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Sunday, 18 September 2016

The Bobo (1967)

Director: Robert Parrish
Writer: David R. Schwartz, from his own play, in turn based on the novel, Olimpia, by Burt Cole
Stars: Peter Sellers, Britt Ekland, Rosanno Brazzi and Adolfo Celi

Such are the dangers of selecting pictures that I haven’t seen for my centennials project! Today would have been the hundredth birthday of Rosanno Brazzi, an Italian actor who became a success in the English language too. His international fame was sparked by Three Coins in the Fountain in 1954, quickly followed by a lead role opposite Katharine Hepburn in David Lean’s Summertime. He made prominent pictures with prominent actors: South Pacific opposite Mitzi Gaynor, The Story of Esther Costello with Joan Crawford and The Barefoot Contessa with Humphrey Bogart and Ava Gardner. Aiming more at interesting but more obscure titles, I thought about Legend of the Lost, in which Brazzi hires John Wayne to guide him towards a city of gold, but I’d heard bad things. He was the lead in Frankenstein’s Castle of Freaks, but I have a bunch of horror movies coming up. So I picked The Bobo, a Peter Sellers comedy, in which he co-stars with Sellers’s wife of the time, Britt Ekland. It’s a fascinating film to review, but Brazzi is hardly in it!

The script was written by David R. Schwartz, as an adaptation of his play of the same name, but the novel upon which it was based was called Olimpia, the name of Ekland’s character; she’s prominent early and often and is inextricably woven into the plot. Sellers plays the lead, of course, which role involves many scenes with his wife. Brazzi, however, third credited, gets less screen time than Hattie Jacques, Ferdy Mayne or Kenneth Griffith, who all languish down in the ‘with’ section of the opening credits. His part is also far less substantial than that of the remaining ‘co-star’, Adolfo Celi, who does at least drive the plot. Of all these, Carlos Matabosch of Matabosch Tractors, who is only in the film so that he can lose his new Maserati to Olimpia, is the easiest to lose and so Brazzi is the easiest to replace. He may be in the final shot, but that doesn’t mean that this is about him in the slightest. I’ll need to go back to his career and pick out a more appropriate title when I collate these reviews into book form at the beginning of next year.
We’re in Barcelona, Spain and Olimpia Segura is a piece of work. In the admittedly beguiling shape of Britt Ekland, she wears mini-skirts, drives fast cars and does a powerful job of keeping her many older, richer beaus at arm’s length. The friend of one describes her as ‘the most desirable witch in Barcelona’. According to Pepe Gamazo, he had ‘two ecstatic months together’ with her, but now she’s kicked him out of the apartment his grandmother left him and changed the locks. She drives his sports car and won’t let him anywhere near it. He’s a complete wreck and not only because Kenneth Griffith’s Spanish accent is far from pristine. She has such power over him that, before he knows it, he’s playing a journalist for her to blackmail another sucker, Silvestre Flores, into giving her that Maserati, a special order that took nine months to acquire for Matabosch and cost 800,000 pesetas. He does get a new key for his troubles, but it turns out that it doesn’t fit the lock to the apartment. What a piece of work she is!

Into town and into the cafe opposite Olimpia’s apartment, where Pepe Gamazo blubbers like a broken man, comes Juan Bautista, a matatroubadour as he puts it. ‘I am Spain’s greatest singing matador,’ he pronounces with authority, and he’s here to audition for Francisco Carbonell, the impresario who runs the local theatre, even if Francisco Carbonell doesn’t want him to. In a film with two thoroughly unsympathetic leads, I found Adolfi Celi’s portrayal of Carbonell the most traditionally enjoyable. He channels Sidney Greenstreet as a relatively static but highly characterful character and his expressions while a captive audience to Bautista’s song in the cafe are priceless. I even liked his office, given that his window is part of the vast billboard to his theatre. And it’s Carbonell who places our story into motion, even if he’s inherently absent from its development and returns only once it’s done to start the process of wrapping things up. I know Celi from Thunderball and Danger: Diabolik, but I’ll remember him from The Bobo too.
I should pause to attempt a definition of the title, which is never explained in the film beyond a supposed gypsy proverb quoted at the beginning that, ‘It is said in Barcelona, ‘A Bobo is a Bobo!’’ I doubt it’s real but know it isn’t helpful so I googled around to find a better explanation. Dictionary sites suggest that it’s ‘a member of a social class of well-to-do professionals who espouse bohemian values and lead bourgeois lives’, the word taken from ‘bohemian’ and ‘bourgeois’. In Ghana, it’s the name given to a child born on a Tuesday while, in the Philippines, it’s a fish trap made of bamboo. My better half knows it as a carny term for someone who uses insults to get customers to pay to throw balls at him, in hope of dunking him into something, but the web identifies that as a ‘bozo’. I know it as the pet name we had for my granddad, taken from my cousins playing peek-a-boo behind him. None of these fit, so I’ll go with the Spanish word that translates most politely as a ‘fool’. Why Sellers would name his yacht after that, I have no idea.

With that in mind, we wonder who the fool is in this film. Is it Francisco Carbonell, who is pressured into giving Bautista a chance at landing a week’s contract for 2,000 pesetas when he’s clearly told this matatroubadour to go back to his village? Is it any one (or even all) of the various men of means who Olimpia has so capably wrapped around her finger? Is it Bautista himself, who takes on the challenge of conquering such an unconquerable woman, specifically to remain in her apartment for long enough for the lights to go off and remain off for an hour? Is it Olimpia herself, who has no idea that she’s being used for someone else’s benefit just like she’s used so many others? Arguably, it could be applied to every character in the picture who has a line of dialogue, except only Eugenio Gomez, who runs the cafe. Al Lettieri, an Italian American actor playing very much against type, given that he portrayed so many villains and heavies in seventies Hollywood, may here play the only character who isn’t a Bobo.
I’d start talking here about the story finally finding its way, given that Sellers doesn’t even show up for ten minutes and Carbonell doesn’t issue his challenge until almost half an hour into the picture, but we’re about to be detoured into an odd diversion. Just as Bautista begins to win over Olimpia, we’re ripped away to watch a five minute chunk of flamenco. Patrick Boone, writing at From the Sidelines, ably describes the sudden prominence of Antonio Santiago Amador, known as La Chana, and Los Tarantos Flamenco Company, as a misstep we would see as ‘unforgiveable if it weren’t for how hypnotically fascinating La Chana’s staccato footwork is.’ I couldn’t tell if this Catalan gypsy was in severe pain or the heights of ecstasy, but she’s so magnetic that I couldn’t look away. Boone astutely points out that, ‘Unlike the filmmakers’, every one of her steps is executed with amazing power and precision.’ I’d second that, because there isn’t another magnetic moment in The Bobo unless we watch it not as a film but a layer over reality.

As she tells it, Britt Ekland was a fat and ugly Swedish child who used humour to get past her looks. After some travelling theatre and a brace of bit parts and walk on roles, she was cast in a small role in Guns at Batasi, which was shot at Pinewood Studios. Over at MGM British Studios, Peter Sellers was finishing up a fraught shoot for the second Pink Panther movie, A Shot in the Dark. The story goes that he saw her picture in the paper and knocked on her door at the Dorchester Hotel to invite her to his suite. Next morning, he took her to Kensington Palace to meet Princess Margaret and ten days later they were man and wife, a marriage which Ekland has said she should never have entered into. This was their third of three films together, after a TV movie called Carol for Another Christmas and After the Fox, but as riotously funny as the latter was, the marriage had found rocks almost immediately, crippled by Sellers’s jealousy and paranoia. Even when Victoria Sellers was born in January, 1965, things didn’t get better.
Like many comedians, Sellers was a highly troubled man and Ekland has suggested that he was bipolar. Certainly he clashed with many of his directors and fellow actors. He had trouble understanding Vittorio de Sica, the director of After the Fox and attempted to have him fired. He had trouble with his wife’s performance in the same film and arguments escalated to his throwing a chair at her. He left his next film, Casino Royale, before completing the shoot because of clashes with Orson Welles; he demanded that they never share the same set. Before quitting that film, he was honoured with a CBE but an argument the day before his investiture at Buckingham Palace required a make-up artist to cover up the scratches on his face from Ekland’s nails. Three weeks into The Bobo, according to Ed Sikov’s Mr. Strangelove: A Biography of Peter Sellers, he’d already had the script girl fired when he told director Robert Parrish, ‘I’m not coming back after lunch if that bitch is on the set.’ He was referring to his wife.

Kenneth Griffith, a friend of Sellers who played Pepe Gamazo, told Sikov that when he arrived on set, Sellers was directing rather than Parrish. Asking the latter how this had come to pass, he was told, ‘He just announced that he was taking over and I felt that I had a duty to sit quietly and be a servant to the film. You know, the number one job is to get this film finished.’ It cost a friendship and Parrish’s wife explains that they saw the film as ‘a disaster that we considered a death in the family and never mentioned.’ In such a light, it’s hard to hurl barbs at Parrish or his writer, David R. Schwartz, who was, after all, adapting his own play. Sellers is surely the appropriate person to take the credit or blame, depending on how you view the film. And, to focus back on my point, I found that this knowledge flavoured my take on the movie to the degree that its real value is neither as art or comedy but as the documenting of a powerful love/hate relationship.
I should note that I make no suggestion that there’s a parallel in how their relationship begins. Ekland told the Daily Telegraph that, ‘I was very young and he swept me off my feet. He gave me a puppy for God’s sake.’ She can’t explain why. ‘What was he thinking? And what was I thinking? You can’t bring up a dog before you’ve brought up yourself.’ Olimpia, on the other hand, is easily conned because her Achilles heel is so obvious: money. Her unashamed gold-digging heart visibly perks up when he unfurls words such as ‘royalty’, ‘wealth’ and ‘position’, while suggesting that his master, the Count of Something or Other wants to pay her to meet with him. No, it’s in how this real life couple interact on screen that the honesty shines past the fiction. In a scene at a romantic retreat, there’s real charisma between them, suggesting that they really cared for each other, but in another, an argument over a 275,000 peseta fur coat at Castillo’s, shows how much they also hated each other too. They divorced soon afterwards.

What makes these scenes so powerful is that they appear to be honest. Outside these moments, I never bought into Juan Bautista as anything but an act. Sure, Juan is lying through his teeth for most of the film, but I never felt like I saw the real character once, just Sellers putting on a Mediterranean tan and a dubious accent. The only times I bought into what I was seeing was when I was watching Peter Sellers rather than Juan Bautista and, to a lesser degree, Britt Ekland rather than Olimpia Segura. For all the great talent of the man, Ekland did the better job here for no better reason than I think she wanted to. And that said, both of them were easily outdone by Adolfo Celi, Hattie Jacques as Olimpia’s maid and Ferdy Mayne, whose own centennial I celebrated in March, as the car dealer, Silvestre Flores. Only when both these unlikeable and unsympathetic characters are taken down a peg or two are they really enjoyable to watch. I was fascinated for an hour and a half but I only really enjoyed Juan and Olimpia towards the end.
So, this is a really odd film. It’s not particularly funny, Sellers trying too hard without particularly getting anywhere. I felt like he was often flogging a dead horse with his dialogue because each explanation was so overdone. It succeeds much more as a tragedy than a comedy, the well-deserved come-uppances providing a belated grounding to the characters that was so sorely missing for so long. The sets are immersive, but most of them are obviously sets, this being shot at Cinecittà Studios in Rome rather than the memorable streets of Barcelona, regardless of how much of them we see behind the opening credits. The retreat, at least, is wild and wonderful, a grotto bathed in blue light until we pan over to lush red interiors. The music is forgettable and the direction no better, given that the film seems to exist primarily to let Sellers do his thing while his wife serves as decoration. No, this is much more interesting a film than it is enjoyable. Watch if you’re more interested in Sellers and Ekland as people than as actors.

Thursday, 15 September 2016

Doctor Syn (1937)

Director: Roy William Neill
Writer: Roger Burford, from the novel by Russell Thorndike, with additional dialogue by Michael Hogan
Stars: George Arliss, Margaret Lockwood and John Loder

Alfred Hitchcock was hardly one to heap praise on his actors, whether or not his famous quote about actors being cattle was ever spoken or not. However, after working with Margaret Lockwood on The Lady Vanishes, he was highly complimentary of her talents. ‘She has an undoubted gift in expressing her beauty in terms of emotion,’ he told the press, ‘which is exceptionally well suited to the camera. Allied to this is the fact that she photographs more than normally easily, and has an extraordinary insight to get the feel of her lines, to live within them, so to speak, as long as the duration of the picture lasts.’ He was optimistic about her future as well, albeit in oddly paradoxical fashion: ‘It is not too much to expect that in Margaret Lockwood the British picture industry has a possibility of developing a star of hitherto un-anticipated possibilities.’ How an un-anticipated possibility could be thus anticipated, I have no idea but I’m not going to argue with the master, especially on what would have been Lockwood’s hundredth birthday.

To celebrate her career on such an auspicious day, I selected the first film adaptation of Russell Thorndike’s stories of the Kentish smuggler, Doctor Syn, made in 1937 by the British company, Gainsborough Pictures. Doctor Syn apparently enjoyed a resurgence in popularity in the thirties, the original novel of 1915 starting to generate sequels: two in 1935 and another in 1936, with three more following this film version. I picked it in part because it was a major stepping stone for Lockwood, who stepped in when Anna Lee dropped out and earned a three year contract with Gainsborough for her troubles, but also because it’s the last movie role for the fascinating actor, George Arliss, who was the first Briton to win an Academy Award and the first actor from anywhere to win for portraying a real person, Benjamin Disraeli. I’d like to see a lot more Arliss movies than I have, but two have especially remained with me over time for his performances in them: The Green Goddess and The Millionaire. He’s memorable here too.
Some might see this as a mystery, but they’ll be sorely disappointed because it’s pretty clear from moment one what’s going on. It is 1800 and the very first thing we see in Dymchurch is the gravestone of Captain Nathaniel Clegg, pirate, who was hanged at Rye. We pan up and jump into the church above it to discover a packed house with an eager warden taking collection. Imogene Clegg, the lovely young beauty played by Lockwood, is batting her eyelashes at Denis Cobtree across the aisle and J. Mipps, stone mason and coffin maker, is watching the surrounding area with a telescope from the bell tower. When he spies a detachment of revenue agents from the Royal Navy on their way, he rushes down to warn Dr. Syn, the local parson, who’s about to begin his sermon. The first thing that we wonder as we get underway is why everything seems to be about Captain Clegg when the movie’s title is Doctor Syn and the answer we give ourselves is the obvious one. When Hammer remade this in 1962 they called it Captain Clegg.

It’s pretty clear that Dymchurch is a hotbed of smugglers. While we never actually see any smuggling, we certainly see the things they’ve been smuggling and we watch them talking over them about whether to dump all this fancy French liquor into the sea or run the risk of being rumbled by Captain Howard Collyer and hanged. Nobody hides behind masks; we know who these people are and we watch them move through their secret passages and run rings around the investigators. This isn’t a mystery, it’s more like the origin story of a folk hero. Dr. Syn explains that half the population of Dymchurch was sick and poor when he arrived to begin organised smuggling; now there are neither and there’s a new schoolhouse to boot. If anything is clearer than that Dymchurch is ripe with smugglers, it’s that people are pretty happy about its effects and the continuation of those effects is placed into jeopardy by the extra man that Collyer brings along with his sailors.
He’s generally referred to as a mulatto, though Dr. Syn, hardly politically correct for all his benificent aura, calls him ‘yellow man’ at one point. He’s played by Meinhart Maur, a Hungarian actor active in Jewish theatre, who moved to England to escape the Nazi menace rising in Germany in the early thirties. This is hardly an opportunity for him to demonstrate his command of the English language, as his character had his tongue ripped out immediately before the film begins. We join it as he’s being tied to a tree on a South Sea island and left to die, the sign above his head declaring that this is what happens to those who betray Captain Clegg. For him to arrive in Dymchurch with the revenue agents is the one thing that really worries Dr. Syn, who naturally recognises him, as he’s really... no, I’m not going to give that spoiler even though it’s so obvious that anyone who misses it surely has to be kidding. Maur reminds of George ‘The Animal’ Steele and Tor Johnson. I presume he could act circles around them but not in this film.

If the stirring up of a smuggling town by revenue agents and the real risk of exposure of Dr. Syn’s former life isn’t enough, we get a few subplots to keep this 78 minute feature brisk. Imogene, the daughter of a notorious pirate (not that she apparently knows it) and Denis, the son of Sir Anthony Cobtree, the local squire, are madly in love but clearly from different classes so their future isn’t certain. The aptly-named Samuel Rash, the local schoolmaster, is madly in love with Imogene; he’s ready to have their banns read even though she can’t bear to be around him. In fact, Rash isn’t too popular with anyone, it seems. He butts heads with Dr. Syn on how to keep Collyer and his men away from their goods. One of his students, the unfortunately named Jerry Jerk, hates him with a passion and that leads to both tension and hilarity later on. When the film bogs down in the middle, it’s Graham Moffatt who picks it back up again as Jerry. Most of his films were with Will Hay, but this is a welcome exception.
Moffatt is just one of the actors who infuses this film with character. He may be too old and too big to be particularly believable as one of Mr. Rash’s students but he’s great fun, even when he’s not having conversations with himself. ‘Am I a liar?’ he asks himself for Dr. Syn late in the film. ‘Sometimes. But not now.’ He comes across like a too tall hobbit and I adored him. Muriel George plays Mrs. Waggetts, Jerry and Imogene’s boss at the Ship Inn, and she plays her so well that I recognised the character in at least half a dozen people I grew up with, even though I was born on the other side of the Thames. She doesn’t take lip from anyone, whether it be the kids working for her or the naval captain who’s searching her pub from top to bottom looking for illicit liquor. And then there’s Wilson Coleman, who plays the most unfortunately named character in a movie that includes sinful Dr. Syn, rash Mr. Rash and, well, Jerry Jerk. The latter has to shout ‘Dr. Pepper! Dr. Pepper!’ in the marshes but that’s only hilarious through hindsight.

There’s much to enjoy here, even if the mystery isn’t remotely mysterious. It played to me as a quintessential slice of the British equivalent of Americana. I don’t know if there’s a word for such a thing, but this is so British through and through that it’s easy to see why Talbot Rothwell parodied it so capably in Carry On Dick, one of the better instalments in a series that consistently speared British organisations and institutions. I knew that the title, double entendre aside, referred to highwayman Dick Turpin, another inappropriate British folk hero, but the story is clearly hijacked from Dr. Syn. Sid James merely plays a highwayman who happens to be masquerading as a parson rather than a... no, I still won’t spoil the obvious reveal. I’ll let Capt. Collyer do that when the time is right, because thankfully Roy Emerton is a jovial captain who isn’t quite as dumb as he makes himself out to be. He could easily have played this like the usual inept authority figure but he’s thankfully much more of a worthy character.
Everything here felt like home, with the British character emanating from the good folk and the bad. There’s great hospitality at the squire’s mansion, especially to the drunken doctor. There’s a thriving inn in the middle of town because everything revolves around it as much as the church. There’s organised sticking it to the tax man, which we accept because it’s generally used for the benefit of the people. The smugglers use secret passages, pretend to be marsh phantoms and switch signs around in what should feel dangerous but really feels like jolly good fun. Even the bosun’s bunions are somehow traditional. And, of course, young love surely makes any heart feel like it’s home. Margaret Lockwood and John Loder could have been given much more substance here but they’re both enjoyable to watch and at least the former gets more to do towards the end of the movie than in the build-up to it. Of course, above, behind and on top of everything in town is the title character, played by George Arliss.

I’ve been fascinated by Arliss ever since I saw The Millionaire, a 1931 pre-code that I watched for Jimmy Cagney but left as a fan of George Arliss. He’s an odd duck who doesn’t quite seem real. His head is too big for his body, which sometimes makes him appear to be a walking caricature, but we only laugh with him when he wants us to and we never laugh at him. He underplays for most of the film’s running time; he’s relentlessly calm, even when things aren’t going his way, and he lets others act around him and take the spotlight throughout. Yet we can’t stop watching him, because there’s a presence to him that’s impossible to miss. He’s always the most important person in the shot, whatever the scene and whatever he’s doing in it. As a man with a number of huge secrets, he’s the one who sits there and listens while others sit there and talk, but however quiet he gets and however close Capt. Collyer’s investigation gets, we never believe that he’s not in charge of the situation with a backup plan for his backup plan.
I like that this film marked the end of one career but the ascendance of another. Arliss had made 25 films over 17 years, playing an impressive array of historical figures, including Benjamin Disraeli, Alexander Hamilton, Voltaire, the Duke of Wellington and even Cardinal Richelieu, so many that his fictional characters like Dr. Syn feel as grounded in reality. Margaret Lockwood, however, had only been in film for four years and her most important pictures were still ahead of her: Bank Holiday and The Lady Vanishes in 1938 and, turning her persona upside down, The Man in Grey, The Wicked Lady and Bedelia in the forties. She did well in film, becoming the highest paid actress in British cinema in 1952, but she increasingly returned to the stage. 21 years after Cast a Dark Shadow, she was talked out of retirement for The Slipper and the Rose, a retelling of Cinderella that gave many big names a last hurrah, and even with only that one picture made in the last sixty years, she’s still well-remembered and well-respected today.

Wednesday, 14 September 2016

Dr. Goldfoot and the Bikini Machine (1965)

Director: Norman Taurog
Writer: Elwood Ullman and Robert Kaufman, from a story by James Hartford
Stars: Vincent Price, Frankie Avalon, Dwayne Hickman, Susan Hart, Jack Mullaney and Fred Clark
In high school, he joined a science fiction fan club alongside Forrest J. Ackerman, with whom he produced a fanzine centred on the fantasy genre. After graduation, he managed two movie theatres in Omaha, NE until being made redundant when the chain which owned them went out of business, but he moved on to run revival houses in Los Angeles. He joined Realart Pictures and was tasked with inventing advertising campaigns for re-releases of old movies. A threatened lawsuit from Alex Gordon about similar titles led to a meeting with the latter’s lawyer, Samuel Z. Arkoff. They became friends and, later, business partners in a distribution venture initially called American Releasing Corporation but soon renamed to American International Pictures. Arkoff handled the business end, while he handled the creative angles. Often he would conjure up entire ad campaigns, with titles and poster art in place, even before scripts were written. He was James H. Nicholson and he would have been a hundred years old today.

A.I.P. generally released low budget indie movies, often capitalising on new youth trends, packaged in double bills for the drive-in market. Their first film was The Fast and the Furious in 1955, starring and co-directed by John Ireland and produced and co-written by Roger Corman. It made $250,000 in box office receipts against a $50,000 budget and the new company was off and running. The average fan of exploitation cinema will have seen a whole bunch of A.I.P. movies in a whole bunch of genres: not merely the usual sci-fi and horror pictures but also juvenile delinquent movies, rock ‘n’ roll movies, biker movies, beach movies and hippie movies. I selected Dr. Goldfoot and the Bikini Machine to celebrate Nicholson’s centennial partly because I hadn’t seen it before but partly for the reason that it seemed to be the quintessential A.I.P. picture. At heart, it’s what’s called a spy-fi movie, mixing up the spy genre with sci-fi, but it’s populated by a slew of regulars from the beach pictures and stars Vincent Price from Corman’s Poe films.
As such, it’s not going to be to everyone’s taste. It’s dumb, it’s ridiculous and it’s unrealistic to the extreme. It’s culturally attuned to its time, so that it appears today less like a film and more like a cinematic time capsule. It’s so politically incorrect that modern audiences will be shocked at its viewpoints. And it’s not a good movie whatever criteria you choose to judge it by, except that the presence of Vincent Price is automatically a plus because he would be magnetic even if he was reading the back of a cereal box. It was the most expensive A.I.P. picture at the time, the first to cost over a million dollars to make, but it plays just like the others so the extra money wasn’t well spent. It has been argued, by some of those involved, that it would have been better had the original plan been adhered to, namely to make it a camp musical. ‘It could have been fun,’ said Price, ‘but they cut all the music out.’ Susan Hart said that removing Price singing about the bikini machine ‘took the explanation and the meat out of that picture.’

Of course, Jim Nicholson, who co-wrote the film under the pseudonym of James Hartford, was far more interested in showcasing Hart. Her first major role in a feature had come the year before, when she appeared opposite Tab Hunter in Ride the Wild Surf, and when Nicholson saw rushes from that picture, he promptly snapped her up for an A.I.P. contract. Shortly thereafter, he snapped her up for a marriage license and James Jr., now a composer in New York, was born in 1965. I have to say that Hart, who appears early and often, looks amazing for someone who had given birth that year, and it’s her movie until Vincent Price arrives. Never mind that we’ve seen as much of Frankie Avalon, one of the two A.I.P. beach movie stars (the other, Annette Funicello, has a neat cameo locked in a pair of stocks), it’s Susan Hart that we’re watching. Of course, she has the advantage of being a bulletproof and car-proof beauty wearing a gold bikini (under a raincoat) who flirts outrageously in a southern accent. Frankie who?
Avalon is Craig Gamble, apparently a spy for Secret Intelligence Command, but a completely inept one. D. J. Pevney, Gamble’s boss and Uncle Donald, calls him 00½ to begin with, but downgrades that during the movie to 00¼ because the boy is accident prone and he ends up on the worse side of those accidents. He won’t even let the poor spy carry a gun! The obvious comparison is to Maxwell Smart, but given that Dr. Goldfoot and the Bikini Machine was shot in the summer of 1965 and Get Smart launched on 18th September, I presume that they combined James Bond and Inspector Clouseau independently rather than influence each other. Avalon isn’t a bad bad spy but he seems to be playing someone else; in the beach movies, he owned the role and anyone else trying the formula elsewhere seemed to be playing him. He’s in the film because Diane, the bulletproof beauty in the gold bikini, seems eager to chat him up and get him home, something he’s hardly going to argue with, given that his date walked out on him for being cheap.

Unfortunately for him, it’s all a case of mistaken identity. Diane is really a robot working for the mad genius, Dr. Goldfoot, who has just tuned in to discover that he isn’t watching #11 roll around the floor with Todd Armstrong, the world’s most eligible bachelor. ‘Fye on you!’ Vincent Price tells his assistant, inevitably named Igor, ‘You’re an idiot!’ Beyond being a magic line I should program my alarm clock to use, it marks Price truly taking ownership of the film. Sure, Susan Holt is delightful as Diane, changing accent at the drop of a hat. Sure, there are also similarly clad beauties #1 to #9 to feast our eyes upon. Sure, the sets are gloriously familiar, all decked out with old dark house gimmicks and spy-fi gadgetry, including what does look like the pit and the pendulum from The Pit and the Pendulum. But all this is subservient to Mr. Price, who stalks his underground lair in gold slippers and smoking jacket, wringing his hands, hurling out cheap gags and telling Igor to shut up. He’s what keeps us watching.
That’s not to say that those robot girls in gold bikinis aren’t spectacular. They’re a suitably diverse lot, which in 1965 means a bevy of white beauties with different coloured hair, plus a token black girl (Issa Arnal) and a token Asian (China Lee). Most of them were regulars in the beach movies and didn’t go on to long careers outside the genre, the notable exception being Deanna Lund, soon to become famous as Valerie on Land of the Giants. Three of them were Playboy Playmates of the Month: Marianna Gaba in September 1959, two years after winning Miss Illinois; China Lee in August 1964, becoming the first Asian-American Playmate in the process; and Sue Williams, who was the first Playmate under five feet and the first to get breast implants, though apparently not the first to commit suicide, as has been frequently reported. It has to be said that Gaba was fluent in three languages and Salli Sachse earned a masters degree in psychology, but this is 1965 so they were hired to look cute in gold bikinis. That’s it.

Oh, and three of them are related to Jim Nicholson. Beyond Susan Hart, his new wife and mother of his son, at the time only a few months old, there are also Laura Nicholson and Luree Holmes, his grown-up daughters by his first wife, Sylvia. Luree was less than a year younger than her new mother-in-law, whose first A.I.P. role was in the very same picture, 1964’s Pajama Party, that Luree’s daughter appeared in as a topless baby model. That makes Joi Holmes, Nicholson’s granddaughter, older than James Nicholson Jr., his eldest son. Boy, those family get togethers must have been a blast! I wonder how long they continued after Nicholson died of a brain tumour in 1972. Certainly, A.I.P. continued on for a few years before his partner, Sam Arkoff, got bored with the movies and sold his stake to Filmways for $4.3m. I’ve documented the shenanigans that went on with the rights to their films in my review of Naked Paradise aka Thunder Over Hawaii, a Corman picture that Hart now owns and apparently refuses to release.
But back to Dr. Goldfoot and the Bikini Machine, a title that might seem unwieldy until you hear the incredibly catchy theme song by no less a recording sensation than the Supremes, still with Diana Ross in 1965, as it will stick in your head and prompt you to start singing it out loud at random moments. The story starts out relatively focused, but it gradually veers out of control, into what can only be described as slapstick comedy territory. By the time we end up in a substantial chase scene through San Francisco in what seems like every mode of transport known to mankind, usually accompanied by horrendous rear-projection, I was half expecting the Keystone Kops to join in. It’s hard to pin down what goes wrong because there’s so much going on and so much of it makes us laugh and roll our eyes at the same time. The chase would have impressed me a lot more if I hadn’t been reeling from the motion sickness induced by the script screaming back and forth like a cat that’s overdosed on catnip.

Price is the traditional lead, as mad scientist Dr. Goldfoot, who’s attempting to get rich by using robots to seduce the wealthy into marriage and the subsequent signing over of all their assets. These are golddiggers in gold bikinis and rather blatant ones at that! Diane lands Todd easily enough but won’t even sleep with him on their wedding night until he signs over the stocks she stole out of his safe. Today’s word is ‘pre-nup’, friends. While Dwayne Hickman is highly billed as Todd, Avalon is the real support, playing the inept spy, Craig Gamble, in a mostly unfunny secondary plot that undoes much of Price’s deliciously camp evil. Fred Clark has far more talent than is shown here as nothing but the victim of Frankie Avalon’s unwitting idiocy. You might think that this would be easy enough to follow, but the scriptwriters focus so much on misogynism and in-jokes that they almost become a plot of their own. Did anyone notice or care that Avalon and Hickman played the same roles in Ski Party a year earlier, merely reversed?
Dr. Goldfoot and the Bikini Machine seemed to be a timely release, justifying a new high for A.I.P. budgets, riffing on 1964’s Goldfinger and many of the company’s successful series: the Poe movies and the beach movies, many of which featured very similar cast and crew. However, for some reason it didn’t find the audience it sought in its home territory, though it did find a surprising audience in Italy, where it was a huge hit. That prompted the sequel, Dr. Goldfoot and the Girl Bombs, to be shot in Italy, with Italian stars and an Italian director to back up the returning Vincent Price. That director was Mario Bava, whose work was redone for the English language release; given that his next film was the glorious spy-fi romp, Danger: Diabolik, A.I.P. clearly lost out. The stars are Franco Franchi and Ciccio Ingrassia, a pair of comedians who had already spoofed Goldfinger themselves, in 1965’s Goldginger. Even as a big fan of Mario Bava, I’m not feeling the need to follow this up with that. I’ll just sing the theme tune to myself again instead.

Saturday, 27 August 2016

The Iroquois Trail (1950)

Director: Phil Karlson
Writer: Richard Schayer, loosely based on the Leatherstocking Tales novels by James Fenimore Cooper
Stars: George Montgomery and Brenda Marshall
Wikipedia may say that George Montgomery was born on 29th August, 1916, but his gravestone says the 27th, so I’ll go by that. I’ve too few Montgomerys under my belt, but I wrote in my review of Masterson of Kansas that he was known not only for westerns, but also for playing iconic characters in them. In that film, directed by William Castle before his gimmick days, he was Bat Masterson, a legendary Sheriff of Dodge City. He also played Pat Garrett, one of the Ringo Gang and even the Lone Ranger in a serial made long before the TV show in 1938 (well, sort of). I focused instead on the year of 1950, in which he played a couple of famous trappers: he was the title character in Davy Crockett, Indian Scout, and here he played Hawkeye, the hero of James Fenimore Cooper’s pentalogy generally known as the Leatherstocking Tales. While this film does follow the general sweep of the most famous of them, The Last of the Mohicans, it’s far from an adaptation, not least because it changes most of the names and leaves out the title character entirely.

The novel was a historical romance, written in 1826 but set in 1757 during what North Americans call the ‘French and Indian War’ but Europeans the ‘Seven Years’ War’. Most of it is spent in the wilderness of upper New York. The French, under the command of General Montcalm, are besieging the British garrison of Fort William Henry on Lake George, but the daughters of Colonel George Munro, the fort’s commander, are on their way to him, accompanied by a relief column led by Major Duncan Heywood. Both sides in this conflict are reliant on Native American allies but Magua, the guide for those reinforcements, is a traitor who’s working for the French and he tries to lead the British into danger. Luckily they meet up with the frontiersman, Natty Bumppo; his travelling companion, Chingachgook; and the latter’s son, Uncas, the titular last of the Mohicans. From there, the novel involves deception and disguise, intrigue and action, battle and massacre. It’s one of the most popular and enduring works of American fiction.
The film retains little but the sweep of it all. We’re still in the Seven Years’ War and Britain is still battling France. Montcalm is still in charge of the French but while he is planning to attack Fort Williams, he hasn’t done so yet and the focus is initially on another fort at Crown Point. Renaming Fort William Henry to Fort Williams isn’t the only namechange on offer. It’s Colonel Eric Thorne in charge there now and he only has one daughter travelling with the men, Marion rather than Cora or Alice. Major Heywood is now Captain Jonathan West, who has loved her for years; Magua is now Ogane, but is otherwise just as treacherous; and Natty Bumppo, the hero of the story, becomes Nat Cutler, even if he’s still regarded by the Native Americans as Hawkeye. His companions shrink down from two to one, Uncas vanishing entirely and Chingachgook now the presumably easier to pronounce Sagamore; he’s also now a Delaware rather than a Mohican. The film’s title, at least, is fair because the consistent road north is the Iroquois Trail.

Those familiar with the source material will see it changed so much that it’s almost a different story, while those who haven’t read it probably won’t care, as it will play just like any other historical adventure they’ve seen from Hollywood. We often laugh today at the historical inaccuracies of Hollywood, as epitomised by Peter Traquair’s famous line about Mel Gibson’s William Wallace being a ‘wild and hairy highlander painted with woad (1,000 years too late) running amok in a tartan kilt (500 years too early)’, but this is a time honoured problem. Only eight years before this film, George M. Cohan attended the premiere of Yankee Doodle Dandy, a biopic of his life and is reported to have said, ‘Good picture. Who’s it about?’ I’m sure many who saw The Iroquois Trail in theatres had read The Last of the Mohicans in school but I wonder how many connected it to the film, especially as the credits cite Leatherstocking Tales as the source rather than any particular one of the five novels that that title includes.
I found it an odd mixture of ambition and laziness. The canvas is painted much more broadly than the Hollywood norm, perhaps as a consequence of Hawkeye not being a traditional hero. Natty Bumppo in the books was usually in the thick of it but rarely as a real lead. The critic Georg Lukacs compared him to ‘the middling characters of Sir Walter Scott’ in that he’s a mechanism for Cooper to explore history without actually writing it. Modern audiences might think instead of R2D2, who is there for everything important in the Star Wars universe, even though he’s hardly a romantic lead to drive the traditional action. George Lucas famously borrowed that approach from Kurosawa and The Hidden Fortress, but I’m sure someone has written a thesis on how far back it goes, perhaps to Shakespeare. What it means here is that we see the war from the macro scale (disconnected generals sending dispatches that take days to arrive) and the micro scale (as seen through Nat Cutler being a personification of the common man) but not in between.

If that approach suggests a worthy story that we can get our teeth into, I have to disappoint. While we do feel like we’re caught up in the sweep of history during a time in which characters feel that history is being made around them, it’s mostly just a backdrop for the usual Hollywood shenanigans: a traditionally iconic leading man and the inevitable love triangle. I liked Montgomery a lot here, but he’s going for that. He’s only half playing the character of Hawkeye and half playing a matinee idol playing Hawkeye. His boyish good looks and easy going charm reminded me of Elvis Presley enough that I half expected him to break out into song, but a number of other names came easily to mind too. His Hawkeye is a swashbuckling hero who’s too laid back to buckle any swashes, somewhat like Charlie Sheen playing Errol Flynn, but there is a serious undercurrent that shows up occasionally that reminds of a young Lawrence Tierney and that sense of danger that he so ably carried with him.
From the beginning, he’s a man apart. Nat Cutler is a frontiersman who’s been adopted by the Delaware tribe, though he still has a periodic hankering to come home to see mama in her cabin in the woods. By sheer coincidence, his younger brother, Tom Cutler, who had signed up with the British army since he saw Nat last, is the recruit chosen to carry an important dispatch north. General Johnson back in Albany wants Colonel Thorne at Fort Williams to reinforce Crown Point because it’s a clear target for the French. By sheer coincidence, this ride takes Tom right by his mother’s cabin and he’s just popping over the field to see her when one of his companions shoots him in the back and retrieves the dispatch. By, you’ve guessed it, sheer conicidence, Nat finds Tom’s body and brings him home to the cabin, where he lives just long enough to set the spark of the story in motion. The British think Tom’s a traitor, his own killer setting him up for that fall, so it’s up to Nat to both seek revenge and save the day for the good guys.

Given that he’s a talented frontiersman, he soon tracks Tom’s killer and he presses him for information but is forced to kill him and escape the scene on a stolen British officer’s horse. Now the British have a thousand dollars on his head, dead or alive, and he has to sign up with them to follow Ogane, the only lead he has left. He and Sagamore seize an opportunity to ride north alongside Captain West and Marion Thorne, not to help out the British or fight in their war but to see what Ogane is up to. The fact that the two goals end up in alignment is mere coincidence from his perspective. Of course, he ends up saving the lives of the other leads. Of course, he scuppers Ogane’s plans on more than one occasion. Of course, his disobeying of orders prompts the British to listen to the trusted Ogane over him. As we head towards the famous massacre, the script becomes even more predictable and it’s both easy to see where we’re going and easy to follow Hawkeye into such predictability with relish.
Brenda Marshall plays Marion Thorne in her final film role, only a decade after her career began. She started out in 1939 with an uncredited role as a secretary in Blackwell’s Island, moved up to the female lead slot for Espionage Agent and The Man Who Talked Too Much, then firmly established herself as a romantic lead in The Sea Hawk, playing opposite Errol Flynn in one of the all time greats of the historical adventure genre. This would have seemed like familiar territory, even separated by so many degrees of latitude, and she’s able to do more than I expected her to get away with. While she is absolutely a damsel in distress, literally being fought over by two strong men (‘Mine!’ proclaims Ogane, pounding his chest in front of four Huron warriors), she does try to avoid the stereotype by fighting back when attacked and even reloading for Hawkeye during one gun battle, because he’s busy rowing a kayak at the time. I appreciated Marshall’s attempts to give Marion actual value but this role is still beneath her.

If Marshall couldn’t do much with Marion because she’s a weak character, Glenn Langan does less as Capt. Jonathan West because he’s just another British officer and he just does what a thousand other actors would have done in his shoes. He isn’t bad, but he’s unable to do anything memorable. That’s really left for the Native American roles, because this is 1950 and Hollywood was still as racist in its casting decisions as the British are to the ‘colonials’ for the majority of this film. There were Native American actors in classic Hollywood, just as there were Asian actors and actors of colour, but that didn’t stop the studios from relegating their talent to the lower characters on the credits list and giving white actors the bigger parts. Filmgoers are usually horrified nowadays by the idea of white actors in blackface, but seem surprised by similar concepts like yellowface and redface, which is personified here by a horrendous showing by Sheldon Leonard as Ogane. Monte Blue, on the other hand, is surprisingly decent as Sagamore.
I’ve seen Leonard in other pictures and enjoyed his work, but then the parts I’ve seen him in were more suited to his middle class New York Jewish upbringing. He played a lot of thugs and heavies in forties crime series, including the Thin Man, Falcon and Joe Palooka series, but he also got odd parts in classics like To Have and Have Not and It’s a Wonderful Life. I don’t remember that he ever played a role as inappropriate as this one, but he was cast in it and he certainly gave it a shot. I don’t even blame him because he’s memorable in his portrayal, but he should never have been cast as a Native American. Ironically, Jay Silverheels had just begun to break the mould in popular culture as the first real Native American star, even if it was through playing Tonto, the Lone Ranger’s stereotypical sidekick. It doesn’t help that whenever Ogane goes back to his tribe, we watch him talk to them but, after he’s fired them up into a frenzy, we cut to overt stock footage of whoopin’ and hollerin’. This and poor rear projection shots hurt the film.

Monte Blue does better as Sagamore but that’s mostly because he was more appropriate for the role. He started in Hollywood back in the teens and worked as an extra or stuntman in early films as important as The Birth of a Nation and Intolerance. He grew to play romantic leads opposite many of the leading ladies of the day, like Lillian and Dorothy Gish, Gloria Swanson and Clara Bow. He was memorable in Orphans of the Storm and White Shadows in the South Seas, amongst a long list of credits. By this point in his career, he’d made over two hundred and fifty movies, which span the map of genres and include titles as prominent as Dodge City, The Mask of Dimitrios and Key Largo, but he was increasingly cast in westerns. All that I knew, but what I didn’t realise until now was that Monte Blue was really Gerard Montgomery Bluefeather, at least a quarter Native American, given that his father was half French and half Cherokee or Osage. Monte Blue brought a grounding, patience and tolerance to this picture that was sorely needed.
The film begins with routine setup, characters and actions slotting together like jigsaw pieces, but when Nat Cutler joins the story by discovering his brother, Sergeant Tom Cutler, shot by traitors, it gains some power and depth. There’s action and intrigue and betrayal, all the things that we might expect from an adaptation, however loose, of James Fenimore Cooper. Hawkeye has to play along with the war to wreak revenge on the unknown man behind his brother’s death and, as poorly as he takes orders, I enjoyed that process as much as I did the performance of George Montgomery. If the war is the background and Blue the grounding, then Montgomery is the heart of the picture. He’s both part of the story and apart from it, hanging around only as long as his story and ours coincide but doing so with a charm that is difficult to ignore. He’s a quintessential Hollywood movie star cast for his matinee idol looks, but even if he’s performing rather than acting, he’s still well worth watching. Happy birthday, George!

Hellzapoppin' (1941)

Director: H. C. Potter
Writers: Nat Perrin and Warren Wilson, based on an original story by Nat Perrin, suggested by the stage play, Olsen & Johnson’s Hellzapoppin
Stars: Ole Olsen, Chic Johnson and Martha Raye

I knew that Hellzapoppin’ had a reputation for being, shall we say, off the wall, but I wasn’t prepared for how off the wall it actually was. I wonder how well prepared audiences of 1941 were, because this is so far ahead of its time that it took everyone else decades to catch up. Sure, we can see some progression from the Marx Brothers, Busby Berkeley and vaudeville, not to mention the wacky world of cartoons, but this goes beyond them to remind of The Goon Show, Monty Python’s Flying Circus and Blazing Saddles, to pick on just three insanely influential titles from future eras that clearly owe a major debt of gratitude to Olsen and Johnson, who I’m now realising were more than just another double act from the thirties, a lesser Abbott and Costello. I’ve seen a little of their work, like Ghost Catchers, and been impressed, but nothing so far had suggested the sheer insanity of Hellzapoppin’. This is because their brand of madness was hindered by film and best performed on stage, where they could imaginatively interact with the audience.

Indeed, this was sourced from a stage revue, which, by all accounts, was more outrageous still than this film adaptation. It began in 1938 and was a huge hit; its 1,404 performances over three years made it the longest-running Broadway musical at the time and it went on the road too, initially during the original run, but again after it: twice in 1942 and again in 1949. Olson and Johnson wrote the show, or as much of it as wasn’t improvised on the spot, and led the cast for much of its original run and for the Hellzapoppin of 1949 tour. The cast of each version was fleshed out by a wild variety of vaudeville performers and the material was updated often in order to remain topical. Its irreverent nature is ably highlighted by the opening newsreel clips of a Yiddish Adolf Hitler, Benito Mussolini in blackface and then-President Franklin D. Roosevelt reciting gibberish. It continued on with what Celia Wren called a ‘smörgåsbord of explode-the-fourth-wall nuttiness’. Given what’s in this picture, especially as it begins, I can buy that absolutely.
What I got from this film is that Olsen and Johnson, the only cast members who transferred over from the stage revue to the film adaptation, never found a rule that they didn’t want to break. The revue had clotheslines strung above the audience, which had a variety of stooges carefully placed to interact with the show, which often left the stage; chorus girls danced with members of the audience or even sat in their laps. Some signature gags made it into the film: a woman wanders around shouting, ‘Oscar!’ while a man does likewise trying to deliver a plant to ‘Mrs. Jones!’, a plant that keeps growing throughout the show. In the revue, it even continued on after the show had ended, as he was found stuck in a full sized tree in the lobby as audience members left the venue. Obviously, that end couldn’t be realistically transferred to film; neither could the buzzers that were fitted to random seats in what sounds suspiciously like what William Castle would call ‘Percepto’ when exhibiting The Tingler two decades later in 1959.

Universal did impose a little structure onto the picture, at least once we get into the main thrust of it which starts around thirteen minutes in. So much happens in the prior time that I gave up taking notes, even though I type at 160 wpm, and tried to absorb the insanity instead. I replayed those thirteen minutes to my son, who wouldn’t dream of watching a 1941 musical even if he got paid to do it, and saw him grin his way through and suggest that he wouldn’t mind actually seeing the picture. That’s how ahead of its time this stuff is. In fact, anyone who enjoyed the honest digs that Deadpool hurled at its own genre would recognise the approach here, 75 years earlier. ‘It’s a picture about a picture about Hellzapoppin,’ the director explains. ‘It’s a great script. Feel how much it weighs.’ The stars aren’t impressed. ‘Listen, buddy. For three years we did Hellzapoppin on Broadway and that’s the way we want it on the screen.’ The director disagrees: ‘This is Hollywood. We change everything here. We got to.’ The simple reply is, ‘Why?’
The layers aren’t merely deep, they’re Escher-esque. The entire film starts with Shemp Howard as a projectionist called Louie who kicks off the film from his booth. We watch him watch a traditional, glamorous musical number on his screen, before the staircase they’re descending folds in on itself and tumbles them straight down to Hell behind the opening credits. Now we’re watching the surreal musical number of the title, with its telling lyrics: ‘Hellzapoppin’! Old Satan’s on a tear. Hellzapoppin’! They’re screaming eveywhere. See the inferno of vaudeville; anything can happen and it probably will!’ Into a landscape of acrobatic dancing devils tormenting elegantly attired ladies and gentlemen who look like they might have wandered over from a Fred Astaire and Ginger Rogers picture to be jabbed with pitchforks, turned on spits or canned for future consumption, ‘our prize guests’ show up by taxi. ‘That’s the first taxi driver who went straight where I told him to!’ Ole Olsen mutters.

After burning up the taxi in a special effect, they ask Louie to rewind the picture so they can see that part again. ‘Don’t you know you can’t talk to me and the audience,’ he tells them, but rewinds it anyway so they can redo the effect and transform the cab into a horse instead, with a tic-tac-toe board on its butt. Does anything here make sense? Well, they then promptly walk off the set and argue with the director. ‘You’ve got to have a love story,’ he insists. Why? ‘Because every picture has one!’ He wants the studio’s writer, Elisha Cook Jr., to write one in and, after walking through a variety of sets with instant costume changes but a consistent running conversation, they sit down to watch what the studio wants in a photograph that turns into a interactive video, eventually adding Olsen and Johnson into the frame. They’ve been talking to characters in the photo, then overdubbing them with dialogue as if they’re robots on Mystery Science Theater 3000. Now they’re in the picture within a picture and we can finally maximise.
I adored those thirteen minutes of sheer cinematic genius and still have trouble believing that I’m watching something from 1941. It isn’t just the age, but the Production Code. We’ve spent most of the time in Hell, with an army of devils torturing the young and beautiful, and we’ve experienced at least one casual murder, one casual suicide and one casual animal killing. Sure, they’re all off-screen, but that’s not the point. Now we’re about to move onto mass theft, destruction of museum property and, eventually, rape, even if it’s a woman ravishing a man. That still counts and it was rather subversive in the Production Code era. I’m shocked at how much Olsen and Johnson got into this movie, all while showing us how Universal wouldn’t let them do what they want. It’s hard to quantify how surreal it was watching this introductory sequence and, to only a slightly lesser degree, the rest of the picture, but I had an absolute blast doing it, again not something I tend to have watching classic era musicals.

Of course, there are jokes, which come thick and fast, thicker and faster even than Mel Brooks delivered in Blazing Saddles. It’s fair to say that a decent amount are obviously set up gags that we can see coming: the balloons, the cactus, the kitchen sink. Others are just plain awful, like the coat of arms. Some are neatly topical, like the sled they pass walking through an eskimo set with the word ‘Rosebud’ painted on it. ‘I thought they burned that,’ comments Chic Johnson. Many are neatly self-deprecating. The man with the ever-growing plant interrupts the stars as he searches for Mrs. Jones. ‘We’re making a movie!’ they protest at him. ‘That’s a matter of opinion,’ he replies. The lady shouting for ‘Oscar!’ first appears asking for Olsen and Johnson’s autographs, but rudely snatches her autograph book back when she realises who they are. That suicide was of a cameraman trying to avoid the torment of making this very picture. The edgier the humour, the more important it is to be aimed as much inward as outward.
Now, this hasn’t sounded too much like a musical yet, the opening number really just a theme tune, but we do get there in the end. The romantic plot that Universal are so keen on introducing revolves around a simple love triangle, but it unfolds at a mansion in Long Island that’s packed full of people for a Red Cross benefit. It’s the Rand estate and the ‘disgustingly rich’ and beautiful young Kitty Rand is at the heart of that love triangle. One of her beaus is Jeff Hunter, a playwright who’s staging a revue called Broadway Bound in her spacious backyard, with its stage the size of a Busby Berkeley set; she loves him and he loves her, but he won’t marry for money. ‘That’s crazy,’ suggest our stars. ‘That’s movies,’ insists the director. The other is Woody Taylor, Jeff’s best friend, who has the eye of Kitty’s parents, perhaps because he’s also disgustingly rich. I can’t argue that this nod to convention doesn’t hurt to ground the outrageous humour but it also aids it in ways I didn’t expect and that impressed me.

The actors in this love triangle are well cast. Jane Frazee is a delightful young lady whose work here appears to be effortless. She’d previously appeared in a number of musicals, occasionally with her sister Ruth with whom she’d been performing for many years. She had a busy 1941, beginning it as the leading lady in Abbott and Costello’s Buck Privates and ending it here as the leading lady in an Olsen and Johnson movie. In between were Sing Another Chorus, Angels with Broken Wings and Moonlight in Hawaii, all musicals, as was San Antonio Rose with its odd comedic double act of Shemp Howard and Lon Chaney Jr. Lewis Howard plays Woody Taylor like an honest but dumb waste of space, which is appropriate for the story but unfortunate for his chances to do much. It’s no surprise that Kitty ends up with Jeff Hunter, as Robert Paige is the epitome of the bland romantic hero musicals adored. He’s just like Allan Jones in the Marx Brothers films, a good looking prop with a good voice who couldn’t steal a scene from the stars if he tried.
If only all those other films did what this one does with these beautiful people. As Kitty and Jeff share a suitably soporific number on the empty backyard stage, a note is plastered up on the screen over them: ‘If Stinky Miller is in the audience, go home now!’ it reads and I howled with laughter. After another message is ignored, they interrupt the song to reinforce it themselves, imploring the kid directly, as does Hugh Herbert, who pops around a theatre curtain. And, sure enough, Stinky Miller stands up in silhouette and walks out. I have enough trouble with classic musicals anyway, but I’m going to ache for a recurrence of this scene in all that I see from now on. Further comedic manipulation of musical numbers ensues, but they’re livened up generally through most being sung by Martha Raye, who would have been a hundred years old today, 27th August. I haven’t seen many of her pictures, but I did enjoy her performance here because she provided a bridge between the comedy and the songs.

Raye was a real character, born to vaudevillian parents who started her out in their act at the age of three. She sang for orchestras and on radio, eventually finding her way to film in 1934. Her debut feature two years later was alongside Bing Crosby in Rhythm on the Range and, like Frazee, she came to this from a 1941 Abbott and Costello movie, this time Keep ’em Flying. She was so well known that Warner Brothers caricatured her as a jazz singing donkey in a 1937 cartoon, The Woods are Full of Cuckoos. Her prominence was something that stayed throughout her career, helped by her relentless work for the U.S.O., which saw her described as the female Bob Hope. My better half knew her best playing up her ‘Big Mouth’ nickname in a set of annoyingly omnipresent commercials for Polident denture cleanser. In her private life, she was a conservative Republican and devout Methodist who taught Sunday School classes, but still managed to marry seven different people, divorcing six of them within just over two decades.
She seems to have had a lot of fun here and the most memorable musical numbers are hers, especially Watch the Birdie, which sees her pausing the picture at key moments during the song. Oddly, given that Jeff’s words to her screen brother, Chic Johnson, when he sees her are, ‘Don’t tell me you brought her?’ she gets a good proportion of the singing time in his backyard revue. Given that the wild situation comedy leads Olsen and Johnson to sabotage Jeff’s show under good intentions, that involves Raye singing while inhaling sneezing powder, being stuck to flypaper and even being chased by a man trying to read a pulp in her spotlight. I have no idea how these apparently disconnected performances were supposed to gel together, but I enjoyed the sabotage, not only the bit where they nail the antebellum skirts of a bevy of beauties to the stage and they walk right out of them. Raye is even thrown into the audience, after the introduction of tacks, only to be thrown back on by the Frankenstein’s monster!

At the risk of letting this review keep going forever, there’s much more here that’s worthy of comment. As befits a show rooted in a vaudeville revue, there are a collection of talented folk doing impressive things. Some are actors, as you might expect for a film; I’ve mentioned Shemp Howard and Elisha Cook Jr., but Mischa Auer and Hugh Herbert get plenty of screen time too. The former is a real nobleman pretending to be a fake one for effect and he’s the character who’s surely raped by Martha Raye’s. The latter plays a private detective for no reason I could ascertain, except to give him a vague excuse to wear more disguises than can comfortably be imagined. Others are performers, such as the Olive Hatch Water Ballet, who put on a Busby Berkeley style show in the pool, and Whitey’s Lindy Hoppers, credited as the Harlem Congeroo Dancers, who perform what appears to be an insanely dangerous dance routine to the accompaniment of Slim and Slam, both musicians and dancers sadly having to pretend to be exuberant servants.
What I have to come back to most, however, is just how much Olsen and Johnson play with the traditional filmgoing experience. At one point, Shemp Howard’s projectionist is trying to get it on with an usherette, only for her to bump the projector. Suddenly, the stars are separated on screen by the projector showing half of consecutive frames in a device I’ve only ever seen done in cartoons before; they even fix the problem themselves by reaching up and pulling the frame down, a move I might expect of Bugs Bunny or Daffy Duck rather than a pair of comedians in a 1941 musical. Then they’re upside down. Then the cavalry rides through as they’re in a completely different picture, which magically interacts with them. ‘The big dope!’ Olsen says of a native American with a rifle, who promptly changes his aim to shoot the star. I have to call out the visual effects of John P. Fulton for special praise, as many of them are seamless, including the zany extension of concepts that he had first explored in The Invisible Man.

To suggest that this film surprised me is an understatement. While I’ve seen many of these actors before, this was easily the most I’ve seen our birthday girl, Martha Raye, and I’m eager to explore how versatile she was in pictures as varied as Never Say Die, The Phynx and Pufnstuf. I’m also now highly aware that I’ve overlooked Olsen and Johnson’s contributions to thirties comedy. The gags aren’t all as original as they sound, not only because of a host of cartoons but because of silent comedians like Charlie Chaplin and Buster Keaton too; Sherlock Jr. especially came to mind while watching. However, I’ve never seen the lunacy of the Marx Brothers ratcheted up this high before and I’m intrigued as to how much this double act managed to get this across on the more inherently restrictive medium of film, as compared to the stage. I want to revisit Ghost Catchers and especially find Crazy House. IMDb credits might suggest that Olsen did little except co-write You’re in the Army Now, but this film proves otherwise. Now let’s watch it again!

Thursday, 25 August 2016

23 Paces to Baker Street (1956)

Director: Henry Hathaway
Writer: Nigel Balchin, from the novel The Nursemaid Who Disappeared aka Warrant for X by Philip MacDonald
Stars: Van Johnson and Vera Miles
I’ll be posting a flurry of centennial reviews at Apocalypse Later this week, with three due in three days. I’ll be celebrating Martha Raye and George Montgomery on Saturday, while today marks a hundred years since the birth of Van Johnson, who shared a wife with my last subject, Keenan Wynn. In fact, Johnson married Eve Abbott, a stage actress, the day after her divorce from Wynn was finalised. To be fair, she later explained that the whole thing was conjured up by MGM, as Louis B Mayer wanted a big star like Van Johnson to have a wife to hide the fact that he was gay, so ordered what was known in Hollywood as a lavender marriage. The star remained a big name, even in 1956 after he had been dropped by MGM. He’s still justly remembered for movies like Thirty Seconds Over Tokyo and The Caine Mutiny, but I chose this little gem from 20th Century Fox that gifts him with the opportunity to portray a blind playwright, who overhears a conversation that leads him into a race to save a kidnapped child. Its a dream of a role.

He’s Phillip Hannon, an American living in self-imposed exile in London, where he writes by dictation, capturing his work on a reel to reel tape recorder for Bob, his assistant, to type up. His first words are rather telling, partly because they’re minor revisions to a hit play he’s bringing from Broadway to the West End rather than anything new and partly because they reflect the bitterness that has eaten him since he became blind. ‘Sorry?,’ he barks into his mike. ‘What have you been to be sorry about? You didn’t make the world and neither did I!’ When Jean Lennox promptly arrives from New York, he pours bitterness all over her too. She’s clearly an ex from her first appearance even though she just as clearly doesn’t want to be, although 1950s Hollywood weakened what should have been a relationship between a boss and his secretary by making them actually engaged. ‘And then it happened,’ she tells Bob. ‘He didn’t like having me around. So I was fired.’ And so Hannon is even more of an ass than he should have been.
Jean is played by Vera Miles, who is a soft spoken delight in this picture, which arrived at a crucial point in her career. Only a year earlier, she was a Miss Kansas playing the love interest in Tarzan’s Hidden Jungle, but then she gave a great performance in Revenge, the pilot episode of the Alfred Hitchcock Presents television show. That prompted Hitchcock to cast her opposite Henry Fonda in The Wrong Man, later in 1956, then Vertigo (though she was replaced because of pregnancy by Kim Novak), and, of course, Psycho. She’d starred with John Wayne in The Searchers immediately before this picture and John Ford would later cast her between Wayne and Jimmy Stewart in The Man Who Shot Liberty Valance. She lives up to that promise immediately. When Bob asks if she’s a friend of Mr Hannon’s, she replies simply, ‘Well, I think of myself as one,’ a line that superbly explains their relationship at this time. When her former fiancé takes her onto the balcony to point out to her the sights of London, she deliberately looks only at him instead.

Of course, the script has to find some way for Hannon’s bitterness to be somewhat abated, because we don’t want to watch him for ninety minutes like this, and the next scene sets that up beautifully. He heads over the road for a double scotch at the Eagle and to listen to the world. Initially it’s just a gentleman playing a pinball machine, but then it’s a pair of enticing voices within the Ladies Bar right behind him. A lady pleads not to be forced into a crime by her companion, who sounds rather like Peter Lorre trying to be the Godfather. His hearing enhanced by his loss of vision, Hannon nonetheless strains to hear this conversation and remember the dialogue, so that he can promptly record it after returning to his apartment, in turn so he can replay it later to the police. He believes that the woman was a nursemaid to nobility and she is being forced to get something from Mary to give to Evans on the upcoming 10th of the month. A robbery? The kidnapping of a child? ‘It’s something,’ he says. ‘Something very wrong.’
I’m going to pause for a moment to return to that concept of lavender marriage. The unnamed barmaid who serves Hannan is the wonderful Estelle Winwood, a stage actress who made few films over her long life (she was the oldest actress in the Screen Actors Guild when she died in 1984 at 101). She was married four times and at least one was a lavender marriage, to gay theatre director Guthrie McClintic, whose further lavender marriage of forty years to the lesbian stage actress Katharine Cornell is often cited as a prime example of the practice; theirs is the photo which illustrates the Wikipedia article on the subject. I tend to think of Charles Laughton and Elsa Lanchester, he being gay and she bisexual, though that may have returned to mind as I remember Winwood as Lanchester’s nurse in Murder by Death. Winwood was one of the Four Riders of the Algonquin, with Eva Le Gallienne, Blyth Daly and Tallulah Bankhead, her best friend for decades. All were lesbian or bisexual and some considered or joined lavender marriages.

Even though gay marriage has only recently been made legal in the United States by the Supreme Court, most of us are aware that gay people exist, probably because we know them and may even be related to them. It’s hard to believe that people didn’t actually know that Liberace was gay, for example, but that’s because it was an underground concept at the time. Back in the early years of the twentieth century, public opinion made it nigh on impossible to be both gay and have a prominent career in Hollywood, which was notably awkward for the many people who were both. Most maintained the latter by hiding the former and there was never a better way to hide homosexuality than getting married. Most outrageously, this was often not by choice but because some studios placed morality clauses in contracts, which prompted the downfall of some and the impetus for others to be forced into lavender marriages. Times have certainly changed; we don’t even have separate rooms in which ladies must drink in pubs any more!
Back to the film at hand, both the characters and the story have just leapt into motion. The police listen politely to Hannon’s story but dismiss his interpretation of the conversation entirely, albeit more because he’s a dramatist than because of his blindness, as it could be argued that his very job description tasks him with imagining things. ‘Is that all there was, Mr Hannon?’ they ask. And so, as tends to happen in such tales, he must become an amateur sleuth and solve the mystery himself. Crime fiction is full of unlikely detectives but what makes Hannon special is that his blindness doesn’t merely hinder his ability to investigate, the very case itself provides the spark he’s needed to come to terms with it. It also brings Jean back into his life, because he connects the perfume the lady was wearing with what she used to wear when they were together. She soon becomes his right hand again and explains to the police why it’s important. ‘You see,’ she tells them, ‘this is the first real thing that’s brought him to life in a long time.’

In other words, this mystery provides him with both a constant reminder of his disability and a number of reasons to live his life as best he can anyway. There are points where he simply forgets to be bitter, wrapped up as he is in the hunt, and Johnson does well at suggesting that without ever making it obvious. In many ways, he’s playing a character who’s playing a part but gradually losing connection to that part and becoming himself again. He even finds benefits to being blind, which he would never have considered even so recently at the beginning of the film. ‘Oh, you people with eyes!’ he tells Jean when she fails to hear or smell what he does. ‘You’re so busy looking, you never notice anything!’ Clearly, this script takes Hannon’s blindness seriously, not only as a gimmick but also as a means of deepening both his character and the mystery that he’s driven to solve. That’s very Hitchcockian and it’s yet another reminder of Rear Window, made two years earlier, to which this often warrants comparison.
The screenplay was written by Nigel Balchin, a novelist before he ever became a screenwriter. At this point, two of his novels had been adapted to the screen and a third for the stage. One of them, The Small Back Room, which had popularised the term ‘back room boys’, was filmed by Michael Powell and Emeric Pressburger. He didn’t write the source for this picture though, adapting one by Philip MacDonald, another novelist whose work had been frequently adapted to film, hardly surprising given that his father was a writer and his mother an actress. In fact, two of his novels had been filmed by Michael Powell, underlining a connection between MacDonald and Balchin. This was the fourteenth adaptation of a MacDonald work and the second of his novel, The Nursemaid Who Disappeared, also known as Warrant for X. This was the looser adaptation, given that it removes the detective who investigates the crime, Anthony Gethryn, and renders the playwright blind, so this story would seem to be as much Balchin’s as MacDonald’s.

Beyond the script, the film adds other worthy elements. It was shot in Cinemascope, so it’s big and wide from the opening shots of the Thames, and it was shot by someone who knew how to put that format to good use. He’s Milton R Krasner, who had, two years prior, shot Three Coins in a Fountain, which won him the first Oscar awarded for cinematography in a widescreen film. It was shot in London, so the opening panoramas of the Thames were original location footage rather than spliced in material borrowed from a stock vault. MacDonald was well known for writing visually, but Krasner and director Henry Hathaway set up a number of highly impressive shots, including one where the blind playwright has been suckered into a partially demolished building and is about to walk off the edge of a room into nowhere. There’s also clever use of the London fog, both visually and within the story, given that the very title comes from directions Hannan can give to someone with sight who’s rendered just as blind as he is by the fog.
Generally, this is a solid thriller from an era of solid thrillers. It bears strong comparisons to the work of Alfred Hitchcock, not only Rear Window, which also centered around a crime only believed by one man with a disability, but others too. The downside is that it needed Hitch to ground it better. Balchin’s script is capable and includes much that’s praiseworthy but it relies on two things. One is the twist, which I saw through immediately, partly because I’d seen a more famous film that features the same twist (admittedly it didn’t arrive for another year but was based on a hit play from 1953, in turn based on a famous short story from 1925). The other is the progression of discoveries, because we have to rely entirely on Hannon for these as they’re not the sort we can figure out in advance. This isn’t a mystery for us to solve along with the protagonists; it’s a procedural where we watch the protagonists solve it and thrill to the cleverness of it all. As long as we’re OK with those caveats, it works well, but if we’re not, they’ll hurt the film.

Wednesday, 17 August 2016

The Yellow Ticket (1931)

Director: Raoul Walsh
Writers: Guy Bolton and Jules Furthman, from the play by Michael Morton
Stars: Elissa Landi, Lionel Barrymore and Laurence Olivier
This review is part of the Second Annual Barrymore Trilogy Blogathon hosted by In the Good Old Days of Classic Hollywood. This is my Lionel Barrymore review after Ethel on Monday and John yesterday.
Welcome to day three of the second annual Barrymore Trilogy blogathon, hosted by In the Good Old Days of Classic Hollywood. I enjoyed my three picks, selected not just to cover each of Ethel, John and Lionel Barrymore but to follow a further theme: that of writers. On Monday, I explored Deadline - USA, in which Ethel and her screen daughters sell a newspaper while a very determined Humphrey Bogart fights to keep it alive. Yesterday, I watched John the consummate scene-stealer chew up as much scenery as he could find in True Confession, in which a fanciful Carole Lombard attempts to write novels, while other invented stories change her life. Here, I’ll wrap up with Lionel in The Yellow Ticket, an unabashed melodrama with Laurence Olivier as a newspaper reporter on assignment in Russia, where he meets one young lady who shakes up everything he thought he knew. It’s a fascinating picture but one that was clearly made much too late. It must have felt almost as out of date in 1931 as it does today.

Really it’s a propaganda piece to warn us that the people who run the Russian Empire really aren’t very nice, but it was released in 1931, when the Russian Empire was long gone and those paying attention were worrying more about a new leader finding his way to power a little further to the west. In 1914, when Michael Morton wrote a play called The Yellow Ticket, it was topical. Europe was about to stumble into war and this play was set only a year earlier. It ran for 183 performances between January and June, starring Florence Reed and John Barrymore, Lionel’s younger brother. In 1916, when Edwin August adapted it to film, initially as The Yellow Passport and, later in re-release, The Badge of Shame, it remained topical because the scuffle that people suggested would be over by Christmas was raging through its third year and Tsar Nicholas II was still in power in Russia. Even in 1918, when filmmakers made two further adaptations, The Yellow Ticket in America and Der gelbe Schein in Germany, the Russian Revolution was still resonating.
But 1931? It was a different world. The heavy-handed anti-imperialist propaganda misses its target because that target, the Tsar, had been in the grave for fourteen years. In fact, Vladimir Lenin, the leader of the Bolsheviks who had ousted and executed him, was himself seven years dead, with Joseph Stalin consolidating his positions of power and getting ready to begin the Great Purge later in the decade which saw at least half a million and maybe over a million people murdered by the Soviet government. Maybe Raoul Walsh, who had played John Wilkes Booth in The Birth of a Nation and built quite a career as a director, with films such as The Thief of Bagdad, What Price Glory and The Big Trail to his name, should have taken on Stalin instead, but no, this was to be one last pot shot at the empire of the long dead Tsar Nicholas with Lionel Barrymore personifying it through the role of Baron Igor Andreeff, a severe man with fingers in many pies but presumably including running the police force, perhaps also the secret one.

Before we get to him, though, we need to experience his Russia from a different perspective, that of Marya Kalish, a teacher and a Jew, which religion is being persecuted by the Cossacks. It’s 1913 and martial law is declared, with all Jews confined to ghettos. No love can be found for those Cossacks in her classroom! After casually mentioning to her children that Russia is so big that it houses 200 million Russians, so many that every time you take a breath one of them dies, little Milva starts breathing quickly just to speed up the process. Her brother arrives home from St. Petersburg, where he was imprisoned for six months for non-payment of unjust taxes, and he brings news of their father, Abraham, who’s seriously ill there. Marya must go to him, but the authorities won’t allow a Jew a passport. Fortunately, by observation of other Jews being allowed onto trains, she discovers another way: the yellow ticket of the title, effectively a license for prostitutes. ‘You can go anywhere with it,’ says Fania Rubinstein. ‘Anywhere there’s men.’
There’s much worthy of note here, both good and bad. A local madam in Kiev signs one for her for 50 roubles with a very pre-code line of, ‘Take that to the police. I’m well known there.’ That reminds that we’re in 1931, a time of freedom from American censors, something that becomes very apparent when some actual nudity shows up, in a St. Petersburg prison, after Marya is locked up for fifteen days for failing to register with the local police, having forgotten about the yellow ticket once it had served its purpose; it’s apparently not as easy to get rid of one as it is to acquire one to begin with. It’s also very melodramatic in the way that many early sound films were, their stories sourced from stage plays. However, if the melodrama fit the time, the action doesn’t. Most of those adaptations of plays were static affairs, focused around wherever the studio could hide the large microphones of the time. This, on the other hand, is a surprisingly dynamic affair, which refuses to sit still for long, leaping around Russia with abandon.

Surely much of the credit here goes to James Wong Howe, the cinematographer, who was still freelancing at the time. He’d started in film as far back as 1923 and wouldn’t john MGM until a decade later. He would be notable for much of his work for them, but the Academy didn’t acknowledge him until 1939 when he shot Algiers and received an Oscar nomination for doing so. He didn’t win for that film, indeed not until The Rose Tattoo in 1956, but he ended up with two wins from nine nominations, his last being Funny Lady as late as 1975. He uses some interesting filmmaking technique to highlight how lively it is at Madam Petrova’s brothel and there’s more when Marya gets to wherever her father is. Presumably it’s a prison, but it looks more like a cross between a deep mine and one of Dante’s circles of Hell. It gets more traditional as it runs on, but it’s never stagebound, never boring and never remotely like the usual adaptations of stage plays to Hollywood screens in 1931. This is a textbook of how it was possible to move the camera.
Of course, the leads have to cross paths sooner or later. ‘Isn’t there someone I could go to?’ Marya asks a fellow prisoner, who tells her that the yellow ticket will follow her to the grave. ‘Someone who’s at the head of all this?’ We cut immediately to the name of Baron Andreeff, to whom we’re about to be introduced. Soon he rides off to a Moscow park with his nephew, Count Nikolai, so he can abuse Boris Karloff, three films away from Frankenstein and escape from bit parts like this. IMDb calls him a ‘drunken orderly’, but he’s really a soldier tasked with taking care of the horses of his betters. He’s no orderly, but he’s certainly drunk. After picking himself back up off the ground, he tries it on with Marya on a park bench. Count Nikolai promptly rescues her so he can try it on with her instead, merely with panache. ‘Not only your hands,’ he suggests, ‘but your lips are shaking.’ The Baron then rescues her in turn, so he can try it on with her as well, but the Count retrieves her purse and very prominently returns her yellow ticket.

So, no chance of salvation there! She’s stuck with her yellow ticket, even if it’s brought her nothing but misery. It didn’t get her to her father, as he was dead when she got to St. Petersburg, but it did get her into jail and now it’s got her into acute embarrassment in front of the most important person she’s ever met in her life, ruining her chances of escaping her brand of a ‘crooked woman’ in the process. So she takes the train back to St. Petersburg and finds herself sharing a carriage with British journalist Julian Rolfe. We’re almost half an hour of set-up into the story, but we’re about to really get moving in a number of directions. For one, she’s a revelation for him, someone who has read his work and appreciates it, if only he would reveal the Russia that she knows. ‘I’m sure there’s a lot you haven’t seen,’ she tells him, so he hires her as his secretary. For another, she’s a beautiful young lady with whom he quickly falls in love, proposing marriage within a couple of weeks, not that she’s ready to accept given her circumstances!
Rolfe is played by no less a name than Laurence Olivier, in only his second American film. He’d taken a two picture deal with RKO for $1,000 a week, against the advice of Noël Coward, who had become a mentor to the young actor after putting him to successful work in Private Lives. First up was Friends and Lovers and then Westward Passage, but in between the two they loaned him out to Fox for this picture. He plays Rolfe like many of his early stage notices: dynamic but light. While Elissa Landi, playing Marya, allows the plot to weigh down on her like an albatross, Olivier as Rolfe naïvely shrugs it off as nothing that could possibly affect him. Cultural historian Jeffrey Richards suggests in Visions of Yesterday that he really played Ronald Colman playing Julian Rolfe, right down to a mimicked moustache. On one hand, this is a problem, because the material is heavy and pretending otherwise doesn’t change it in the slightest. On the other hand, the material is heavy so Olivier’s light touch works as a breath of fresh air, a welcome break.

At least Olivier was playing a character of his own nationality. Fox did go to some trouble to make this feel authentic, painting the various signs in Cyrillic. However, Elissa Landi was an Italian actor with a cultured accent who comes across more as Scandinavian than Russian. She’s too erudite to work as a common woman, even if she’s educated and taught for a living. Lionel Barrymore isn’t as interested in playing a Russian police chief as he is a movie villain, so his voice, which sounds just as it usually was when playing Americans, isn’t as important as it might otherwise have been. What matters is that he’s a bad man, a ruthless man and an entitled man, even if he’s also a punctual man. The first thing he does in the film is to receive a prison warden who has brought him a set of cases recommended for mercy. These men are up for execution the next day but Andreeff growls, ‘I haven’t time to wade through all this,’ and promptly tears them all in half. Rumour has it that he wears a steel corset and we can understand why.
It’s hard to describe The Yellow Ticket today. At times, it’s contemporary social comment, but at others period historical drama and, of course, fluffy romance masquerading as adventure. When the Baron introduces the cabinet full of the tools used in assassination attempts against him, we wonder if it’ll become a Eurospy flick. Whatever else it’s doing, it’s melodramatic, often outrageously so. We didn’t need Landi screaming, ‘You’ll pay!’ at the people who sent her to see her father without telling her that he was a corpse. We didn’t need Barrymore’s suggestion that, ‘Russia really needs a new Herod! We need to slaughter the innocents!’ We certainly didn’t need Olivier punching out the Greek who wants to pay Marya for services in her carriage. We understood these archetypal roles immediately. How overtly Walsh hammers his points home underlines how this is really a propaganda film, merely one that loses most of its power for being delivered at least a decade too late. Down with the Tsar who’s already six feet under! Down, I say!