Code Name: Emerald (1985)

Code Name Emerald

I was expecting Peter Lorre. Augustus Lang aka Emerald (Ed Harris) is a spy for the Allies working undercover in Nazi-Occupied Paris during World War II but the Nazis believe he’s their man. With his assistance they capture Wheeler (Eric Stoltz) an ‘Overlord’ thought to know the plans for D-Day. Lang is planted as his cell mate and their conversations are monitored by Gestapo officer Walter Hoffman (Horst Buchholz) who is constantly at odds with his SS colleague Ernst Ritter (Helmut Berger) but retains friendly relations with decent Jurgen Brausch (Max Von Sydow).  Outside the cell in everyday Paris, Lang is in contact with Claire Jouvet  (Cyrielle Clair) who is trying to help him engineer Wheeler’s escape. But Wheeler is weakening under threat of torture and Hoffman suspects there might be more than one spy in the wings … Averages aren’t everything. There’s such a thing as grace. A really good premise in a terrific screenplay by Ronald Bass from his novel is largely laid waste by miscasting and some underpowered directing. That makes a change! Harris is not expressive enough to elicit our sympathy as the hero of the piece and Stoltz is unconvincing and probably too young in his role; paradoxically it’s Buchholz who has the most interesting character to play – how often do we see Nazis in civvies in WW2 films? Von Sydow is good as a vitally placed German officer and Clair does very well as the woman at the centre of the romance/resistance storyline. While the tension isn’t strictly maintained, the magnificent score by John Addison goes a long way to giving this a sense of urgency that isn’t necessarily in the dénouement – the outcome of the war is at stake but you wouldn’t know it from the way this is staged. C’est la guerre. Directed by Jonathan Sanger for NBC in their first theatrical production. One of these Krauts is on our side. Problem is, I don’t which one it is

 

Highly Dangerous (1950)

Highly Dangerous

It may not interest you technically but for a large section of humanity it could be a matter of life and death. The British government asks entomologist Frances Gray (Margaret Lockwood) to go behind the Iron Curtain and examine insects that might be used as carriers to spread disease in germ warfare. Grudgingly accepting the job, Frances goes undercover as Frances Conway, a tour director looking for potential holiday destinations and meets tough American reporter Bill Casey (Dane Clark) in the process. Unfortunately, the chief of police Razinski (Marius Goring) quickly sees through Frances’ flimsy cover. Then her contact is murdered and his body left in her hotel room and Frances is taken into custody, prompting Casey to come to her aid… A few months ago some people were shot accidentally in the woods. It was terrible. A vehicle for Lockwood after a period doing theatre, Eric Ambler loosely adapted one of his novels (The Dark Frontier), changed the gender of the protagonist and it’s a spirited adventure. The Ruritanian setting hints at the comedy style, returning Lockwood to a kind of thriller along the lines of The Lady Vanishes – enhanced by the casting of Naunton Wayne as Frances’ recruiter, Hedgerley, Wilfrid Hyde White (after The Third Man) and Goring’s performance as a comedy police chief, enlivening the playfulness. Like The Third Man, Ambler’s script makes a meta issue of storytelling, there’s a torture scene in a TV studio-like location and there are references to soap opera and a character called Frank Conway, the star of a radio serial that Frances listens to for her little nephew and for whom she is re-named. Nicely done with a good mix of intrigue, suspense and fun led by Clark as the inadvertent hero of the situation. Directed by Roy (Ward) Baker. You just can’t do things like that in real life.

Showdown (1963)

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Aka The Iron Collar. Maybe together you might make one good man. Chris Foster (Audie Murphy) has to get $12,000  in stolen bonds from the ex-girlfriend Estelle (Kathleen Crowley) of his partner Bert Pickett (Charles Drake), or the gang holding him hostage led by wanted outlaw Lavalle (Harold Stone) will kill him. When Chris tracks Estelle down singing her last song in a saloon before catching the stage out of town it seems she has other plans for the money … Seems to me you’re more cat than kitten. An efficient tale dressed up with some unusual levels of violence and occasionally ripe dialogue – Stone gets to expound on his love of oysters which might put you in mind of a certain monologue authored by Gore Vidal in a rather different setting. Strother Martin has a good role as the town drunk while Crowley looks great and gives some odd line readings in a story that is piquant and threatening, with some nice black and white shooting done around Lone Pine, CA.  Written by Bronson Howitzer (aka TV western scribe Ric Hardman) and directed by R.G. Springsteen.  Most of his friends grow well in the dark

Damascus Cover (2017)

 

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When missions go bad, there’s only one rule – protect your partner.  Following the murder of his colleague in Damascus by Syrian Secret Police Chief Sarraj (Navid Negahban) Israeli agent Ari Ben-Sion aka Hans Hoffman (Jonathan Rhys Meyers) is deployed to Syria by his overseer Miki (John Hurt) to exfiltrate a spy and his family and runs into American photographer Kim (Olivia Thirlby) with whom he becomes involved before realising she is part of a much bigger plot and the real target of his mission is an entirely different individual in deep cover but hiding in plain sight … It’s a real maze. Adapted by director Daniel Zelik Berk and Samantha Newton from Howard Kaplan’s 1977 bestseller this is updated to 1989, the year of revolutions, so that the action happens in the wake of the fall of the Berlin Wall (although they’re not exactly celebrating Christmas here). The characterisation is undercooked and the storytelling is a little clunky – you feel that Hans/Ari should have figured out a lot quicker that something bigger is going on than his purported task. It’s the textural matters that are more interesting – the maze-like construction of a city where Jews are only permitted to leave their quarter one at a time, where streets lead you to dead ends like a rat; the depicting of the secret police under the original Assad; the post-war Nazis doing business in an Islamic haven (the role of Moslems in the Holocaust has yet to be dramatised); the issue of identity in a region where anti-semitism is writ large: when Ari enters Syria he is asked, Have you ever visited Occupied Palestine? He is already displaced in Israel after moving from Germany as a child and is suffering the bereavement any father would following the breakdown of his marriage in the wake of the death of his young son (although we don’t know how that happened, there are several shots of children at play as well as his haunting nightmares about the boy).  He doesn’t exhibit true emotion until he’s engaged with Kim who herself has issues with being distanced from her young son and who has a father whose actions for his Syrian overlords has resulted in his death.  She appears to be repaying a debt to the intelligence service, willingly or not. Berk is the former talent agent who introduced John Travolta to Quentin Tarantino for which we are all truly grateful and this has a slick look and a trim running time. It’s beautifully shot by Chloë Thomson.  Despite the welcome complexities in Ari and his mistakes, and the issue of Syria versus Israel, it doesn’t plumb the resonant depths of Tinker Tailor Soldier Spy – the echo casting of John Hurt in the perfunctory but dramatically significant role of Miki has a sorrowfulness because it is that great actor’s final part. It is fitting therefore that he should have the last word in the film’s signing off, Goodbye my friend

Mysterious Island (1961)

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Why don’t we turn this island into a democracy and elect a leader? During the Civil War, a group of soldiers led by Captain Cyrus Harding (Michael Craig) escape a Confederate prison siege using an observation balloon, and due to a storm that lasts four days and pitches them off course, are forced to land on a strange island that is full of tropical jungles and volcanoes. They are confronted by giant mutated animals, find two Englishwomen, Lady Mary Fairchild (Joan Greenwood) and her niece Elena (Beth Rogan) washed up from a shipwreck, fight marauding pirates and are then confronted by the infamous Captain Nemo (Herbert Lom) whose submarine the Nautilus was feared lost off Mexico eight years previously. They need to escape and that volcano is rumbling but will Nemo assist them using his engineering genius? … We lived like primitive men using primitive implements. The followup to 20,000 Leagues Under the Sea doesn’t start particularly promisingly – the escape from the Confederate prison isn’t very well handled by director Cy Endfield, not the first name you’d come up with for an effects-laden juvenile fantasy flick taken from Jules Verne’s two-part novel. However when the action kicks in on the island and the Ray Harryhausen effects interplay with the threat of a volcano about to blow and those sheer painted backdrops hint at disaster, well, it finally gets interesting. Everything is punctuated by regular run-ins with those giant creatures who are the result of Nemo’s horticultural physics experiments. The laughs come courtesy of war journo Gideon Spilitt (Gary Merrill) who has an ongoing run of food jokes: I wonder how long this will take to cook in a slow oven, he deadpans about the giant chicken they believe they’ve killed; turns out Nemo shot it. The cast is excellent although Craig doesn’t set the screen alight and it’s great to see Lom doing his Nemo:  he’s a misunderstood guy who just wants to stop the causes of war. Rogan and Michael Callan get to do a bit of romancing before being sealed into a giant honeycomb; while Percy Herbert and Dan Jackson bring up the rear. The whole shebang is carried by Bernard Herrmann’s sonorous score, booming from the screen as surely as those explosives. From a screenplay by Crane Wilbur, Daniel B. Ullman and John Prebble. Shot at Shepperton Studios and on location in Catalonia. A man could write an inspired novel in a place like this

Thirty Years Since the Berlin Wall Fell 9th November 2019

 

 

 

 

That symbol of the Cold War and the Iron Curtain the Berlin Wall came down in dramatic fashion thirty years ago today. It hasn’t all been smooth sailing since, and there are those who might argue that you knew where you were when it was still dividing West from East. It remains inspirational to generations of writers and artists and filmmakers, forever embedded in celluloid not just as a dramatic device but as a reminder of authoritarianism, war and oppression.

Stargate (1994)

Stargate

Give my regards to King Tut, asshole! In modern-day Egypt, hieroglyphics scholar Daniel Jackson (James Spader) teams up with retired US Army Col. Jack O’Neil (Kurt Russell)  on behalf of the military to unlock the code of a stone gate uncovered in 1928 which it transpires is an interstellar gateway to an ancient Egypt-like world in our universe. They arrive on planet Abydos ruled by the despotic alien sungod Ra (Jaye Davidson), who holds the key to the Earth travellers’ safe return. Now, in order to escape from their intergalactic purgatory, Jackson and O’Neil have to convince the planet’s people that Ra must be overthrown but to get back home Jackson has to realign the Stargate .I’m here in case you succeed. With a copy of Erich von Däniken’s Chariot of the Gods in one hand and a panoply of special effects in the other producer Mario Kassar and director Roland Emmerich delve into the world of ancient astronaut theory (for more of this, watch Ancient Aliens on The Hitler Channel). The references to Conan Doyle, Jules Verne and George Lucas are there and there’s the added virtue of a gung ho soldier grieving his child – who you gonna call? Kurt Russell, of course:  who better to stir up the natives into a revolution on a place trapped in Ancient-Egypt time? And the other half of this double act, Spader, romances ancient Sha’uri (Mili Avital) for good measure. Nutty and plausible for the first sixty-five minutes,  then it trundles into the realm of total absurdity with Davidson’s body-possessing alien posing as fey god act just a little de trop, as Diana Vreeland (or Celeste Holm) might have put it. Epic good fun. Written by Emmerich and Dean Devlin. There can be only one Ra

Death Defying Acts (2007)

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We had a real double act, my mam and me.  It’s 1926. Upon arriving in Edinburgh, Scotland for a series of mind-boggling performances, master illusionist and escapologist Harry Houdini (Guy Pearce) offers an impressive cash reward of $10,000 to any supposed psychic who can accurately tell him his beloved late mother’s exact last words. Gorgeous local swindler Mary McGarvie (Catherine Zeta-Jones) rises to the challenge and together with her streetwise daughter Benji (Saoirse Ronan) leads Houdini on in a dangerous flirtation that blurs the line between reality and paranoia –  but she has reckoned without the machinations of his canny manager Sugarman (Timothy Spall) who knows a con when he sees it but has his own reasons to let this Oedipal obsession play out in the world of spiritualists, fake or not … Nothing in this world’s free. It’s an engaging premise and well staged but this drama of who’s-fooling-who sadly won’t hoodwink the audience. Pearce is hardly Houdini although he’s a charmer whether tied up underwater or on the surface, and Jones’ and Ronan’s lively performances as grifters are marvellous but can’t conceal the dramatic deficit at the centre of the narrative. It looks wonderful and is beautifully staged but never really takes off, the mystery of Houdini’s personality is never convincingly exposed and of course as we know it ends in tragedy. Written by Tony Grisoni and Brian Ward, directed by Gillian Armstrong. I used to be a nice man you know. Do you believe me?

 

It’s a Mad, Mad, Mad, Mad World (1963)

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Nobody is flying the plane!  During a massive traffic jam in California caused by reckless  ex-convict (following a tuna factory robbery 15 years earlier) Smiler Grogan (Jimmy Durante), he crashes his car off twisting, mountainous State Highway 74 near Palm Desert. Five motorists stop to help him: dentist Melville Crump (Sid Caesar) and his wife Monica (Edie Adams); furniture mover Lennie Pike (Jonathan Winters); two guys on their way to Las Vegas, Ding Bell (Mickey Rooney) and Benjy Benjamin (Buddy Hackett); and Fresno entrepreneur J. Russell Finch (Milton Berle), his wife Emmeline (Dorothy Provine) and his loud mother-in-law Mrs Marcus (Ethel Merman). Just before he dies kicking a bucket, Grogan tells the men about $350,000 buried in Santa Rosita State Park near the border with Mexico under “… a big W”. The motorists set out across California to find the fortune, unaware that Captain T.G. Culpeper, Chief of Detectives of the Santa Rosita Police Department, has been patiently working on the Smiler Grogan case for years, hoping to someday solve it and retire. When he learns of the crash, he suspects Grogan may have tipped off the passersby, so he has them tracked by various police units. His suspicions are confirmed by their nutty behaviour but he may have ulterior motives for retrieving the loot  …  It’s a nice dream.  Lasted almost five minutes.  Earnest producer/director Stanley Kramer’s film may not in fact be the comedy to end all comedies as it was billed but it has most of the mid-century movie world’s best comic performers (and more besides) involved in incredibly engineered slapstick sequences, marvellously sustained as a lengthy madcap satirical farce, with some of the best colour cinematography you will ever see:  those reds and yellows and blues pop perfectly off the screen in staggering synchrony thanks to astonishing work by Ernest Laszlo. Written by William Rose and Tania Rose, it’s an epic ensemble endeavour with support and guest bits from a vast variety of mostly TV stars like Phil Silvers, Peter Falk, Jerry Lewis, Dick Shawn, Andy Devine, The Three Stooges, Edward Everett Horton and the great Buster Keaton, with Zasu Pitts in her final film,  and some lively dancing by Barrie Chase (screenwriter Borden Chase’s daughter and Robert Towne’s onetime girlfriend, previously married to Hollywood hairdresser Gene Shacove and therefore the inspiration for Shampoo!). We love Terry-Thomas (in a role intended for Peter Sellers, who asked for too much money – ironically) and his comments here about American obsessions provide the caustic witticisms that balance the narrative and characters’ unstoppable drive for money.  Sid Caesar inherited the role intended for the fabulous Ernie Kovacs following his death in a car crash driving home from Milton Berle’s baby shower (again, the irony…). A beautifully constructed gem that shows off California in precisely the way you would wish and after commencing with someone kicking the bucket in a cliffhanger opening, ends on an entirely apposite banana skin. Watching these legendary performers trying to steal scenes is a kick:  make America funny again! Beautifully restored.  Don’t call me baby

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Frontier Gal (1945)

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I don’t want to be a bride – I want to be a widow! Johnny Hart(Rod Cameron)  heads for Red Gulch, looking for the mystery man who murdered his partner. He quickly meets Lorena Dumont (Yvonne De Carlo), a beautiful saloon keeper who is loved by Blackie (Sheldon Leonard), a jealous crook who doesn’t like her interest in Johnny. After he resists her seduction by saying he has another girl back home but she misunderstands his intentions, he is forced to marry her at gunpoint – an actual shotgun wedding! She turns him over to the sheriff when she learns he’s a fugitive with a price on his head. He escapes, spends a night of passion with Lorena, then is recaptured. Six years later, Johnny returns from a long spell in prison to Red Gulch seeking revenge. He now knows it was Blackie who killed his partner. Johnny’s former girlfriend is summoned to meet him, but it turns out he fathered a child with Lorena who’s now a whipsmart five year old called Mary Ann (Beverly Sue Simmons) …… Squaw easy to get. Hard to lose. This little-known western musical comedy is a lively, flavourful hoot from start to action-packed finish, with a zesty performance by De Carlo in a role intended for Maria Montez. Cameron isn’t great as her opposite number in this Taming of the Shrew knockoff, but Andy Devine is the business as Big Ben and little Simmons is just laugh out loud great as the sharp kid Johnny suddenly loves despite not knowing about her existence for five years. An underrated gem, written by Michael Fessier and Ernest Pagano and directed by Charles Lamont, this zips along to a cracking score by Frank Skinner and some entertaining songs performed by the cast although De Carlo is voiced by Doreen Tryden in one of hers. A gun so big can make a big man like me look so small