villagers suddenly hurling themselves with joyous, countercultural energy into satanic rites and orgiastic preludes.
The Witches partners squarely with the same year’s Plague of the Zombies, though not played in a period setting, by invoking similar motifs: the secret link between colonialist horrors and malevolence infecting the coloniser’s homeland, an evil manipulated by the mansion on the hill, and virtually surreal visions of atavistic rites within the supposedly staid and settled English order of things. True weirdness finally, explictly manifests when Gwen ventures into the cave where the coven meets, discovering a cabalistic dial on the ground upon which a strange doll-like object seems to dance spontaneously—it’s actually got Granny Rigg’s familiar-like cat sewed up inside, and has a photo of Linda’s face pinned to it.
The Witches is fundamentally a good yarn, but it required a compelling lead performance to give the drama true pep, and Fontaine delivers. Her Gwen is shaky, but intelligent and dogged, fighting against her own brittle nerves and fear of the unknown. She is severely contrasted by the film’s other major female figure, Stephanie, a popular newspaper writer whose bracing, if slightly grating bravado contrasts her brother’s air of tragic failure. He had wanted to be a priest, and as well as dressing as one, spends much of his time locked away in private playing church bell and choir music and drifting away in melancholy distraction when trying to explain his fixations to Gwen. Fontaine offers, in a way, a bookend to her career-making part as the heroine of Rebecca (1940), considerably older and wiser, but equally perplexed by the workings of the world where, be it in Africa or rural England, irrational, cryptic, boding forces work to annihilate or assimilate anything that disrupts their cohesive fabric.
When Gwen presents the pin-stuck doll to her, Stephanie slashes heartily through the pretences of witchcraft in describing its practitioners as mostly repressed yokels looking for an orgy. Of course, she is really the secret head of the coven, which she found operating in the town and has taken over for her own purposes: convinced of her own brilliance as a force that could heal the world’s ills, she’s looking for a way to renew herself, and has found it, planning to claim Linda’s body to transplant her soul into. Walsh’s Stephanie is posited at first as a less damaged, more outgoing version of Gwen, radiating cosmopolitan intellectual confidence and, more subtly, a hint of lesbian charisma, all but licking her lips in joy at having Fontaine under her thumb as dominated, unwilling confidant. But she’s also a colossal egomaniac with a hale and aggressive energy that operates a little like an energy vampire against those close to her, even before she reveals her true status and her ultimate intent, which is to slice off Linda’s skin and wear it as a cloak of youth.
The attraction and tension between Fontaine’s and Walsh’s differing editions of middle-aged, woman-of-the-world, strength of purpose then sustains the drama, with Gwen starting off on the back foot thanks to her traumatic experiences and ignorance of the lay of the land in Heddaby, but slowly gathering resolve in trying to penetrate the mystery. When she’s stuck in a nursing home, stricken with amnesia, her memory returns in a cathartic moment, but she’s able to keep anyone from realising it until she can get a chance to escape. She’s soon snatched and forcibly inducted into the coven. Between the women stands the castrated Alan, whose defence mechanism against his monstrous sister is to isolate himself with the apparel of the church: Gwen’s appeal to him to give aid proves ineffectual as he locks himself away again: he is as much damsel in distress as Linda. Only Gwen is capable of standing up to Stephanie.
The film’s climax is also its major set-piece, as Gwen is forced to watch over a mesmerised Linda as Stephanie whips her coven into a sensual frenzy, orchestrating their gyrations as they perform the ritual dances. The tawdry sexual element Stephanie mocked comes out, the villagers, clad in rags, beat drums and blow horns with comic intensity. Gwen is held prone by two of the village men who can’t wait to induct her properly, and the rest cavort like they’ve been choreographed by an enterprising high school dance teacher. But the latent power and fascinating intensity of the rituals also begin to assert themselves as Stephanie, wearing deer horns on her head when clad in her witch’s garb, evokes the most ancient religions, and Linda, as she enters the coven, catalyses through her body the unnerving force she represents as an adolescent female, completely unfettered, a different kind of crucible that offers manifold promises of ecstatic delights. The coven smear themselves in juice squeezed from fruits, rubbing themselves and each other down, including one moment of homoerotic punch as two of the village males gleefully caress each other. Stephanie serves up a magical glop that look like excrement to be eaten in frenzied joy, and she leaves them twitching on the floor as if in a mass epileptic convulsion.
Meanwhile Stephanie’s monstrous egotism is configured as she conducts her coven like a puppeteer, sensually grasping Linda from behind and guiding her like a tuned instrument. Fittingly, then, the film’s corkscrewing narrative seems to find in the ritual acts of the coven a metaphor for the genre itself, a carefully orchestrated eruption of elements other worldviews frantically suppress or ignore, and where the dichotomous choice is to grasp or destroy the young female. Fittingly, Stephanie’s arrogance proves her undoing as her reading of the ritual procedure to Gwen earlier in the film gives Gwen the knowledge to wreck the ritual right at its climax, stabbing herself in the arm and soiling Stephanie’s cloak with it, bringing down the offended power of the dark gods on her: Stephanie drops dead and the coven’s power is broken.
The appended coda is a happy ending but rather disorienting in its disarmingly cheery tone, even as it encompasses some strange implications. A happy Alan sets about aiding Gwen as her liberated potential romantic partner, the town is suddenly dragged into the 20th century as the general store is replaced by a supermarket and the old residents scatter after the coven’s is broken, and Gwen’s students flock in to celebrate her goodness. The shattering of a corrupt order seems to have meant also throwing away that cosy insularity so often fetishized in retrospect in modern British life. In any event, The Witches is a delicious diversion for fans of offbeat horror.
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