Saturday, November 18, 2023

 How about some more noir for November.

The Glass Wall (1953), directed by Maxwell Shane. This man-on-the-run noir thriller stars Italian actor Vittorio Gassman as a Hungarian refugee hoping to find a new life in America. The film begins with the arrival of a boatload of refugees to Ellis Island. Happy faces abound, except for one, the stowaway Peter (Gassman). He is detained and told he must return to Europe. Frantic to stay in the new world, Peter jumps ship and the chase begins. First, he stumbles across the down and out Maggie (Gloria Grahame) who helps him. The two of them set about trying to find Tom (Jerry Paris), the clarinet player and former G.I. whose life young Peter saved during the war. Tom can sponsor Peter, if only Peter can find Tom. Obstacles abound as Peter wanders the mean streets of New York, mostly at night. At one point, Peter finds refuge with Tanya (Robin Raymond), a kindly exotic dancer whose family is from Hungary. Then we have a final set piece in the United Nations building, a sequence that looks ahead to Hitchcock’s set piece in the same building. Cinematography is by Joseph Biroc, and his location shooting in night time New York is impressive. The post-war America here is a mixture of hope and despair. 

 

Black Widow (1954), directed by Nunnally Johnson. Wide screen, colour, mostly interior shots, mostly daylight make this an unlikely film noir. And yet this is typical noir in its story of an innocent man caught in a web and nearly brought to ruin by a conniving femme fatale. What we have here is a noir crossed with a whodunnit. The detective is C. A. Bruce (Georg Raft). The innocent man is Broadway producer Peter Denver (Van Heflin). The loyal wife is Iris Denver (Gene Tierney). The fatal woman is ‘Nanny’ Ordway (Peggy Ann Garner). To round out the cast, we have the sarcastic actor Carlotta Marin (Ginger Rogers), her rather limp husband Brian (Reginald Gardiner), the nervous uncle Gordon Ling (Otto Kruger), and the brother and sister, John and Claire Amberly (Skip Homeier and Virginia Leith). The wide screen and open spaces of the interiors belie the situation in which well-meaning Peter finds himself. We have the familiar man-on-the-run laced with a cast of questionable characters. Given the backdrop of the theatre, we can expect that most of the characters are performing in order to hide their true selves. This is a cleverly constructed noir, complete with voice over and unpleasant undertones of a world gone wrong.

 

Nightmare (1956), directed by Maxwell Shane. This is a remake of the same director’s Fear in the Night (1947). It tells the story of Stan Grayson (Kevin McCarthy), a clarinet player in New Orleans who finds himself in a pickle when he wakes from a dream in which he killed someone, and then begins to think the dream was actually a reality. He seeks help from his brother-in-law, the detective Rene Bressard (Edward G. Robinson). At first, Bressard dismisses what Stan tells him as just a dream. Stan, he says, needs to take a breath and calm down. As things transpire, however, Bressard begins to think that Stan has indeed killed someone. Poor Stan appears to be guilty of murder. Golly, how is he going to get out of this rather dreadful situation? There was that guy in the next apartment who dropped by Stan’s to see if his lights were still on. There was a woman. Then there is that book by Sigmund Freud on Hysteria. Oh, and the mirrored room, reminding me of Welles’s Lady from Shanghai. All of this plays out well, and we have a nice late noir.

 

The Tattered Dress (1957), directed by Jack Arnold. In this one, high-priced New York defence lawyer, James Gordon Blane (Jeff Chandler), comes to a small town to take on the case of wealthy Michael Reston (Phillip Reed). Reed’s wife Charleen (Elaine Stewart), has been roughed up by local bartender, and Reston proceeds to shoot down this man in cold blood in front of witnesses. Open and shut. Well, lawyer Blane manages to convince the jury to acquit Reston, partly by his dramatic cross-examination of local sheriff Nick Hoak (Jack Carson). Blane humiliates Hoak, a local celebrity because of his former glory days as a football player. After the acquittal, Hoak arranges a set-up that targets Blane for bribing one of the jurors, Caro Morrow (Gail Russell). Thus we have the man caught in a trap motif of noir films. Arnold, ever reliable, directs with a sure hand and the wide-screen cinematography is impressive. The acting here is also noteworthy, Carson being especially effective as the sadistic sheriff. The courtroom scenes are good, and the recurring shot of the statue of justice outside the courthouse reminds us just how that blindfold of justice results in much misjustice. Arnold may be best known for a film such as The Incredible Shrinking Man, but he knows how to tell a story deftly and he knows how to handle his actors. His other film with Chandler, Man in the Shadow (1957), is also worth a visit.

 

Appointment with a Shadow (1957), directed by Richard Carlson. This is a noir with a difference. It tells the story of an alcoholic, Paul Baxter (George Nader), whose addiction has lost him his job as an ace newspaper reporter and has nearly lost him his relationship with Penny Spencer (Joanna Moore). Think films like The Lost Weekend (1945) or Days of Wine and Roses (1962). Here Paul finds himself witness to a police shooting in which ugly criminal Dutch Hayden (Frank DeKova) is killed. The truth, however, is that Dutch is alive and well, the man killed being a patsy set up by Dutch and his moll, Florence Knapp (Virginia Field). Paul sees Dutch and is now the only person who knows that the man killed by the police is not Dutch, and of course no one will believe Paul when he tries to tell the police that Dutch is not dead. No one includes Penny’s police brother, Lt. Spencer (Brian Keith). Soon Paul finds himself the object of Dutch’s attention and things get challenging for the inebriate now sober. The wide screen works well here with shots of Paul and just out of arm’s length a bottle or sometimes several bottles. Nader gives a convincing performance, and the film gives us that sense of dread and darkness we associate with film noir.

 

Murder by Contract (1958), directed by Irving Lerner. This noir is about a contract killer, Claude (Vince Edwards), who is about as cold as they come. He has much in common with the hitman in David Fincher’s The Killer (2023); he is unemotional, calculating, focussed, and patient. He is a misogynist who remarks: “I don’t like women. They’re not dependable. I don’t like killing people who are not dependable.” After proving himself in his assignments in New York, he takes on a job in Los Angeles. Arriving there he meets two men who will look after him until the job is over. These are George (Herschel Bernardi) and Marc (Phillip Pine), and you can bet things won’t end well for them. Things won’t end well for them because things go awry for Claude. Guess why things go awry. Well Claude’s target here is a woman. Claude, like the nameless killer in Fincher’s film, shoots the wrong person. Oh-Oh. What’s a fellow to do to set things right? Claude plans to finish the job he has botched and finds himself caught like a rat in a culvert. Ugly ending to an ugly person. Lucien Ballard does the black and white photography crisply. The film has a minimalist sensibility, and the lean guitar score is impressive. The sunny expanses of Los Angeles overturn the familiar dark wet narrow streets prevalent in this genre.

Sunday, November 5, 2023

 Some more noir for Noirvenber.

The Breaking Point (1950), directed by Michael Curtiz. This is something of a remake of Hawks’s To Have and to Have Not (1944), and both are versions of a story by Ernest Hemingway. The Breaking Point was undervalued and rarely seen for years because its star, John Garfield, was implicated in the Red Scare of the late 40s and early to mid 50s, and the film was not promoted by Warner Brothers. In any case, this is an impressive film from a somewhat under rated director. Here Curtiz gives a masterclass in camera movement, blocking, and mise en scene. The early scenes in the Morgan house set the tone efficiently (Curtiz is always efficient – see Casablanca, maybe the most efficient film ever made) and slyly. We get the layout of the house, members of the family, and the dynamic of a family on the economic edge. What Curtiz brings to all his efficiency with camera movement and blocking of scenes is an interest in character, and the people here are complex; they have interior lives communicated through both camera and bodily and facial gestures. As for the story, this is a daylight noir. It involves a sailor returned from the war to find life difficult, if not downright impossible. Harry Morgan (Garfield) finds himself scrambling to make a living with his fishing boat off San Diego. He gets himself into trouble, first with human trafficking and then with gangsters who have robbed a racetrack. Along the way, he meets this film’s femme fatale, Leona Charles (Patricia Neal), loses his friend and partner, Wesley Park (Juano Hernandez), and nearly loses his wife, Lucy (Phyllis Thaxter) and two kids. Harry survives the mayhem, but barely and not without the loss of a limb. The final shot of the film is devastating, an empty pier with just a young black boy standing hopelessly and bewildered, shown in a long crane shot. This boy is Wesley’s son who has come to meet his father. No one bothers to notice him and inform him that his father is not coming home. Hawks’s version of the story is jaunty when set beside this grim examination of post-war angst.

 

The Enforcer (1951), directed by Bretaigne Windust and (uncredited) Raoul Walsh. This film is distinguished by its fractured narrative. The story is told in flashback, and flashback within flashback. The story concerns organized crime, and contracts and hitmen, and a voice over the phone. Joseph Rico (Ted de Corsia) is in jail, a witness in the trial of crime boss Albert Mendoza (Everett Sloane). Rico does not make it to trial. He falls to his death trying to escape from custody. Crusading District Attorney Martin Ferguson (Humphrey Bogart) now has a problem. Can he find another witness by combing through all the evidence the police have amassed? His investigation takes us back in time. We meet a gang of hitmen who answer to their boss, Rico. Rico, in turn, gets his orders over the phone. The is a taut procedural, having something of the feel of a documentary. Much of this is thanks to the uncredited Walsh who reshot some of the film, especially the intense ending. We also have a bit of a mystery thrown in, a mystery that turns on a dead woman’s brown eyes. This is an impressive film.

 

Without Warning! (1952), directed by Arnold Laven. Carl Martin (Adam Williams) is an unassuming gardener who also happens to be a serial killer who prefers blond young women. His weapon of choice is a pair of garden shears! This is a well-done thriller that is surprisingly prescient. It plays out as an early version of CSI, following the painstaking work of the police and forensic people as they seek to find out who is committing a series of murders. The murderer, Carl, is consistent in the women he targets and in the timing of the murders. He is also something of an amateur. Although not, strictly speaking, a noir, this film does reflect the postwar angst and paranoia. It moves along quickly and efficiently, and has enough tension to hold the viewer’s attention.

 

My Name is Julia Ross (1945), directed by Joseph H. Lewis. Lewis made two well-known noir films, Gun Crazy and, one of my favourites, The Big Combo. He also made a bunch of other low-budget winners. My Name is Julia Ross is an early film by Lewis that merges the likes of Rebecca with Gaslight to deliver a noir-gothic mix that will satisfy your taste for the unusual, but somehow familiar. Julia Ross (Nina Foch) is looking for work as a secretary. She finds a job with the pleasant elderly woman, Mrs. Hughes (Dame May Whitty). She goes to work in a London house where she is to board as well, and wakes two days later is an isolated house in Cornwall, wearing clothes that sport a monograph with the letters MH. It turns out that MH is Marion Hughes, wife of Ralph Hughes (George Macready). Julia/Marion finds herself held prisoner, and saddled with a husband who seems to have a screw loose. He especially likes knives. Lewis gives us walls, windows, bars, gates, doors and a creepy stairway to let us know Julia’s plight. I must say the plot holds well, and poor Julia appears to be heading for her death. Will she escape? Will she drink poison? Will she jump from the window onto the rocks below?  I suspect we might piece things together early in the film, but Lewis keeps things tense and firmly under control so that we suspend disbelief and enjoy the machinations of kindly Mrs. Hughes and her wacko son. This is a satisfying small film.

 

Obsession (1949 – AKA The Hidden Room), directed by Edward Dmytryk. Made in England while Dmytryk was in exile from HUAC, Obsession ia about an urbane doctor whose wife has a series of affairs. Reaching the “last straw,” the doctor plans the perfect murder of his wife’s latest lover. His plan is to dissolve the man in a bath of acid, but the little dog Monte manages to thwart the clever doctor’s scheme. The doctor, Clive Riordan (Robert Newton), is suave to the point of creepiness. His wife Storm (Sally Gray) is slinky. The American love, Bill Kronin (Phil Brown) is suitably hapless. Into this mix comes Inspector Finsbury (Naunton Wayne), a cerebral adversary for the cool Dr. Riordan. The film has tension, perhaps best exemplified in the Doctor’s intention to try out his acid bath on cute little Monte. Especially clever are the borders the Doctor provides for his prisoners, Bill and Monte, borders beyond which their chains will not allow them to pass. Prior to this film, Dmytryk had made impressive noir films in Hollywood – Murder, My Sweet (1944), Cornered (1945), and Crossfire (1947), for example – and he brings his flair for this sort of thing to Obsession.

 

Undertow (1949), directed by William Castle. This little thriller with a noirish sensibility arrives from William Castle before he became the king of schlock in the 1950s. It is an efficiently paced man-on-the-run film with impressive location shooting in Chicago. The story is familiar: GI returns to the U.S. after seven years military service, meets an old friend in a Reno casino, plans to marry his old flame, befriends a woman he happens to meet on his way to Chicago, and finds himself the suspect in the murder of his intended bride’s uncle. People are not who they appear to be, although being familiar with this sort of thing, we know who is not who they pretend to be. The cast is serviceable with Scott Brady taking the lead as Tony Regan, former soldier and former criminal now hoping to go straight and run a resort in the High Sierras. Others include Tony’s friend Danny Morgan (John Russell), his other friend Detective Charles Reckling (Bruce Bennett), his girlfriend Sally Lee (Dorothy Hart), his new friend Ann McNight (Petty Dow), and briefly an unnamed detective played by Rock Hudson (billed as Roc Hudson). Tony is in deep hot water, but he manages, with Ann and Charles’s help, to swim to shore.

 

Scandal Sheet (1952), directed by Phil Karlson. The film derives from Sam Fuller’s novel, The Dark Page (1944), and it has Fuller’s gritty, cynical take on the newspaper business, already turning into more of a scandal sheet than an outlet for legitimate news. Broderick Crawford is Mark Chapman/George Grant, editor of the New York Express, a newspaper whose readership is climbing because of the lurid stories it publishes. The opening scene has reporter Steve McCleary (John Derek) and photographer Biddle (Harry Morgan) joking about not being able to get a picture for the front page because the woman whose murder they are investigating has too much blood on her face. The plot has Chapman finding himself in trouble when his wife, a woman he has abandoned years ago, turns up at a Lonely Hearts Club gathering and recognizes her long-absent husband who has not changed his name. As things turn out, the poor woman meets her end when she and Chapman scuffle in her seedy hotel room. Chapman tries to cover up this mess, but his attempts to do so lead to him murdering a hapless old reporter who happens upon the truth of Chapman’s identity. The story gives us a sense of the newspaper business as morally suspect, interested only in sales. Surprise! The scandal here is what lies behind the news, not the news itself. As noir films go, this one is more than serviceable. Crawford gives a sweaty, paranoid, loud-talking performance. In other words, he gives the kind of performance we expect from this actor. John Derek and Donna Reed as the two young reporters offer a bit of hope in this examination of an America losing its way.

 

The Thief (1952), directed by Russell Rouse. Here is a noir with a difference – it has no dialogue. None. No one speaks from beginning to end. The effect is a film that both works and does not work. It works because the sounds, especially the ringing of a phone and the protagonist’s laughter/crying near the end, serve to heighten tension, accentuate the main character’s loneliness, and inform us of the haunted situation the main character finds himself in. It does not work because some interactions between characters, especially the one between Allen Fields (Ray Milland) and the girl down the hall (Rita Gam, in her first film), strike us as impossible without some spoken words between the two. The film also calls for patience on the part of the viewer. The plot has Dr. Fields, an award-winning nuclear physicist, passing secrets to the enemy, most likely the Russians, and becoming more and more conscience-stricken as the unanswered phone calls keep coming. Fields is a noir anti-hero who finds himself caught in a web of intrigue. We surmise from his reactions to the ringing phone and to his gathering of secret intelligence and to his paranoid (for a good reason) reaction to people, that he desperately wants to extricate himself from the situation in which he finds himself. All in all, this is an interesting experiment, but one hardly to find acceptance by a general audience.

Saturday, November 4, 2023

 November (Noirvember) has arrived.

The Green Cockatoo (1937), directed by William Cameron Menzies. Here is a little gem from a story by Graham Greene. Menzies brings an expressionistic sensibility to the film, especially in the scene inside a derelict building. The story has something of a film noir turn when young country girl Eileen (Rene Ray) arrives in London late one night to find herself embroiled in gangster goings-on, and then on the run from the police who think she has murdered someone. This someone is Dave (Robert Newton), a bad egg who has double crossed three thugs who now want him rubbed out. Rubbed out he is, but not before he runs into young innocent Eileen. Before cashing in his chips, Dave asks Eileen to take a message to his brother, Jim Connor (John Mills), a song and dance man who works in the nightclub known as The Green Cockatoo. Eileen and Jim go on the run trying to avoid both cops and criminals. What distinguishes the film are the small performances (e.g. the elderly bearded man Eileen meets on the train who rails against the evils of the city, and who leaves Eileen in the station with these parting words: “I cannot give advice; I am a philosopher”), and the expressive lighting and camera work. The fellow who plays Prothero the Butler (Frank Atkinson) delivers a memorable performance. This film looks forward to the more famous Graham Greene scripted film, The Third Man (1949).


Witness to Murder (1954), directed by Roy Rowland. This is a small, no-frills thriller in which career woman, Cheryl Draper (Barbara Stanwyck), finds herself witnessing a murder. She calls the police. They investigate. The alleged murderer is one Albert Richter (George Sanders), a writer and former Nazi. The film’s most startling scene occurs when Richter launches into a diatribe against weak muling and puking humans, a diatribe he speaks loudly and in German! Anyway, the police think the single woman is just being hysterical. Richter sets out to prove that she is nuts. Things get dicey and Cheryl even ends up in a mental institution. Her stay there is traumatic, but short. Mostly, the film is noteworthy for John Alton’s noirish cinematography and the performances of Sanders and Stanwyck. Sanders is at his creepy best, and Stanwyck manages to invest her character with a strength that belies the usual attitude (the attitude manifested in the various reactions to the hysterical female by the police and medical people) toward weak women. Cheryl sticks to her conviction that what she saw, she actually saw. She is not about to be detoured, waylaid, or patronized. All in all, a nifty little gem that was made to compete with another film, Hitchcock’s Rear Window.

 

Where the Sidewalk Ends (1950), directed by Otto Preminger. This tension-filled noir features Gene Tierney and Dana Andrews who previously starred together in Preminger’s Laura (1944). Andrews plays detective Mark Dixon who has a mean streak; he likes to knock bad guys about, a trait that threatens to get him into trouble, a trait he apparently inherited from his criminal father. And get into trouble he does. He accidentally kills a guy named Ken Paine (Craig Stvens), and instead of just calling in the incident, he concocts an elaborate plan to cover up Paine’s murder. This plan manages to implicate Paine’s father-in-law, the innocent Jiggs Taylor (Tom Tully). And, of course, Dixon finds himself attracted to Jigg’s daughter Morgan (Tierney). We have the familiar noir situation with our hero caught in a tangled web. Dixon’s fear is that he takes after his father who was a criminal who set another criminal, Tommy Scalise (Gary Merrill) up in business. Scalise is now in Dixon’s cross hairs. Scalise has a habit of sniffing from a nasal drop. He comes across as sexually ambiguous. All this, Dixon’s conflicted personality, Morgan’s trust, Jigg’s innocence, Scalise’s henchmen (lead by Steve, an uncredited Neville Brand), tight close-ups, dark rooms and streets, make for a memorable noir. The film ends on a subtle note as a door closes on Dixon.

 

The Second Woman (1950), directed by James V. Kern. The 1940s and 50s saw Hollywood take an interest in psychoanalysis, and The Second Woman is definitely a film that takes interest in the mental state of the protagonist, Jeff Cohalan (Robert Young). Cohalan is an architect who lives in a modern house on the rocky coast of California. His fiancĂ© has died in a car crash about a year before the main action of the film takes place. He meets a young woman who is a certified financial accountant. This is Ellen Foster (Ellen Drake) who is visiting her aunt. Once Cohalan meets Foster strange things begin to happen: an expensive piece of china is broken, Cohalan’s rose bush dies, his horse breaks a leg in his stall, his dog dies, and a painting somehow fades. Why is all this happening, and who is behind the strange goings-on? Meanwhile Cohalan and Foster begin a romance, Foster also begins detective work to find what’s behind the mysterious happenings, and Cohalan finds discomfort and disappointment in his work. A local doctor takes an interest in Cohalan and asserts that he suffers from paranoia. Things look pretty bad when someone tries to kill Foster. Cohalan will have to take things into his own hands to find out what is happening. Foster, however, is not about to cease trying to help. We have shades of Hitchcock’s Rebecca here in the location and the psychological machinations. Not a bad little noir.

 

Cage of Evil (1960) directed by Edward L. Cahn. This low-budget noir is predictable, a voice-over telling us at the outset that detective Scott Harper (Ron Foster) will go over to the dark side. Harper is a seven-year veteran of the police force hoping for promotion. His hot head, however, is a liability and he fails to achieve promotion despite doing well on the examination. Finding himself investigating a jewel robbery and murder, Harper begins a romance with the bad guy’s moll, Holly Taylor (Patricia Blair). She proves to be a femme fatale, and Harper finds himself drawn into the nefarious deeds of the baddies. You know things are not going to end well. The film has the elements of film noir: femme fatale, man caught in a web from which he cannot escape, gangsters, crooked police, and downbeat ending. Strangely, its daylight scenes in Los Angeles do not feel like noir. Conclusion: this is a noir and yet not a noir. Odd. And, as I say, the plot is predictable. All the players are earnest, and the 70-minute running time goes by briskly. I watched it while riding a stationary bike, and it was diverting enough.

 

The Young Savages (1961), directed by John Frankenheimer. A social drama from a time when such films were popular. Think non-musical West Side Story. If there is a problem with this film, it is earnestness. It tries to be hard-hitting, and for the most part, it is. The cinematography is gritty and has expressionistic flourishes; the location shooting in New York works well. Burt Lancaster is Hank Bell, a prosecutor with the D.A.’s office who finds himself prosecuting three thugs from the Italian street gang, the Thunderbirds. One of the kids is the son of Bell’s one-time girlfriend, Mary diPace (Shelley Winters). This kid, along with two others, murder a blind Puerto Rican boy in the film’s startling opening scene. Things appear cut and dried: these thugs murder the boy because he is Puerto Rican. Of course, the truth is more complicated, and it is the truth that Hank Bell wants to discover. The Puerto Ricans have their gang, the Horsemen. When we do learn the full context of the boys’ actions, we can see that life in the slums is a tangle of hate and fear and poverty and desperation. Such emotions are best communicated in the leader of the Thunderbirds, Arthur Reardon (convincingly played by John Davis Chandler). To complicate matters even farther, we have a minor plot dealing with the District Attorney’s campaign for Governor. The courtroom part of the film is dramatic and powerful. The plot moves to a satisfying, yet troubling conclusion.

 

Friday, October 27, 2023

 A story for Halloween:

     Snuffles and Whimpers of an October Night; or Halloween Fantasy

         Dad came into dinner with blood on his knuckles, blowing hard through his teeth.  Our neighbour four houses down the street, Mr. VanMeer, had waylaid him on his way home from downtown to solicit his help removing a large rock from the VanMeer's garden.  The rock was difficult to dislodge because it was so deeply planted in the soil and because so much grass and weed and who-knows-what had grown around it.  The garden was a mess of strange and bizarre looking foliage.  Trying to haul the rock from the ground, my father scraped the knuckles of one hand on a particularly nasty root of some kind.  He said it hurt so much that he cursed the old man who was just standing by watching, letting my father do all the work.  Under his breath, the old man returned my father’s curse, but not so quietly that my father couldn't hear.  I guess the old man mumbled something about old Jack o' Lantern giving my father some light for brains.  According to Dad, this just proved that old man VanMeer was tetched.

         This incident took place sometime in the spring.  Mr. VanMeer had said he was planning to transform his jungle of a backyard into a more formal garden.  Dad said he could care less about Mr. VanMeer and his garden; he didn't like the old coot.  Fact is, no one on the block much liked Mr. VanMeer.  He was queer and, on the whole, reclusive.  My mother explained that he was elderly and lonely; his wife had died some years before and after her death Mr. VanMeer had become morose and silent.  His kids seldom visited. He didn't have much to do with his neighbours, and we rarely saw him.  Even his backyard was private, enclosed by a tall solid fence, the only yard on the block that was fenced off in this way.  As far as I know, no one had seen inside the VanMeer house for years and years, although people on the block would talk about his strange ways.  Dad cursed his bleeding knuckles and shivered as he remarked on the frigid air of the VanMeer backyard.  "Old Harry VanMeer is the devil himself," he remarked.  Then he laughed and he told us that the old coot, trying to smooth over bad feelings, had said he would give him a pumpkin in the fall.

         I suspect we all forgot this incident; I know I did.  But sure enough, when October rolled around my Dad received the gift of a pumpkin from old Mr. VanMeer.  Once again he was waylaid as he returned home, this time late one evening near the end of the month.  Mr. VanMeer called to him from the gathering dark, and placed in his arms a large and brilliantly orange pumpkin that came, he said, from his own garden, from right where the ugly brute of a rock that Dad had helped dislodge used to be.  When Dad came in, my sister, mother, and I were in the kitchen cleaning up after dinner.  Dad plunked the great pumpkin down on the counter, and all of us stood around it admiring its size and colour. My mother gazed at it and reckoned it would make five pies or more; my sister and I looked at each other and we knew each of us wanted the pleasure of slicing the pumpkin's outer shell to make the wicked eyes and leering mouth of a jack-o'-lantern; but my father glared at the shining gourd as if somehow he couldn't do anything else.  He seemed transfixed. The rest of us stared at him, and I confess that I felt my skin lift into a roulade of goose bumps. The sight of my father staring with eyes glittering and unblinking at the huge pumpkin, as if he were bewitched, was eerie and unsettling.

         Some time passed--how long I don't know.  The seconds seemed to me to swing with excruciating slowness through the kitchen.  We stood engrossed, watching my father's glazed eyes.  Then my mother plucked his sleeve to get his attention, but he didn't move.  He just stood there rapt in the glow of the large pumpkin.  And then we noticed it--the three of us together, I think.  The kitchen took on an orange glow cast from the pumpkin that actually appeared to be palpitating.  The pumpkin seemed to be imbued with some living powerful force.  All of us could feel it, I think.  Certainly I could.  And clearly my father was reacting to this force.  Whatever was at work in that glowing pumpkin, it frightened me and I could see similar fright in my sister's eyes. Some wickedness was at work.

         "I'm getting rid of this thing," my mother said, and she grasped the rolling pin from the sideboard.  However, before she could raise it and squash the orange menace, my father suddenly lunged forward, and with a great guttural growl he seized the pumpkin.  He stood before us, his eyes blazing, his arms around the huge gourd.  Then he began to back away toward the pantry door.  As soon as he bumped into the door, he turned, opened it, crossed the small pantry, and sped down the cellar steps.  We heard some grunts from the basement, and then the door to the small workroom down there slammed shut.  Everything went quiet.  The kitchen seemed darkened now that the pumpkin was gone.  From below nothing could be heard.  The three of us looked at each other.  "I guess we should go down and see what he's doing," my mother said, and she began to usher us towards the pantry and the cellar steps.  

         When he had run downstairs, my father had not stopped to flick on the cellar light.  He had just descended into darkness. One of us flicked on he light, and then we proceeded to descend to the cellar.  Down there, we carefully went past the coal bin and the furnace to the back end of the cellar where the workroom was.  Back here the feeble cellar light hardly cast any glow, but we could see a bright orange light coming from beneath the workroom door.  My mother called out, asking if my father was all right.  No answer came from behind the closed door, but we could hear snuffling and whimpering noises.  Again the three of us looked at each other and I know we feared something terrible was going on behind that door.  My mother reached out and tried to open the door.  It was locked.  Again she asked if father was all right.  Again, no answer.  Again, those snuffles and whimpers.

         For several minutes we just stood there not knowing what to do.  My mother finally announced that she was going to call Frank Cooper, the local police constable and father of my friend Donny; she said that he would know how to help us.  But before we could move back through the cellar, the workroom door opened with a "BLAM!" It flew back against the outer wall with great force.  A bright orange light flooded the cellar, giving it a strange otherworldly glow.  And there in the midst of this light, standing in the doorway, was a hideous figure, my father or not my father, I couldn't tell.  It must be him, but his head was gone and in its place, as a kind of prosthetic skull, was the pumpkin, the same glowing pumpkin from the kitchen, but now with jagged holes for eyes, a triangular opening for nose, and a crooked gash with stumps of pulp for mouth and teeth.  The whole thing was a living malignancy.  The horrible shape stood there, and then a terrible cackle rattled the room.

         My mother screamed.  I think I started to cry, and my sister cringed in the corner.  Another great growl from the pumpkin head, and then it lunged forward.  I thought the creature was about to grab me and I thought I would be dashed to the floor in a flash.  But the hideous thing sped past all of us and ran up the stairs.  We heard the front door slam, and once again all was still. The three of us were paralyzed for several minutes.

         Well you can imagine my mother, sister, and I were in shock.  We didn't move too swiftly, but we did go upstairs.  Without speaking, we understood that it was no use looking for father in the workroom.  Whatever and however things had happened, we were certain my father was possessed by some hideous demon.  What we didn't know was where he had gone, when he would come back, or what to do to help him.  Finally my mother decided that she would have to call Frank Cooper.  Frank, as you might expect, was somewhat puzzled when we told him the story of the pumpkin and Dad's disappearance.  He thought perhaps my father was having some early Halloween fun; the whole thing was a prank he said.  He assured us that Dad would soon come home, his usual self.  To tell the truth, the three of us began to second-guess what had happened.  Perhaps Dad's head wasn't a glowing jack-o'-lantern; he was only carrying the thing in his arms.  Perhaps the strange whimpers and snuffles and other sounds we heard weren't the sounds of a ghoulish demon; they were only familiar house sounds--creaks, cracks, clicks--amplified by our imaginations.  And perhaps the strange glowing light we saw wasn't coming from inside the pumpkin; it was only the blush of sunset coming through the kitchen and then the cellar windows. Perhaps Dad was his usual self after having tippled a bit.

         For an hour or so we were convinced that Frank was right.  But Dad didn't return.  All that night we waited in trepidation for Dad's return.  He didn't come.  In the morning, mother told me to go down to Mr. VanMeer's to ask him whether or not he had given Dad a pumpkin.  That way, she said, we would at least know we hadn't all dreamed the whole thing.  She added that maybe Mr. VanMeer could give us a clue as to Dad's whereabouts.  Needless to say, I didn't look forward to a visit with Mr. VanMeer, but off I went.

         The morning was fresh and I could see my breath as I made my way down the street.  Past the Weir's, past the McCoon's, past the Doyle's, to the sidewalk in front of VanMeer's house.  I went up on the veranda and over to the front door.  The doorbell was one of those with a thing like a key that you turned.  It made a loud ring, like the sound of a bicycle bell.  I waited.  No one answered.  I was about to ring the bell a second time, when the door opened by itself, slowly and with an elongated squeaking noise.  I craned my neck to see what I could, but inside everything looked grey.  I decided to beat it and turned to go, but before I could move away from the open door something gripped me by the shoulder.  I turned to see the familiar face of old man VanMeer.  I had known this man for years, but now he looked demented, like a wild and crazy person.  His eyes bugged out and rolled in his head, and saliva dribbled from one corner of his mouth. He was hunched and looked as if he had something under his shirt on his back. I managed to ask whether he had seen my father.

         "Yesterday even," he said, "I had occasion to give your father a present." And he cackled.

         "Yes," was all I could say.

         "A pumpkin," he went on, "a devilish pumpkin."  And his laugh sent shivers down my back.

         "We--my mom and I, and my sister--we are worried about Dad," I said.  "He hasn't been home since early last night, and we wondered if you had seen him."  

         "I?" he said, looking surprised.  "Not I."

         Then he turned to go inside his house, and as he shut the door I heard him say:

                          “Old Harry can deliver a curse,

                          No one does it worse.

                          You'll wear a pumpkin for a head

                          'Til jack-light brings you a-bed;

                          Only the young can restore

                          The head that always asks for more.

                          He who cringes beneath the tracks

                          Seeks the restorative whacks.

                          Under the tracks, look for the felon

                          Whose head resembles a large melon.”

The door closed.  I felt as if I had been given a clue.  But what did it mean?  As I walked back down the block, I mulled the whole thing over.  Who “cringes beneath the tracks?” We lived just one house away from the freight sheds and the CPR railway yards.  My father worked for the railroad, and I knew that he sometimes gathered with other trainmen in back of the freight sheds to gabble about work.  I also knew that if he had gone back of the freight sheds last night, someone would have reported him or brought him home.  After all, a man with a pumpkin for a head was not something you could ignore.  What, then, could "beneath the tracks" mean?  And what did "jack-light bringing someone a-bed" mean?  Then it came to me.  The only place that could conceivably be beneath the tracks was the cavern-like space underneath the freight shed itself.  The freight shed was built up on what might be called stumpy stilts, probably about 4 and a half  to 5 feet high near the south end and growing shorter and shorter towards the north end.  The kids in the neighbourhood played under there regularly, and we sometimes went there to smoke.  Regularly, we were ferreted out by Constable Cooper.  Perhaps my father had fled under the sheds, like an animal seeking the safety of its den.  Perhaps he was still there, sleeping; maybe he was ill or hurt or just plain humiliated and scared.  I would find out.

       Without going home and telling my mother, I went across the road and up to the freight sheds.  On the south end was an easy entrance to the crypt-like spaces beneath the building.  In I went - deeper and deeper into the quickly shrinking space.  The farther I went the darker it became.  Just when I thought I could go no farther, I was stopped by a low snuffling, whimpering sound, a sound that reminded me of last night.  I strained my eyes in the poor light, and sure enough I saw something crouched beneath a great wooden beam.  As my eyes focused, I was certain this was my pumpkin-headed father.  No longer did a light shine from that great gourd. I approached him carefully.  I wasn't sure whether he was crying or snarling deep in his throat.  Of course I could get no impression from the hideous jack-o'-lantern face except evil.  I decided to leave and tell mother that I had found him.

         Then something stopped me.  It was only a voice.  From somewhere deep inside that huge pumpkin head I heard a small voice say, "Help me!   Help me!"  I could only move closer.  I heard the words again.  "What can I do," I asked?  The answer came thinly but clearly: "Break the gourd."  I wasn't prepared for this.  "Break the gourd?" I repeated.  "Yes, break the gourd, smash it, destroy it, pulverize it. Just clobber it, please." Had I heard this correctly? And had the voice said “please”? Wonders will never cease.

         But could I actually do this?  The pumpkin rested on the neck of my father; it was his head. I acted mechanically, as if I were programmed, acting automatically, without urgency or will.  I left the den beneath the freight sheds, walked back across the street, and into our back yard.  In the garage I found a crow bar my father kept there; as long as I could remember I had been fascinated by this crow bar without having the faintest idea what it might be used for.  Now I dragged it back to the dens.  I retraced my way to my father's hiding spot.  He lowered his head as if in supplication. He was a lugubrious figure now, not terrifying in the least. Without a word, I heaved the heavy bar over my right shoulder and then swung it with all my might at the pumpkin head; I swung as if I was hitting a baseball hoping for a home run.  The crowbar struck the gourd with a squelch.  Pieces of orange pulp flew every which way.  I heard a piteous groan, and then I blacked out.

         When I came to, I was in my bed, a hot water bottle at my feet.  My mother came in shortly, and I asked what had happened.  She said I had fainted over by the freight sheds and Frank Cooper had carried me home.  "But my father," I said.  "Oh, not to worry," she replied.  "He's in bed too.  For some mysterious reason, he came home with a terrible migraine headache.  We called the doctor, and he's been to look at both of you.  What you both need is rest."  I asked about the pumpkin.  "What pumpkin?" she returned.  "You know.  The one old Mr. VanMeer gave to father."  "You must be dreaming," she said as she left the room.

         Much later that day, I got up.  Sure enough, my father was all right, just grumpy.  Whatever had happened seemed over and done with now.  Life returned to normal.  That evening, not long before my sister and I were to go to bed, we heard the doorbell ring.  I followed my father to the front door, and I saw as he opened it old man VanMeer standing just outside on the veranda. He held something in his hands. I stared and I was sure I saw him grin as he handed my father a huge vibrantly orange pumpkin.  And as he turned to go, I saw the old man look me in the eyes and toss me a wink.  Then he turned and left. Shutting the door, my father said, "Look what old Harry VanMeer brought us."

Thursday, October 26, 2023

 October is nearly at an end. Here are a few films.

The Mummy (1932), directed by Karl Freund. Karl Freund is a superior cinematographer whose credits include Fritz Lang’s brilliant Metropolis and F. D. Murnau’s amazing The Last Laugh. He also directed a number of films, The Mummy being one of them. The Mummy is one of Universal’s horror franchises, and it offers excellent special effects along with a hokey story. The titular Mummy is Imhotep/Ardeth Bay (Boris Karloff) brought back to life after 3700 years by a British archaeologist who stupidly reads out loud from the Scroll of Thoth an incantation that once Isis used to bring Osiris back to life. This time the incantation revives Imhotep. Imhotep goes on a quest to find and revive his long-lost love, Ank-es-en-Amon. He finds her in the person of Helen Grosvenor (Zita Johann), a young woman whose parents are British and Egyptian. Helen bears an uncanny resemblance to the ancient Egyptian princess. Go figure. If this all sounds orientalist, it is. At one point, a British archaeologist remarks on the audacity of the Egyptians wanting to put ancient artifacts from Egypt in a Cairo Museum. And then we have Helen Grosvenor lamenting that modern Egypt is not the “real Egypt” of antiquity. If this all sounds predictable, it is. Predictability is, however, not the point. The photography, special effects, make-up are all top notch, and Karloff makes an effective antagonist with his unblinking eyes and gaunt figure. Ardeth Bay is, by the way, an anagram for ‘Death by Ra.’

 

The Wolf Man (1941), directed by George Waggner. Coming ten years after Universal’s Dracula and Frankenstein, The Wolf Man is the studio’s second attempt at a werewolf film, and it proved to be highly successful and influential. Even dopey Lon Chaney as Larry Talbot manages to strike a chord as a rather simple man who finds himself caught in a horrific web of circumstances. Perhaps not as atmospheric as the earlier Universal films, The Wolf Man does have the low-lying mist among the stylized trees, the large, even cavernous, mansion, the shadows, and the montage of wild imaginings as Larry begins to go bonkers – all things we are familiar with in earlier features of this kind. We also have an impressive cast that includes Claude Rains as Larry’s father, Ralph Bellamy as a local policeman, Evelyn Ankers as the love interest, Bela Lugosi as ‘Bela’ the fortune teller, and the most creepy Maria Ouspenskya as Maleva who gets the last word: "The way you walk was thorny through no fault of your own, but as the rain enters the soil the river enters the sea, so tears run to a predestined end. Your suffering is over. Now you will find peace for eternity." At first, I thought that Larry’s peeping Tom routine near the beginning when he spies on Gwen Conliffe (Evelyn Ankers) through his father’s telescope was just an ill-advised bit of fluff, but now I realize that it serves to indicate something deeply gone awry within this seemingly simple prodigal returned to the family home after some 18 years. This film sets the template for later werewolf films with its silver-topped cane, full moon, pentagram, and so on.

 

Cry of the Werewolf (1944), directed by Henry Levin. This is Columbia’s contribution to the monster flicks that Universal popularized in the 30s and 40s. It has something of the atmosphere of the Val Lewton films such as Cat People (1942). The werewolf here is a woman, Celeste LaTour (Nina Foch), who is a gypsy princess. The studio saved money on make-up and special effects by using a German Shepard to play the werewolf, and this sort of works. The plot is straight forward. Celeste suffers from the same malaise as her mother did, lycanthropy. She tries to keep her affliction a secret by savaging the good doctor Charles Morris who has discovered the secret of the LaTour family. The doctor’s son, Bob (Stephen Crane), comes home and begins to investigate his father’s murder. He begins a romantic relationship with his father’s assistant, Elsa Chauvet (Osa Massen). The two of them are on the trail of the werewolf, and therefore targets of Celeste. Barton McLane plays Police Lt. Barry Lane who investigates. All the players take things seriously. Matters play out as we would expect. Bob save Elsa and Celeste receives her quietus.

 

House of Dracula (1945), directed by Erle C. Kenton. The penultimate of Universal’s series of horror films in the 1930s and 40s, House of Dracula brings Dracula (John Carradine), the Wolfman (Lon Chaney, Jr.), and Frankenstein’s monster (Glenn Strange) together in the house of Dr. Franz Edlemann (Onslow Stevens) for a delightful romp. The opening scene has a flying bat transform into the Count, who sports, along with his cape and dapper clothes, a top hat. I saw no hint of a top hat on the bat! Anyhow, this is how the fun begins. Dracula has come to Dr. Edlemann’s house ostensibly to seek a cure for what ails him. Soon another arrival comes seeking a cure for another dreaded ailment; this is Larry Talbot, and we all know what ails him. Larry is sincere in his desire for a cure, but the Count has come to seduce Edlemann’s nurse, Miliza (Martha O’Driscoll). Add to the mix a female Igor, here Edlemann’s assistant, Nina (Jane Adams) and local police inspector with his artificial right hand, Holtz (Lionel Atwill), and you have a cast of stalwarts. Others, such as Boris Karloff and Bela Lugosi, make quick appearances in bits of film swiped from earlier films in the series. One dream sequence stands out here as a filmic tour de force. By 1945, these Universal horror films were running out of inventiveness, but this one has its pleasures, despite the melancholy decline of the good doctor Edlemann. I especially liked the hunchback assistant, Nina. Happy Halloween everyone.


The Manster (1959), directed by Georg P. Breakston and Kenneth G. Crane. Perhaps the first Japanese-American co-production, this film is a precursor to The Incredible 2-Headed Transplant (1971), although here the two heads result from the injection of a serum concocted by the zany but kindly scientist, Dr. Suzuki (Tetsu Nakamura). Dr. Suzuki injects a few people with his serum, including his wife, his brother, and the American journalist Larry Stanford (Peter Dyneley), a sort of lower-budget version of Larry Talbot. Larry is on assignment in Japan when he meets the not-so-good doctor Suzuki who serves Larry spiked tea and then injects him with the serum that is supposed to result in a new kind of creature. Lurking here may be the shadow of radiation poisoning. Anyway, the serum has the effect of altering Larry’s personality and sending him into a mid-life crisis before it actually transforms him into a two-headed monster. Before this happens, Larry goes on a binge with alcohol and women. His wife from New York arrives to see what is happening to her husband, and she arrives not long before he develops a third eye on his right shoulder. Yes, that’s right – an eye on his shoulder. This signals the emergence of a head from that shoulder. Ultimately, this head grows to – well you have to see this to believe it. If you are a fan of 1950s horror films, then you have to see this one. The production values are quite good for this sort of film.

 

Tuesday, September 26, 2023

 Before we leave September, here are a few more jottings on films.

The Cranes Are Flying (1957), directed by Mikhail Kalatozov, cinematography by Sergei Urusevsky. I add the cinematographer’s name here because the camera work in this Soviet film is nothing short of stunning. The mobile camera tracks, swirls, lifts, falls, angles and generally serves as another actor in this anti-war film that focuses on the home front, and especially the women/woman left behind. Veronika (Tatyana Samoylova) and Boris (Aleksey Batalov) are young lovers. As the film begins, we see these two skipping happily by the water and generally displaying the vigours and energy of youth. They stop and watch cranes flying above them, and then they are sprayed by a passing truck that is washing the streets. This dampening forewarns what is to come. War is declared. Boris leaves for a tour of duty and the two young lovers are separated. Scenes of departure are chaotic and distressing. Anyway, what follows lets us know that Boris dies in battle, while Veronika waits for his return. Meanwhile, young Mark (Aleksandr Shvorin) sets his sights on Veronika, pressing her into marriage. Mark turns out to be dishonourable and things fall apart. The story is conventional and perhaps even predictable. However, the actors are fine and the filming offers something special. What we see looks forward to a film like Tarkovsky’s Ivan’s Childhood (1962). The Cranes Are Flying stands with Kubrik’s Paths of Glory as two of the finest anti-war films; both come out in 1957. One focuses on the women at home, the other on the soldiers in battle.

 

Ahed’s Knee (2021), directed by Nadav Lapid. Here is a film seething with anger. Its protagonist is a movie director, Y, played by Avshalom Pollak, who is preparing to make a film concerning the young Palestinian activist, Ahed Tamimi, who was sent to prison for slapping an Israeli soldier, an event that was on TV. Apparently, a man who saw the news footage tweeted that Ahed ought to be shot in the knee. The film begins with a montage of knee shots and some actors reading for parts in the proposed film. Meanwhile, Y travels into the desert to a small town where he is to screen one of his films at the local library. He meets his host, a librarian who now works for the government as a Deputy Minister for Culture, Yahalom (Nur Fibak). The two of them form something of a bond, and Y confides in Yahalom, telling her of his unpleasant experiences while serving his military service. These two appear to share a dislike of the present government’s curtailing of free speech. Despite their seemingly similar views, Yahalom asks Y to sign a form that stipulates what topics he can and cannot address during the question period following the screening. Y is filled with anguish and even rage. His only other confidente appears to be his mother who collaborates with her son on the films he makes. She is ill with lung cancer. By the end, things have come unstrung. Anyway, the film has some wonky camera swirls and cuts, much desert dreariness, and lots of anger as Y monolgues his way to the end. (Can ‘monologue’ be a verb?) This is a film about the artist’s commitment to free speech.


Red Cliff (2008-9), directed by John Woo. This is a four hour and forty-eight-minute film about the battle of Red Cliffs that took place in 208 AD. It is lavish in the extreme, even breathtaking. It is also very much a film about male friendship and male enmity. A driving force of the plot is the nefarious Cao Cao (Zhang Fengyi), Prime Minister of the Han Empire. He desires Xiao Qiao (Chiling Lin), wife of Zhou Yu (Tony Leung) who is leader of rebel forces. Then we have master strategist Zhuge Liang (Takeshi Kaneshiro) who forms a bond with Zhou; they are brothers in arms, although Zhou does all the impressive fighting. Aside from Xiao, we also have Sun Shangxiang (Wei Zhao), a spunky young woman who infiltrates the Empire’s forces to gather useful information. Of course, there is an assortment of other characters, and a huge cast of extras. Woo was allowed to use 1,500 government soldiers to helps with sets and action, and to provide men for the battle sequences. The battle sequences are complex and spectacular. Woo also had two full-sized ships built for the action on water and the many other ships appear courtesy of CGI. It is quite amazing how Woo and his collaborators find multiple ways for soldiers to die. Mostly what the film offers is eye-popping action, although it does manage a bit of romance (and bromance too), a smidgen of political scrutiny, and a lesson on how to make tea. The actors are attractive, the action furious, and locations, sets, costumes, and camera work as good as it gets. The length of the film is kept in check by separation of the narrative into Parts 1 and 2, Part 2 beginning with a short visual summary of Part 1. In other words, you may watch the film in two sittings, if you prefer.


Three Thousand Years of Longing (2022), directed by George Miller. Miller is known for his Mad Max films, and so you can expect exuberance. What you may not expect is a fantasia of colour and weirdness in an Arabian Nights vein. The screenplay is an adaptation of a story by A. S. Byatt in which an academic, a professed narratologist, finds herself inside a story thousands of years in the making. She releases a Djinn who pleads with her to make three wishes so he may be released from long years inside a bottle. She knows about story and so she knows that stories of genies and wishes are cautionary tales. The academic is Alithea (Tilda Swinton) and the Djinn is, well the Djinn (Idris Elba). Seeing the Djinn traipse about in Alithea’s hotel room wearing a torn white bathrobe might make you think that the academic had made her wish and it has come true. Anyway, we have a lavish recounting of several stories. Costumes are colourful and voluminous. The whole thing is strange, but in an interesting way. Ultimately all the finery, all the time skipping, all the opulent sets, all the discussions of desire and fear and power and so on devolve into something like, ‘tis love, ‘tis love that makes the world go round. 


I’m Not There (2007), directed by Todd Haynes. "Poet, prophet, outlaw, fake, star of electricity," so we are told as this film begins. We might add, vagabond, trickster, singer/songwriter, welder, painter, jerk, joker, actor, ragman, man in black, and probably any number of other labels. The film captures not only the person, Bob Dylan, but also the times that were changing. It captures the person by confessing that capturing the person is a futile, but joyful endeavour. It opens with a train and it ends with a train, a reminder of the ever-rolling thunder that is the subject of the film. Always on the move, never standing still, elusive, mysterious, mercurial, dodging, now here, now there – this is the singer and the song. Haynes’s film plays out like a Dylan song, skipping here and there and yet always with a clever coherence, and always with a cogent allusion. References abound to the life and the songs of Dylan, and to the movies of his most energetic times. We have visual nods to Fellini, Godard, Lester, Peckinpah, Nichols, Goulding, and others. We have songs from the early years to Time Out of Mind, most covered, but a few by the elusive tramp himself. We have children with guns and sharp swords, we have a child beside a dead pony, we have a geek, we have characters who tell tall tales, who womanize, who take seriously the call for everybody to get stoned. We have six characters pretending to be the same person, and doing a fine job of being different persons. Finally, no matter what the matter was, he simply will not talk. All the time, of course, he never ceases to say what is in his mind, one hand waving free. This is a film that aspires to the condition of music, and manages to achieve greatness.

 

Monday, September 25, 2023

 Before September is out, here are a few Billy Wilder films.

Irma La Douce (1963), directed by Billy Wilder. Wilder’s early films in the 40s and 50s deliver gritty street views and ruined lives. By the 60s, he and I.A.L. Diamond were delivering Hollywood set pieces such as Irma La Douce, a film that has a colourful set that purports to be the meat-packing and market area of Paris. Most of the action takes place on one block where the Hotel Casanova welcomes a bevy of prostitutes and their ‘clients.’ Across from the hotel is a cafĂ© and bar run by Mr. Moustache (Lou Jacobi) – but that’s another story. One of the prostitutes is the titular Irma (Shirley MacLaine) who has the best spot on the street for herself and her small dog, Shorty. Irma meets Officer Nestor Patou (Jack Lemmon) on his first day patrolling this district. Officer Patou is unaware that previous patrolmen took money from the local pimps to turn a blind eye to the goings on here. In short, Officer Patou becomes civilian Patou and then the ‘Tiger,’ the pre-eminent pimp in the place after a brawl with Hippolyte (Bruce Yarnell). As things go along in screwball fashion, Nestor finds himself pretending to be Lord X from England where he has a castle of some 90 or more rooms and 400 acres. Nestor and Irma are by now living in the same small upstairs apartment with a window overlooking the busy street – “Paris never sleeps” or at least this street never sleeps in a Paris that only exists on a Hollywood backlot. The shenanigans are fun, and the jabs at bourgeois life are also fun. Just what we are to make of the women here is awkward. On the one hand they are brassy and strong, living their lives with zest and a certain independence. On the other hand, they are indentured workers who hand over their earned cash to the men who sit around drinking or playing pool. Add to this, a long-windedness in the filming and we are left with a film that has its delights, but also has its lapses and unfortunate ambiguities.

 

The Fortune Cookie (1966), directed by Billy Wilder. This is the first of ten films that would pair Jack Lemmon’s everyday guy with Walter Matthau’s more cynical fellow. It was also Lemmon’s fourth film with Wilder. As for Wilder, this is his second look at the Insurance Industry in America, after the quite different Double Indemnity (1944). Looking back at The Fortune Cookie, I find the film striking for is romantic interest in male friendship, and in this case it is not the friendship between Lemmon and Matthau, but rather between Lemmon’s Harry Hinkle and Ron Rich’s Luther ‘Boom Boom’ Jackson. Hinkle is a television cameraman who, at the beginning of the film, is shooting an NFL football game between the Browns and the Vikings, when he suddenly gets bowled over by the Brown’s star punt return specialist, Jackson. Hinkle ends up in the hospital none the worse for wear, but his brother-in-law, ‘Whiplash’ Willie Gingrich (Matthau), who happens to be a shyster lawyer, sees an opportunity to make a load of money if only Hinkle will pretend to be severely injured. Soon Hinkle’s ex-wife, Sandy (Judi West) is on the scene looking to cash in on Hinkle’s continuing affection for her. Meanwhile the bevy of high-priced lawyers for the insurance company hire a detective to spy on Hinkle hoping to discover he is faking. This is a lot of hokum, and pretty good fun. The script, as you would expect when Wilder and his long-time mate I. A. L. Diamond are responsible for it, is acerbic and often quite funny. But as I started to say above, what distinguishes this film is the relationship between Hinkle and Jackson. Jackson is a black football player who suffers remorse at having apparently injured the cameraman, and he becomes something of a houseboy to Hinkle suggesting the sadly familiar positions of black people and white people. However, as the film moves toward its finale, these two become friends and end, in the film’s final and evocative shot, as equals cavorting on the football field together. This is a powerful ending and re-envisions the usual Hollywood romantic ending in an important way.

 

The Private Life of Sherlock Holmes (1970), directed by Billy Wilder. The film should have been a labour of love, Wilder having planned a story about Holmes as early as the late 1950s. And there are good things for the finding here: some quick quips, an effective mise en scene, a clever use of Sherlock’s brother Mycroft (Christopher Lee), etc. On the whole, however, this is not Wilder at his satiric best. He does, perhaps, take Holmes too seriously. Robert Stephens and Colin Blakely as the two principal characters acquit themselves adequately, and Genevieve Page as Gabrielle Valladon, Holme’s client and adversary is attractive. These characters are set to work in a less than effective plot. The bit with the Loch Ness monster is hardly mysterious or even believable, although I guess it is memorable since it is the only bit of the film that I remember from a viewing many years ago. Wilder also tries to tackle the implications of Holmes and Watson living together, erring on the side of convention. We are to rest assured that these two jolly fellows are as straight as they come! So what to conclude? This is not, by any means, in the upper tier of Sherlock Holmes films; on the other hand, it offers a pleasant enough way to spend two hours.