She is not one of us and her ways are cold and strange. When John Wiley (Peter Finch), an affluent plantation owner, brings his new wife, Ruth (Elizabeth Taylor), to his estate in the jungles of British Ceylon, she finds she is the only white woman. She’s overjoyed by the exotic location and luxurious accommodations until it becomes clear her new husband is more interested in palling around with his friends than spending time with her. She is intimidated by houseman Apphuamy (Abraham Sofaer) who is still being bossed by the late Old Man Wiley a rotten individual who has deliberately blocked the elephants from their ancient water source (hence the name). Left alone on the plantation, Ruth strikes up a friendship with American overseer Dick Carver (Dana Andrews), and it isn’t long before a love triangle develops… An old-school colonial romance, the novel by Robert Standish (aka Digby George Gerahty) was adapted by Hollywood vet John Lee Mahin who knew this kind of material from Red Dust two decades earlier. While revelling in the lush jungle landscape and the forbidden desires of Taylor the real story is the haunting of Wiley by his late father whose ghost dominates his life and the plantation. Taylor of course replaced Vivien Leigh who had a nervous breakdown yet whose figure remains in long shots that weren’t repeated and her lover Finch remained in the picture in a role originally intended for Leigh’s husband Laurence Olivier. Andrews might not be our idea of a hot extra-marital affair but in a situation like that … It looks rather beautiful courtesy of the marvellous work by cinematographer Loyal Griggs but you might find yourself wanting to see more of the elephants than Taylor such is their pulchritudinous affect. You choose. Directed by William Dieterle.
Some peculiar goings on going on on this island! On the remote Petrie’s Island off the east Irish coast a farmer goes missing and his wife contacts the police. Constable John Harris (Sam Kydd) goes looking for him and finds him dead in a cave without a single bone in his body. Horrified, Harris swiftly fetches the town physician Dr. Reginald Landers (Eddie Byrne) but Dr. Landers is unable to determine what happened to the dead man’s skeleton. Landers journeys to the mainland to seek the help of noted London pathologist Dr. Brian Stanley (Peter Cushing). Like Landers, Stanley is unable to even hypothesize what could have happened to Ian Bellows, so both men seek out Dr. David West (Edward Judd) an expert on bones and bone diseases. Although Stanley and Landers interrupt West’s dinner date with the wealthy jetsetter Toni Merrill, West is intrigued by the problem and so agrees to accompany the two doctors back to Petrie’s Island to examine the corpse. In order for them to reach the island that much faster, Merrill offers the use of her father’s private helicopter in exchange for the three men allowing her to come along on the adventure. Once back at Petrie’s Island, Merrill’s father’s helicopter is forced to return to the mainland so he can use it, leaving the foursome effectively stranded on Petrie until the helicopter can return. West and Stanley learn that a group of cancer researchers led by Dr. Lawrence Phillips (Peter Forbes-Robertson( seeking a cure for cancer, have a secluded castle laboratory on the island. Paying a visit to Phillips’ lab reveals that he and his colleagues are just as dead (and boneless) as Ian Bellows. Reasoning that whatever it is must have begun in that lab, West, Stanley and Landers gather up Phillips’ notes and take them to study them. From them they learn that in his quest to cure cancer, Phillips may have accidentally created a new lifeform from the siliconatom. Thinking the doctors are at the castle, Constable Harris bikes up there looking for them to tell them about the discovery of a dead, boneless horse, only to wander into the laboratory’s “test animals” room and be attacked and killed by an offscreen tentacled creature, the result of Dr. Phillips’ experiments. The creatures are eventually dubbed “silicates” by West and Stanley, and kill their victims by injecting a bone-dissolving enzyme into their bodies. The silicates are also incredibly difficult to kill, as Landers learns when he tries and fails to kill one at the castle with an axe when they first encounter them. After learning all they can from the late Dr. Phillips’ notes, West and Stanley recruit the islanders, led by “boss” Roger Campbell (Niall McGinnis) and store owner Peter Argyle (James Caffrey, who seems to serve as Campbell’s second-in-command in an unofficial capacity), to attack the silicates with anything they’ve got. Bullets, petrol bombs, and dynamite all fail to even harm the silicates. But when one is found dead, apparently having ingested a rare isotope called Strontium-90 from Phillips’ lab (via Phillips’ accidentally irradiated Great Dane), West and Stanley realise they must find more of the isotope at the castle and figure out how to contaminate the remaining silicates with it before it is too late. They obtain enough isotope to contaminate a herd of cattle – at the cost of Stanley’s left hand, when he’s grabbed by a silicate – and the silicates feed on these and begin to die. The story ends with evacuation and … a twist. Rather unsatisfying outing from Hammer, despite the icky slimy tentacled monster and the expansive cast which also includes several Irish actors – making up for the lack of a location shoot (it was made at Pinewood). The most interesting part of this action-adventure-disaster is the electronic soundtrack by Malcolm Lockyer and the cool helicopters which photograph rather marvellously.
Civilisation crumbles whenever we need it most. In the right situation, we are all capable of the most terrible crimes. To imagine a world where this was not so, where every crisis did not result in new atrocities, where every newspaper is not full of war and violence. Well, this is to imagine a world where human beings cease to be human. In Washington, D.C. psychologist Dr. Carol Bennell (Nicole Kidman) and her colleague Dr. Ben Driscoll (Daniel Craig) are the only two people who are aware of an epidemic running rampant through the city. They discover an alien virus aboard a space shuttle that crashed during an unscheduled landing attempt that transforms anyone who comes into contact with it into unfeeling drones while they sleep. The government is calling it a flu virus. Carol realises her son Oliver’s (Jackson Bond) immune system holds the key to stopping the spread of the plague and she races to find him before it is too late but his father, politician ex-husband Tucker Kaufman (Jeremy Northam) has taken him out of state … The late great Jack Finney wrote some indelible sci fi that could be used to anatomise and exemplify social forces – so The Body Snatchers has had meaning for generation after generation, commencing with its first (quite brilliant) movie adaptation Invasion of the Body Snatchers. This is the fourth effort and its muddled birth in some ways tarnished its critical reputation. Written variously by David Kajganich and the uncredited Wachowski brothers/sisters and directed by Oliver Hirschbiegel with uncredited reshoots by James McTeigue, the original story’s clarity is both lost and highlighted in its city setting: the quick slide into conformity is more obvious than in the 1956 classic simply because there are so many more people whose transformation is visible on the streets. The central irony – that a woman controlling her patients’ minds and feelings with pharmaceuticals is now objecting to a world in which by the icky expedient of vomiting on someone’s face or into their coffee (nice) everyone can live in peace minus their individuality or expressivity – is straightforwardly verbalised by Carol’s ex. But the quick running time and the conclusion – collective amnesia, luckily administered Governmentally with yet another vaccine – means the bigger picture of mind control by Big Pharma and Bigger Government (a nasty coinciding of socio-financial interests since, oh, the 1990s?) is sort of lost in a mish-mash of action with awkward acting compounding the stiff plotting. There is one really silly flash forward. Metaphor? Metonymy? How would I know? I am on Day 30 of Aussie flu and can’t get a shot to save my sniffles. But if I said I was depressed they’d be racing to inoculate, n’est-ce pas???…!!! Uneven, but relevant.
Methuselah is younger than I am tonight. A US Health Service physician Dr. Clint Reed (Richard Widmark) is called to supervise the autopsy of an unknown man and realises the John Doe (actually Kochak and played by Lewis Charles) died of pneumonic plague, the pulmonary iteration of bubonic plague. We have already seen the man chased and shot by the flunkies of gangster Blackie (Walter Jack Palance), Poldi (Guy Thomajan) and Fitch (Zero Mostel) on the dockside. Revealing his discovery to the mayor and city officials, Reed is informed that he has 48 hours before the public will be told about a potential outbreak. Joined by Captain Tom Warren (Paul Douglas), Reed must race against time to find out where the unknown man came from and stop journalists from printing the story so that they can prevent an epidemic. They begin their search among Slav and Armenian immigrants as the man’s body is cremated … From the low level and unwittingly infected crims racing to find the booty they believe the dead man Kochak was protecting, to the warehouses unloading produce on the New Orleans wharves, this paints a great portrait of a city that no longer resembles what we see in this post-war crime thriller. The lurid title only tells you part of the story which director Elia Kazan insisted be shot entirely on location, using the smarts he picked up on Boomerang to create episodes of masterly tension from Bourbon Street in the French Quarter (spot Brennans!) to the banks of the Mississippi, with Reed’s marital and parenting issues nicely etched – there are bills to pay and he should spend more time with his son instead of trying to be more ambitious, according to his wife Nancy, played by Barbara Bel Geddes – providing the day to day humdrum issues against which the bigger melodrama takes place in a race against time. The contrast in performing styles is gripping – from Widmark’s Method-like approach to Palance’s conventional and scary villain, Mostel’s semi-comic goon and Douglas’ usual rambunctious affect to Bel Geddes classical mode, this is a terrific demonstration of American theatre and film acting styles bumping up against each other. It’s beautifully shot by Joseph MacDonald and edited by Harmon Jones. Edna and Edward Anhalt’s story was adapted by Daniel Fuchs and the screenplay is by Richard Murphy but Kazan stated that it was rewritten every day while they were shooting. He would use what he learned of The Big Easy for his next (studio-bound) film, A Streetcar Named Desire. He believed this was the only perfect film he made “because it’s essentially a piece of mechanism and it doesn’t deal in any ambivalences at all, really. It just fits together in the sequence of storytelling rather perfectly. But that’s really why I did it, and I got a hell of a lot out of it for future films.” Very impressive, cher!
Humanity is the disease, inferno is the cure. The second sequel to The Da Vinci Code begins horribly. By which I mean it looks like one of those cheapo knockoffs you see on The Horror Channel in the wee small hours (and otherwise). A lecturer (Ben Foster) throws himself off a tower after being chased. Robert Langdon (Tom Hanks, returning for the third entry in the series) wakes up in a hospital being tended by a doctor with an enormous overbite (Felicity Jones) – frightening in itself. She tells him he’s been shot while he has terrible hallucinations with blood pouring in torrents and people with faces back to front (you can see how that might happen given the company and a presumed brain injury). He’s lost his memory and has no idea how he’s wound up in Italy. Then some woman pretending to be police murders another doctor and the pair make away from the gunfire with some difficulty given he’s hooked up to IVs all over the shop. He’s been given a painting that depicts The Inferno but his copy contains elements that don’t belong in the original. And so we set off on a chase around the Uffizi and then we’re off to Istanbul and a rather interesting ending in a cave with shades of The Man Who Knew Too Much with some visits to the World Health Organisation in between. The visual palette is awful. It looks just like a brown below-par giallo. There is nothing to indicate that this is any good but its place in the Dan Brown symbology behemoth is typically humourless (despite the presence of the hilarious Paul Ritter) and unimaginative – let’s face it, we’re in Florence with a doctor called Sienna, which would indicate a left/right brain issue and not just Langdon’s. And so it goes. The lecturer though is revealed to be a billionaire keen to solve a global issue. We can all read the legal judgments on where Mr Brown got his stories: I’ve read Lewis Perdue’s novels so I’ve a pretty good idea. However this is tampering with Dante. I know David Koepp is the rather gifted screenwriter entrusted with the book (and I must put my cards on the table and admit I’ve not read this one) and he’s not responsible for the choices of director Ron Howard (him again) or any aesthetic decisions. Hey – it’s an action thriller with Tom Hanks (paired again with Sidse Babett Knudsen after their desert romp …) and the world overpopulation problem. If you can find those old rose-tinted spectacles (literally) you might quite enjoy some of the incendiary scenes and a somewhat tantalising villain. And some running. Ho. Hum.
Muriel Box was a rare bird in British cinema: a woman writer/director. This adaptation of Somerset Maugham’s story The Vessel of Wrath was written by her husband producer Sydney Box and stars the inimitable Robert Newton as Ted, a boozer sent by his family to the Welcome Islands where he encounters Resident Ewart Gray (Donald Sinden) and a missionary, Owen Jones (Paul Rogers) and his do-gooding nursing sister (Martha) the marvellous Glynis Johns. They take him in for a while but he finds their religiosity oppressive. He winds up in court after getting a local girl to steal money from the mission to fund his drinking. Martha decides he’s innately good after she gets stuck overnight with him on an island where he’s doing hard labour. Shot on location in Ceylon it was the second adaptation of the book and the colour cinematography greatly assists the atmosphere. A cholera breakout puts everyone on the back foot and Martha goes to the profoundly unwelcoming northern islands with Ted and they narrowly avoid being killed by the natives whom they’ve helped survive a disease the natives think they’ve brought. There’s a wonderful payoff with an elephant that Martha cured earlier in the film – these are probably the best scenes in the film. Although Maugham was a great writer this feels like mild stuff indeed but worth catching for that cast. Newton died a couple of years later, succumbing to alcoholism at just 50.