Experiment Perilous (1944)

Experiment Perilous

If any man had one moment of sanity, in that one moment, he would take himself out of this world. When psychiatrist Hunt Bailey (George Brent) encounters elderly Clarissa ‘Cissie’ Bedereaux (Olive Blakeney) during a violent storm on a cross-country train trip in 1903, his unusual relationship with the strange Bedereaux family begins with an introduction by his friend on arrival in New York. Suspicious of Cissie’s sudden death by heart attack at her brother’s house just hours after they parted and entranced by a painting he sees of Allida (Hedy Lamarr), the gorgeous but troubled wife of Nick Bedereaux (Paul Lukas), Hunt sets out to discover if Allida is really insane, as her husband claims – or if Nick is the disturbed one. He finds a he said-she said scenario but starts to believe Nick is gaslighting Allida when he overhears a suspicious conversation between Nick and their young son whom the man appears to have imprisoned at the top of a spiral staircase.  He now believes Nick is mad and Allida is in danger … Life is short and the art long. Decision difficult, experiment perilous.  Warren B. Duff’s screenplay (adapting a novel by Margaret Carpenter) is an efficient entry in the Gothic genre that took off during WW2. Director Jacques Tourneur handles it well enough but it doesn’t have the kind of tension that marks out the classics. Lukas is never as threatening as you would hope and Brent is as usual the classy caring handsome gent we all know and love but the action has no compelling line. It’s worth seeing for Lamarr, that stunning and poorly deployed actress who takes on a type of role made famous by Ingrid Bergman and applies her own particularly distanced interpretation, with the maternal focus lending it a poignancy.  That Lukas is the older husband who groomed a much younger wife for society has its echoes in Lamarr’s own biography. The strangers on a train inciting incident is well constructed and the social scene nicely established but the cod-psychiatry might irritate.

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This is Bob Hope (2017) (TVM)

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The PBS series American Masters tackles the most influential comic of them all, London-born Leslie Townes Hope, aka Bob. Narrated by Billy Crystal, reading from Hope’s diaries, this commences with difficult stuff:  Woody Allen addresses the star’s Republicanism and the film is bookended with another thorny issue – his hopeless philandering, which his adopted children admit their mother knew about and tolerated as long as nothing was brought home. The bulk of the film however is a compelling story of child poverty, reform school and clawing his way from Cleveland to Broadway, through vaudeville, singing and dancing, until he found his niche MC’ing shows and getting a break on radio until comedy shorts and Hollywood beckoned in 1934. He basically developed the first standup routine and specialised in topical jokes. He became in demand to the point that he needed writers to supply him with gags. They needed a character to build the shtick around so the ‘type’ was a cowardly, skirt-chasing braggart – not unlike Hope in real life. It’s a persona that’s much-imitated and Woody Allen’s work exemplifies this but he declares of his inspiration, ‘He’s just more gifted’. Hope’s writers? Guys like Mel Shavelson and Larry Gelbart.  Dick Cavett suggests that Hope’s vocal tone is responsible for his impact:  ‘the very sound of his voice made you laugh.’ Brooke Shields contributes, ‘He could do more with a look or a glance than most of us could do with a monologue.’ His signature song, ‘Thanks for the Memory’ was a rare moment of emotion;  while his one dramatic performance showed he had acting chops too. He had the number one radio show in 1941 and throughout the war years, when he brought an entourage to the fringes of the combat zones to entertain the troops, a lifelong avocation doing 57 tours in 50 years. On radio, on the screen with Bing Crosby in the Road movies or on TV specials, he conquered all the main entertainment media and made a fortune through canny investments – a fact he was advised to tackle head-on by joking about it. Filled with marvellous footage, newsreel, photographs, clips and interviews (including Kermit, Leonard Maltin, Conan O’Brien and Margaret Cho), this is an essential history of an innovator, written, produced and directed in a zippy style by John Scheinfeld.

Night of the Demon (1957)

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Aka Curse of the Demon. Where does imagination end and reality begin? What is this twilight, this half world of the mind that you profess to know so much about? How can we differentiate between the powers of darkness and the powers of the mind?  American professor Dr. John Holden (Dana Andrews) arrives in London for a conference on parapsychology only to discover that the colleague he was supposed to meet, Professor Harrington (Maurice Denham) was killed in a freak accident the day before. It turns out that the deceased had been investigating a devil-worshipping cult lead by Dr. Julian Karswell (Niall MacGinnis). Though sceptical, Holden is suspicious of Karswell. Following a trail of mysterious manuscripts, Holden finds out that the sole link between Karswell and Harrington is a supposed murderer Rand Hobart (Brian Wilde) who is now catatonic. At Harrington’s funeral he meets the man’s niece Joanna (Peggy Cummins) who gives him Harrington’s diary. He enters a world that makes him question his faith in science…  Adapted by producer Hal E. Chester, Charles Bennett (responsible for creating Hitchcock’s trademark tropes) and Cy Endfield, from the story Casting the Runes by the great M.R. James, this is one of the best horror films ever made. Notwithstanding the material’s power, the producer argued with director Jacques Tourneur (and Bennett) as to whether the demon should actually be shown – the producer won. Andrews (replacing Robert Taylor) is pretty good in a film that just drips with tension:  you wouldn’t want to attend a seance led by Athene Seyler in a hurry.  Locations include Brocket Hall, Herts., Stonehenge, Salisbury Plain, Bricket Wood Railway Station, Heathrow Airport, the Savoy and the British Museum Reading Room. It’s totally terrifying, incredibly atmospheric and an under-seen minor classic of the genre. I’ve heard it I’ve seen it I know it’s real

Queen of the Desert (2015)

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Who knows best about tribes? In 1902 Gertrude Bell Nicole Kidman the daughter of wealthy British parents and a recent Oxford graduate. has no interest in the social life of the London elite. Balls, receptions, and a life of privilege bring her only boredom. At one dance a potential suitor actually suggests fornication and alludes to her similarity to his prize herd. Aspiring to some usefulness in her life, Gertrude decides to join her uncle who occupies a high diplomatic position in Tehran. There the young lady not only encounters the Near East but also falls in love with an embassy employee, Henry Cadogan (James Franco) who adores her for her perspicacity and teaches her Farsi. However, their romance does not last long as her parents consider the young man a poor matrimonial choice for their daughter and forbid the marriage. Desperate, Henry commits suicide, failing to reconcile himself to the enforced separation. Gertrude finds out in a letter home following her mother’s death. For the remainder of her long life Gertrude Bell completely devotes herself to exploring and writing about the Near East in the wake of his death. She encounters T.E. Lawrence (Robert Pattinson) on an archaeological expedition and turns down a request to become a spy for the British Government. She visits her beloved Bedouin tribes over the Arab lands and earns their trust. Upon going to Damascus she encounters Major Charles Doughty-Wylie (Damian Lewis) and he confesses his passion for her but he’s married. She is kidnapped by an emir who wants to marry her – she could be his mother.  And when she returns to Syria, she finds World War One has spread … I would give my life for a woman like you.  This extraordinary story, of a pioneering woman traveller, writer, archaeologist and (eventually) a politician whose views shaped the delineation of the borders in the Middle East, following the implosion of the Ottoman Empire, gets a romantic biographical treatment. Kidman brings tremendous feeling to a woman of singular self-possession whose life nonetheless is shaped by the contours of love and death. It’s a rather conventional form for Werner Herzog who wrote and directed it, but there are scenes which communicate seemingly directly with nature, music by Klaus Badelt and Mark Yeager which feeds from desert song.  It’s not the mad epic you think you might get – it’s from Bell’s own writings and from history and it’s a swooning and beautiful interpretation of a woman alone among military men who seem to suffer intolerable repression. For the first time in my life I know who I am.  My heart belongs to the desert

Cries and Whispers (1972)

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It is early Monday morning and I am in pain.  At the turn of the twentieth century, Agnes (Harriet Andersson) slowly and painfully dies of cancer in the family’s country home. Her sisters are so immersed in their own problems that they can’t offer her the support she needs as she goes through a nightmare of torture. Shallow Maria (Liv Ullmann) is wracked with guilt at her husband’s suicide following his discovery of her  affair. Self-loathing, suicidal Karin (Ingrid Thulin) seems to regard her sister with revulsion. Only Anna (Kari Sylwan), the deeply religious maid who lost her young child, seems able to offer the solitary dying Agnes solace and empathy as her condition deteriorates and her sisters are helpless in their eternal feuding … Ingmar Bergman went as far as he could in Persona to explore identity:  here he holds up a mirror to the pain we cause each other even as death stares us in the face. It is so stark a confrontation and so formal a construct that it shocks. He described it simply as a chamber play in red about a dying woman and her sisters. The colour scheme devised with cinematographer Sven Nykvist seems to ooze life and threaten death and the filtered photography has a quality that niggles the brain. This is pessimistic and filled with dread, certainly, but it is also haunting and unforgettable, a master at work in a film that excited global audiences and earned multiple Academy Award nominations.

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Girl Flu (2017)

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I’m never going to have kids. I already have my mom. Robin aka (Baby) Bird (Jade Pettyjohn) moves from the San Fernando Valley burbs to the hipster Echo Park neighbourhood to housesit her grandmother’s home with her selfish stoner waitress mom Jenny (Katee Sackhoff). She has to become a woman whether she wants to or not when she gets her first period in the middle of a sixth grade picnic and the meanest of the mean girls Rachel (Isabella Acres) bullies her. She finds herself abandoned in ignorance and finds out how to deal with the blood letting from Mom’s friend Lili (Heather Matarazzo).  Mom’s boyfriend Arlo (Jeremy Sisto) tries to help the flaky Jenny to grow up:  it’s not happening to you!  he tells her as she wallows in self-indulgence, fatally unsuited to being a mother.  Bird finds out that she’ll never be able to return to the Valley but she has new friends here, against the odds even as she goes through the worst week in living memory … Sharp and funny on a gross-out topic, the writing and directing debut of actress and story consultant Dorie Barton is a refreshing and very impressive blast boasting seriously charming performances in a new twist on mother-daughter dramedy. While Grandma is blithely Skyping from an ashram in India (ensuring we know why her daughter is useless at being a mother) Jenny leaves Arlo to pick up the family’s pieces and even pretend to be Bird’s boyfriend when the bullies threaten. My mother is a narcissist and my father is a workaholic, he tells Lilli. That figures, she retorts. Smart, well written and a really authentic comedy of embarrassment and growing up the hard way. I want a real mom.

Red River (1948)

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Cherry was right. You’re soft, you should have let ’em kill me, ’cause I’m gonna kill you. I’ll catch up with ya. I don’t know when, but I’ll catch up. Every time you turn around, expect to see me, ’cause one time you’ll turn around and I’ll be there. I’m gonna kill ya, Matt.Headstrong Thomas Dunson (John Wayne) starts a thriving Texas cattle ranch with the help of his faithful trail hand, Groot (Walter Brennan), and his protégé, Matt Garth (Montgomery Clift), an orphan Dunson took under his wing when Matt was a boy when he was the only survivor of an Indian attack on a wagon train. In need of money following the Civil War and 14 years after starting the ranch, Dunson and Matt lead a cattle drive to Missouri, where they will get a better price for his 10,000 head than locally, but the crotchety older man and his willful young partner begin to butt heads on the exhausting journey… Famous as a collision of egos and acting styles (Wayne vs. Clift, who was making his first pilgrimage from the New York stage), Paul Fix (who plays Teeler Yacey), Borden Chase and Charles Schnee adapted the screenplay from Chase’s Saturday Evening Post story Blazing Guns on the Chisholm Trail, a fictional account of the first cattle drive west. It was shot in 1946 but director Howard Hawks was unhappy with the edit and handed it to Christian Nyby who spent a year on it. He declared of Wayne, I didn’t know the son of a bitch could act! And it is an extraordinary Freudian story in its contrast portraits of masculinity, a brilliant exposition of father-son conflict and of the kind of family romance most people don’t understand in the mythical context of the conquest of the land of the Americas. Quite profound and a great action movie too. Co-directed by Arthur Rosson.

The Limehouse Golem (2016)

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Who knows what men are really capable of?  We all wear pantomime masks.  It’s 1880 and Victorian London is gripped with fear as a serial killer is on the loose leaving cryptic messages written in the blood of his victims who appear to have no connection with each other. As the body count mounts the mystery becomes increasingly outlandish and blame falls on the mythical creature of Jewish lore – the golem. With few leads and increasing public pressure, Scotland Yard assigns the case to Inspector Kildare (Bill Nighy), a seasoned detective whose homosexual inclinations prevent his promotion and who suspects that he’s being set up to fail. Faced with a long list of suspects, Kildare must rely on help from a witness to stop the murders and bring the maniac to justice… Peter Ackroyd’s wonderful Victorian novel Dan Leno and the Limehouse Golem gets a suitably OTT workout here but Jane Goldman’s adaptation misses a trick or three and doesn’t entirely sustain the plot (you’ll guess the killer very quickly). There’s a lot to like, particularly in the interplay between Nighy and Daniel Mays as Constable George Flood which is put to the forefront of this interpretation but the rivalry with Inspector Roberts (Peter Sullivan) is badly underwritten. A game cast including Douglas Booth as the legendary Leno, Eddie Marsan as Uncle, Sam Reid as failed playwright John Cree, Olivia Cooke as his wife and surprisingly literate former music hall performer Lizzie and even Paul Ritter bringing up the rear as a librarian, do a lot in a good-looking production. It’s not often Karl Marx and George Gissing are suspected of serial murders! And Nighy deepens his usual bonhomie with barely concealed emotion. However the misguided construction means that this never really comes over the way you’d expect given the powerful origins of the tale and ultimately it fails to reconcile the male and female stories in this multifaceted portrait of sex and violence.  Directed by Juan Carlos Medina.

The Diary of a Teenage Girl (2015)

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He was vulnerable and weak.  It was all I ever wanted and now I had no desire for it. In 1976 San Francisco, a precocious 15-year-old Minnie Goetze (Bel Powley) embarks on an enthusiastic sexual odyssey, beginning with her mother’s (Kristen Wiig) current lover the handsome Monroe (Alexander Skarsgård). He’s a feckless sort who enjoys their affair with a recklessness to match the girl’s while her distant mother and goofy younger sister Gretel (Abigail Wait) remain somewhat ignorant. The far from pretty Minnie has sex with whomever she chooses to sate her desires, including her BFF Kimmie (Madeleine Winters) who has a penchant for giving blowjobs to black men. When her mother finds her tape recorded diaries she goes underground with cool girl druggie Tabatha (Margarita Levieva) who presents her with a situation that’s too far out even for her and she goes home to face the music …  Marielle Heller’s adaptation of Phoebe Gloeckner’s somewhat autobiographical novel is full of problems, many of which are resolved through the sheer brio and bravery in Minnie’s voice.  Despite my misgivings – which lasted for, oh, maybe the first hour? More? This is ultimately an artistic success. My misgivings have to do with the depiction of a child having a full-on sexual affair with a man twice her age who happens to be her mother’s boyfriend (feel free to contribute your own Woody/Soon-Yi reference but at least we are spared the full-frontal genital photographs of her daughter that greeted Mia Farrow). When he takes her virginity we share the bloodletting but that’s the last suggestion of physical discomfort in the whole sordid tale – a rather unlikely outcome in this scenario. As her story (complete with effects, animations and voiceover) progresses it’s clear that she is the one in charge and finally the most mature person in this massively dysfunctional and promiscuous tribe, documenting her experiences through her chosen artform of cartooning and tape recordings – which out her to her betrayed mother. Gifting this intelligent girl with so much agency is an achievement in itself and perhaps in the context of the times it’s a safer move than it would be in a contemporary story.  There is a point at which you surmise that all the hearts and flowers animations are there to distract from the horrors  – Minnie is so hot to trot she asks, Does everyone think about sex as much as I do? She’s a pederast’s wet dream. This is a film which isn’t afraid to confront the audience. When her stepfather Pascal (Christopher Meloni) returns for a visit with the girls there’s a flashback to a time when he asked their mother (it’s unclear as to who the younger daughter’s father might be) if she didn’t think Minnie’s intense need for physical contact wasn’t sexual.  It’s he who thinks something is awry in this screwed up shacked up situation. This is a comedy drama which never strays from its serious subject matter despite the graphic novel form in which it is presented, reminding us of Ghost World. Minnie’s artistic heroine Aline Kominsky appears in cartoon form and writes her a letter of encouragement. However it is a relentlessly adult story and a cautionary one about growing up much, much too soon in an out of control family where sex is permanently on the menu and the mother admits to her own teenage horniness. Their relationship  is clearly abnormal but the film sidesteps this problem by presenting Monroe not so much as the erotic devil but rather a harmless moron who takes what he can get when it’s presented to him. Minnie doesn’t care, she just wants sex. This is never less than disturbing but it is also a necessary corrective to the male patriarchal perspective about female experience. What’s the point of living if nobody loves you?

 

The Diary of Anne Frank (1959)

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 I think the world may be going through a phase, the way I was with mother. It’ll pass. Maybe not hundreds of years, but someday. – I still believe, in spite of everything, that people are really good at heart. In 1945 Otto Frank (Joseph Schildkraut) revisits the Amsterdam building where he and his wife and young daughters were hidden from the Nazis during the Occupation and recalls their life in the cramped space with other families … In Nazi-occupied Holland in 1942, shopkeeper Kraler (Douglas Spencer) hides two Jewish families in the attic above his office. Young Anne Frank (Millie Perkins) keeps a diary of everyday life for the Franks and the Van Daans (Lou Jacobi and Shelley Winters) chronicling the Nazi threat as well as family dynamics. They have to maintain total silence during office hours. Miep (Dody Heath) frequently visits with food and other items to keep them going. A romance with Peter Van Daan (Richard Beymer) causes jealousy between Anne and her sister, Margot (Diane Baker). Only Kraler’s radio can provide any relief, especially when troops land at Normandy. But then the office telephone rings repeatedly and the strain tells … As it is Holocaust Memorial Day it is apt to recall a film which was based on a diary (probably co-authored post hoc by her father) kept by an ordinary teenage girl recording her impressions of her daily experiences, her first love, her day-to-day activities and fantasies amid extraordinary circumstances – the utterly desperate covert existence led by a disparate and uncomfortably ill-matched group of people forced to live out in cramped conditions under threat of discovery by Nazis and their collaborators and informers in wartime Holland. It was essential reading when I was growing up and it can hardly have lost its lustre or significance. The building where the family hid was the first destination for me on my trip to Amsterdam and it was unbearably moving to see the newspaper cuttings of movie stars (a lot of Garbo) pasted to the wall in the room where Anne had slept. Frances Goodrich and Albert Hackett adapted their own stage play (based on Diary of a Young Girl) and it perfectly captures the initial civility that gives way to the normal reactions to which people under pressure might succumb when food goes missing (stolen by selfish Van Daan), a fake cat allergy (Ed Wynn as dentist Albert Dussell), and a thief who makes regular night-time visits to the safe downstairs, with everyone simply dreading a knock on the door. When Anne has a nightmare about the schoolfriend taken to a concentration camp it is a jolt. While former model Perkins doesn’t have quite sufficient emotional range to convey the complexity of the role (which, to be fair, may have been mostly fictional in the first place) the stresses and irritations of people stuck with each other provide a narrative arc with certain inevitable outcomes that are extremely well played out. The story is persuasively told – suspenseful, tense, sentimental, and, worst of all, horribly true. Directed by George Stevens, a man forever changed by what he saw in the camps. פן ישכחו.