Talking Movies

May 29, 2020

Miscellaneous Movie Musings: Part XXXIII

As the title suggests, so forth.

If not Lazenby, then who?

Almost anyone. But seriously, folks. There were any number of actors in England in 1968 who could have done a better job of picking up the keys to Sean Connery’s Aston Martin. A typically three-cornered hat discussion with Friedrich Bagel and The Engineer to the music of de Falla produced this shortlist of contenders:

Rod Taylor, Alan Bates, Albert Finney, Oliver Reed, Michael Caine, Roger Moore, Terence Stamp, Anthony Hopkins

Patrick McGoohan, Malcolm McDowell, Christopher Lee, Nicol Williamson, David Warner, Edward Fox

Now, not all of these people would have been asked, and some of them would likely have refused had they been asked, (Alan Bates and Nicol Williamson spring to mind), and some of them would likely have refused contemptuously (*Dear EON, Patrick McGoohan has had quite enough of playing spies at this point, thank you very much). The EON producers would never have seriously asked a bona fide film leading man like Caine, in order to keep the budget down. They would have asked a TV star like Roger Moore, sadly tied up with The Saint, or Timothy Dalton, a supporting player in a major film. As indeed they did. But the actual shortlist of undistinguished Bond contenders from whom Lazenby won based on a screen test is the stuff of madness when you consider that all these alternatives were available. The roguishness of Oliver Reed’s 007, the undercurrent of menace of Malcolm McDowell’s Bond, the unpredictability of David Warner’s agent: these are the roads not taken. There seems to be some sort of retrospective attempt to insist they needed to cast an unknown actor, like they had with Sean Connery. But Sean Connery was not unknown when he was cast. Far from it, he had already appeared in Darby O’Gill and the Little People and his supporting role in The Longest Day would have been appreciated by British TV audiences who, between 1959 and 1961, had seen him as Count Vronsky, Hotspur, Macbeth and Alexander the Great. He was not an unknown, he was quite well known to British audiences as a leading man playing historic roles. Lazenby by contrast was quite well known to British audiences for advertising Fry’s chocolate bars.

The critical rehabilitation narrative

I’ve been thinking recently about what we might dub the critical rehabilitation narrative. Nothing seems to please some critics more than to discover neglected masterpieces, to rescue from the discard bin gems that were unappreciated at the time. The only problem is sometimes the critics are very pleased with themselves, their wider critical narrative powers along, and it’s only a minor detail that the film in question is still rubbish. That’s not to say that it is wrong to revisit films and see if they were misjudged; after all Fight Club suffered hugely from being released so soon after Columbine. But sometimes there is much to be said for reading the original reviews and getting a bracing perspective, like disinterring The Cabinet of Dr Caligari from the reverence of generations of film students and discovering in Peter Gay’s Weimar Culture that its own writers disowned the finished film for changes made to its finale which they regarded as dangerously reversing its political message, and doing so at a time that imperilled the nascent republic. Or realising that Matthew Modine saying recently that Full Metal Jacket has aged better than other Vietnam films because it’s finale of urban insurgency could be in Iraq only proves the point of the objections made by critics on release. Because of the WB indulging Kubrick’s power-tripping laziness he had departed from the novel’s jungle war conclusion to instead depict the (easily manufactured in England) ruined city of Hue, because he couldn’t be bothered leaving England. And it would be hard to easily manufacture in England a jungle war. Just as well Vietnam wasn’t noted for being a JUNGLE WAR. Revolution was reviled on release and exiled Pacino to Broadway. But Revolution is an unfocused film of baffling decisions, like shooting it entirely in England and not having Annie Lennox sing, rather than an outright atrocity. Watching its depiction of the start of the American Revolution, the mob bullying, the expropriation, the self-interested and abrasive self-righteousness is oddly reminiscent of Doctor Zhivago’s portrayal of the Bolsheviks. It’s hard not to think that this enraged American critics at the time, who sublimated that rage into attacks from other angles. And yet the final minutes of Revolution feature a truly astonishing tracking shot, a technical marvel and a triumph of production design, that I have never ever heard anyone praise or even mention. If you can’t do the hard work of salvaging the good from amidst the bad then what is the point of critical rehabilitation?

May 12, 2018

Conspiracy Cinema at the IFI: Part II

The IFI presented a season of post-Watergate conspiracy cinema in June 2011, and now it’s having another conspiracy cinema season with a more European flavour. It’s rather appropriate that this German-flavoured season comes just as the GDPR comes into effect, as the GDR experience of surveillance and paranoia (that isn’t actually paranoia because they really are watching you) informs both the regulation and the season. These films reflect a time of political violence internationally by guerrilla groups and government militias, a feeling that anyone could be assassinated at any time, and the continual intrusion into private lives of shadowy forces.

 

Z

Saturday 12th May 2018
16.00

Costa-Gavras’ third feature made his international reputation, winning the Oscar for Best Foreign Film in 1970; and more importantly making it onto Barry Norman’s 100 Best Films of the Century. It was inspired by the killing of Greek politician Grigoris Lambrakis in 1963 and was a defiant artistic gesture against the Generals in Athens. “Any similarity to actual events or persons living or dead is not coincidental. It is intentional” it proclaims in its credits.

127 MINS, FRANCE, 1969, DIGITAL, SUBTITLED

THE DAY OF THE JACKAL

Sunday 13th May 2018
16.00

A right-wing paramilitary group plots to kill French President General De Gaulle in response to his belated granting of Algerian independence. There is only one man for the job, Edward Fox as the professional assassin known as The Jackal. Learning of the conspiracy, police inspector Lebel (Michael Lonsdale before Moonraker) is given emergency powers to conduct his investigation and a game of cat and mouse ensues, with Cyril Cusack playing a memorable part. High Noon director Fred Zinnemann’s amps up the tension in this suspenseful adaptation of Frederick Forsyth’s 1971 novel, which was itself inspired by an actual 1962 attempt on De Gaulle’s life.

143 MINS, UK-FRANCE, 1973, DIGITAL

THE FLIGHT

Wednesday 16th May 2018
18.15

Dr Schmidt (Armin Mueller-Stahl) has had it. He’s had with the GDR, he’s had it with the Stasis, he’s had it with the bureaucracy that pretends to be running a functioning Communist state by its own lights but sets the price of grain based on the market prices reported from Kansas. So he seeks the help of an underground faction to escape to the west. Incredibly Roland Gräf’s film was actually made in East Germany,  bankrolled by the state-owned DEFA studios. Winner of the Grand Prix at the 1978 Karlovy Vary Film Festival, it was the last film Mueller-Stahl made before, in a touch of life imitating art, he bolted from East Germany to West Germany in 1980.

94 MINS, EAST GERMANY, 1977, DIGITAL, SUBTITLED

INVESTIGATION OF A CITIZEN ABOVE SUSPICION

Saturday 19th May 2018
16.00

Director Elio Petri surfed the same zeitgeist as Dario Fo’s play Accidental Death of an Anarchist with this stylish black comedy of endemic police corruption in Italy. Gian Maria Volontè plays a respected police inspector who murders his mistress and then, oh joy, handles the investigation of the murder himself. Like a more satirical riff on Fritz Lang’s The Woman in the Window he begins to drop ever-more obvious clues that he dun it, but nobody wants to know… This won the 1917 Best Foreign Film Oscar, but more importantly it boasts a terrific Ennio Morricone score.

115 MINS, ITALY, 1970, DIGITAL, SUBTITLED

THE PARALLAX VIEW

Sunday 20th May 2018
16.00

Alan J Pakula’s 1974 thriller sees Warren Beatty’s journalist investigating the possibility that powerful corporation the Parallax Organisation was behind a political assassination allegedly carried out by a conveniently dead lone gunman, and then murdered all the witnesses to the truth. Production was affected by a writer’s strike, and it shows, but there is a notable use of sound, as well as a scene where Gordon Willis allegedly cast a huge shadow over Beatty’s hammy breakdown to stop him embarrassing himself. The dazzling and famous highlight comes when Beatty is subjected to a test to see whether he fits the criteria for maladjusted misfit that Parallax likes to use for its lone gunmen. You know, people like say Lee Harvey Oswald, or James Earl Ray…

102 MINS, USA, 1974, 35MM

STATE OF SIEGE

Wednesday 23rd May 2018
18.30

Costa-Gavras again, this time his follow up to Z in 1972 in which he drew attention to US meddling in the internal politics of their near neighbours. Yves Montand is Philip Michael Santore, a CIA agent advising an unnamed Latin American government on the best method of dealing with terrorists. Enhanced interrogation the euphemism is now. Kidnapped by the very leftist guerrillas he’s been training the state to subdue he gets a taste of his own medicine, as he’s used as collateral in a prisoner swap. Media hysteria ensues, and Costa-Gavras critiques the brutality of Kissinger’s realpolitik, propping up right-wing dictatorships to prevent the emergence of left-wing dictatorships.

120 MINS, FRANCE-ITALY, 1972, DIGITAL, SUBTITLED

THE LOST HONOUR OF KATHERINA BLUM

Saturday 26th May 2018
16.00

Released just a year after Willy Brandt was forced to resign as Chancellor, following the explosive revelation that one of his closest advisers was a Stasi agent; undercover for 20 years!; this spoke to West German fears of being completely destroyed by unwitting association. Angela Winkler is Katherina Blum, a maid who sleeps with an attractive man. And also a suspected terrorist, and so she finds herself accused in private and public of being a terrorist too. Not based on BILD, for legal reasons, this was an indictment of media rush to judgement, aided and abetted by out of control forces of law and order.

106 MINS, WEST GERMANY, 1975, BLU-RAY

THREE DAYS OF THE CONDOR

Sunday 27th May 2018
16.00

Sydney Pollack shamelessly muscled in on Alan J Pakula territory with this post-Watergate slice of paranoia. Robert Redford is an unimportant CIA researcher Joe Turner who goes to lunch one day and is thankful that he did and had a long lunch because when he finally returns he finds everybody else in the office got shot. Kidnap a cute hostage (Faye Dunaway), fend off a European assassin (Max Von Sydow), unravel international global conspiracy that he’d accidentally stumbled on? All in a day’s work for a CIA desk jockey. Okay, maybe more than just a day, but still not bad for one unused to the field.

117 MINS, USA, 1975, BLU-RAY

KNIFE IN THE HEAD

Wednesday 30th May 2018
18.30

Angela Winkler again, this time playing the estranged wife of Bruno Ganz; who is Hoffman, another victim of wilful state character assassination. Hoffman is looking for his estranged wife when he gets caught in the suppression of a left-wing rally. He wakes up in hospital, partially paralysed and with severe memory loss. The police accuse him of killing one of their number, the left-wingers hail him as a victim of police brutality, he hasn’t a clue what happened. His attempts to figure out the truth lead to clashes with the authorities, and a grand metaphor for a country haunted by its violent past.

108 MINS, WEST GERMANY, 1978, 35MM

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