A film that ‘launched a thousand’ replicas: not quite but there are sixteen plus Japanese remakes or sequels. There are also numerous US versions: the original was re-edited and dubbed for the US market. Among the changes the US version downplayed the dangers of nuclear weapons, a key theme in the plot.
Beverley Bare Buehrer, in a commentary on the film recorded that:
“Toho executive producer, Tanaka Tomoyuki, saw the 1953 American film Beast from 20,000 Fathoms. He liked the film and coupled it with an actual event which happened in March of that year, the exposure to radioactive fallout of Japanese fisherman on the tuna boat, Fukuryu Maru, sailing in an area too close to an H-bomb test America had used near the Marshall Islands.”
Forgiveness is obviously a Japanese characteristic since they have co-operated with the Yanks since then rather than initiating economic boycotts.
The film was an expensive production by Japanese standards of the time. The film’s special effects relied on a skilled specialist Tsuburaya Eiji. I found the design of the production by Chuko Satoshi still convincing last time I saw the print. Tamai Masao’s black and white cinematography is finely done, [academy ratio]. The film’ soundtrack by Shimonaga Hisashi uses special sound effects. And the music by Ifukube Akira is especially effective. Director Honda Inoshiro orchestrates these talents into an excellent 98 minutes of action.
Whilst techniques have moved on and developed in the intervening decades the film stands up really well. The script is by Murata Takeo and Honda Inoshiro and the plot develops at a fairly fast pace and offers character relations as well as a monster and large-scale destruction. It is also the type of film that looks better in a 35mm print. So happily Hebden Bridge Picture House is using this format for a ‘reel film’ screening on Saturday February 3rd. The last time I saw the film the print was in good shape.
We enjoyed a good-looking 35mm print. The visual and aural special effects stood up well as did the monster and its rampages. Some of the plot is conventional but the recurring references to the US nuclear bombing of Japan are powerful. There is a reference to Nagasaki and a number of sequences that recall the horrors of 1945. There is also an interesting debate amongst the scientific characters about what should be done about the monster. Definitely a classic.
This is a classic samurai film and enjoys the talents of two stars: filmmaker Kurosawa Akira and actor Mifune Toshiro. Both bring their special talents to an entertaining and exciting action movie. Like much of their work the film has been remade several times, including as a spaghetti western, A Fistful of Dollars (1964), and as a Hollywood prohibition/action film, Last Man Standing (1996).
The film is set in 1860, just prior to the Meiji period and the rise of modern Japan. Mifune plays a ronin, that is a masterless samurai whose traditional functions have vanished and who takes on whatever work he can find. In this case in a small town he is offered work as a bodyguard (the English sense of the title) by rival merchants. The merchants are the emerging class in this period, but here they rely more on criminality than trade, forerunners of the modern Yakusa.
The main character and the film’s story are strongly sardonic. The opening sequence shows our hero passed by a dog carrying a severed hand. And the violence implied here is a central right through the film.
The cinematographer on the film was Miyagawa Kazuo. He had worked with Kurosawa on the earlier Rashomon (1950) as well as with other major directors like Mizoguchi Kenji and Ozu Yasujirô. As in some of the director’s other films Kurosawa and Miyagawa make great use of the telephoto lens. There is a depth of field in the shots, but a rather flat image as the action is foreshortened. Among the distinctive editing techniques, performed by Kurosawa himself, are frequent wipes, a technique rarely seen in post-war (WWII) cinema. And the music track by Satô Masaru uses distinctive instrumentation including wood blocks.
Kurosawa had set up his own production company. The first film was a variation on Shakespeare’s ‘Hamlet’, The Bad Sleep Well / Warui yatsu hodo yoku nemuru (1960). Mifune was the lead actor. Yojimbo was the second film from the company . Both film were also scripted by Kurosawa.
The film was popular in Japan and Kurosawa made a sequel titled with the character’s name, Sanjuro (1962). Once again Mifune played the lead. Yojimbo had a relatively large international release and has remained a regular title for revivals over the years. On its initial release in the Britain the BBFC gave it an ‘A’ Certificate.
The film’s format was black and white TohoScope. almost identical to CinemaScope with an aspect ratio of 2.35:1: with Perspecta Stereo sound., Now Hebden Bridge Picture House are screening the film in their ‘reel film’ series on Saturday January 6th. So it can be seen in its original 35mm format: what a treat.
Hebden Bridge Picture House are screening a 35mm print of the 2005 restoration of this Soviet Classic. The screening is supported by the Cinema For All – Yorkshire (Group). This is a rare chance to see the film in its original form rather than just on digital. The screening will enjoy a piano score by Darius Battiwalla, an experienced accompanist who impressed audiences in the now sadly defunct National Media Museum ‘silent with live music’.
The Picture House, recuperated after the floods of 2016, now has a new 35mm projector. The introduction will place the film in the context of the seminal Soviet Montage Movement and, importantly, of the revolutionary society ushered in by The Great October Revolution, which Centenary occurred in the last few weeks.
Check out the cinema: http://www.hebdenbridgepicturehouse.co.uk/live-events/reel-film-battleship-potemkin
Check out the BFI restored print: https://itpworld.wordpress.com/2011/04/28/the-battleship-potemkin-bronenosets-potemkin-2/
“This year, from 7-10 September, Heritage Open Days is back to shine a light on England’s fascinating historic places. This annual festival celebrates our diverse history, architecture and culture, offering you the chance to see hidden places and try out new experiences all for free.”
The Hebden Bridge Picture House‘s Open Day was on Saturday September 10th. This was also the final screening on the cinema’s long-serving Kalee 35mm film projector. For a while now the projector team having been nursing along this 65 year old machine, including some running repairs to keep the films on screen. The projector is now retiring: a suitable home for old but capable machines.
Appropriately enough the final title screened on the Kalee was Alfred Hitchcock’s last British film, Frenzy (Universal Pictured, 1972). Filmed in and featuring London it was shot in colour and standard widescreen. It is the most sardonic of Hitchcock’s films with Barry Foster in a stand-out performance as Robert Rusk, Convent Garden entrepreneur and serial killing psychopath. Jon Finch is capable as the victim/hero of the film, Richard Blaney. The film has some excellent London locations, photographed by Gil Taylor and Leonard J. South. It also has a screenplay by Anthony Shaffer adapted from the novel by Arthur Le Bern. Le Bern’s other famous novel is ‘It Always Rains on a Sunday’, provided the story for one of the finest East End representations from Ealing and Robert Hamer. Shaffer script has real drive but also some fine and witty lines, two concerning ties.
The real victims in the film are Barbara Leigh-Hunt as Brenda Blaney and Anna Massey in a fine performance as Babs Milligan. There is also a fine cameo by Billie Whitelaw as Hettie Porter, suggesting an interesting sub-plot to the film. But the gallery of female victims marks this as one of the most overtly misogynous of Hitchcock’s films.
Alongside the serial killer narrative we get an enjoyable minor plot around food: between Alex McGowan as Chief Inspector Oxford and Vivian Merchant as his wife. This adds another sardonic note to the scenario. It also features one of the many authorial motifs in the film: the familiar one involves a bowler hat.. There is a complete list of these in the excellent ‘Hitchcock’s Motifs’ (Michael Walker, Amsterdam University Press, 2005). Apart from ‘food and meals’ there are such interesting examples as handbags, mothers, and staircases.
The staircase is a good example of the design, cinematography and editing of the film. At one point there is an impressive reverse track down a staircase and out into a Convent Garden street. A trope that Hitchcock perfected early in his career. And the film offers an intriguing variation on the serial killer’s labyrinth.
The film was shot in Technicolor but distributors (in a typical false economy) printed the film up and circulated it on Eastman color stock. So the projectionist had to offer an apology before the screening for the ‘fading’ on the print. There was a definite pink tint on the film but there were only a few scratches and good contrast and definition. So we enjoyed most of the qualities of this film. Whilst not one of the great masterpieces directed by Hitchcock it does standout in the late titles that he worked on. It does, though, miss the hand of Bernard Hermann: the score is by Ron Goodwin, who appears to be trying to add a Hermann tone to the music, but without the Hollywood composer’s touch.
The cinema is installing a replacement 35mm projector over the coming month. They hope it will be ready for a November screening. The new machine is a Victoria 5 and has been acquired from the old (and sadly defunct) Bradford Playhouse. This is the projector that operated in the smaller auditorium. Years ago I saw Ingmar Bergman’s Smiles of a Summer Night (1955) in that auditorium projected on that machine. This was the occasion that I realised that the film is one of the finest masterpieces directed the Swedish artist.
I am looking foreward to seeing films of a similar quality at the Hebden Bride Picture House and screened from their ‘new’ projector’. Their regular presentation of films in their proper 35mm format is an example to other exhibitors in Yorkshire.
Hebden Bridge Picture House are screening this M-G-M film in 35mm on Saturday August 5th. This is a delightful musical comedy starring Julie Andrews as Victoria (the key club performer in the film), James Garner as King Marchand (a Chicago Club Owner visiting Paris) and Robert Preston as Toddy, (a Paris night club performer). What makes the film especially effective is the way that it plays with cross-dressing, a classic source of comedy on film.
The film was scripted and directed by Blake Edwards with music by Henry Mancini. The production is presented with excellent style and captures a certain image of Parisian night life. The cast, both leading players and supporting actors, are excellent and convincing in the role-playing within role play. The musical numbers are performances in Parisian night clubs including the raunchy Chez Lui.
In fact the film is adapted from a successful 1933 German musical comedy, Viktor und Viktoria, produced by UFA. It was written and directed by Reinhold Schünzel, who later left for Hollywood. Another to-be émigré in a supporting role is Anton Walbrook. This original version is
a musical comedy greatly influenced by the American model, with its choreographed sequences and parades, clusters of pretty girls that open up like bunches of flowers, . . . (Il Cinema Ritrovato Catalogue 2004).
But it also retains some of the ironic treatment of gender representations that was rife in the earlier Weimar cinema, though more discreetly. The 1982 American version has little of the 1930s musical treatment, its offerings more like that of then contemporary musicals such as Cabaret (1972).
There was a English-language remake in 1935, long before this form became a staple of Hollywood output. The film was directed by Victor Saville for Michael Balcon and starred Jessie Matthews. Set in the British Music Hall the film is less risqué than either the German original or the later Hollywood adaptation. It was screened earlier in the year at the National Media Museum, but from video. A shame as the BFI do have a 35mm print. The publicity was also feint, hence I missed it. There was an interesting accompanying exhibition using photographs from the Daily Herald archive, but that was also little publicised.
Hopefully people will pick up on the screening of this latest version and turn up for what will be a very entertaining two hours plus. (134 minutes in colour and ‘Scope ratio).
Hebden Bridge Picture House are screening this Warner Bros. classic this coming Saturday (June 3rd) in their ‘reel’ film slot. One reason alone should be enough to excite potential viewers, it contains, if not the finest, then certainly the most memorable performance by Bette Davis as Charlotte Vale. The films follows a transformation of this women worthy of Hans Christian Anderson’s famed story, ‘the ugly duckling’. And Charlotte at the beginning of the film is rather like a duck with a waddle, but by the climax of the film she is as regal as any swan.
Along with this we have an excellent performance by Paul Heinreid as romantic object Jerry Durrance; debonair but capable of real passion. Claude Rains is his usual well-informed and analytical professional, Dr Jacquith. Gladys Cooper plays the repressive and dominant matriarch, Mrs Henry Vale, with real venom. Her title reveals the value system she follows. And Janis Wilson as the young and vulnerable object of Charlotte’s affection is good enough to warrant the credit she does not actually get.
The film enjoys all the technical skills of the Warner Bros.’s production departments. Robert Haas does fine with the art design. Sol Polito, a talented cinematographer, varies the lighting and camera from dark interiors to sun drenched locales. And working alongside them is one of Hollywood’s outstanding composers, Max Steiner, providing a score at times dramatic and times lush. The film’s screenplay by Casey Robinson has one of those memorable lines that are quoted more often that the film enjoys screenings. The screenplay was adapted from a successful novel by Olive Higgins Prouty, who actually published three novels about the Vale family.
All its qualities come together when seen on the large screen. And the visual quality is properly served by the film grain of 35mm: though unfortunately not these days nitrate stock. Follow the line used by Prouty from the poet Walt Whitman:
“Now, Voyager, sail thou forth, to seek and find.”
This is a biopic of the famous C17th painter Michelangelo Merisi de Caravaggio. It was written (with Nicholas Ward Jackson) and directed by Derek Jarman. One can see why the gay sensibilities, homoeroticism and fine colour and design of the paintings would appeal to Jarman. As you might expect from this avant-garde artist this is not a conventional biopic. Jarman’s experimental and challenging style might seem a little daunting.
But the Hebden Bridge Picture House, where it is screening as part of their ‘reel’ film series, notes:
“Dexter Fletcher, Nigel Terry, Sean Bean and Tilda Swinton star in perhaps Derek Jarman’s most accessible and substantial film. A biopic of celebrated Renaissance painter Michelangelo Merisi da Caravaggio, it offers profound reflections on art, sexuality and identity through his storied life, his brilliant, nearly blasphemous paintings and his flirtations with the underworld.”
My own thoughts when I saw the film a few years back was:
“The film has a stronger plot than is usual in a Jarman film, but its overall effect is one of a series of tableaux. The film displays homoerotic imagery but also explores the social and economic side of the artist’s life. And the film explores the labyrinthine recesses of church and church patronage in the period.”
Then it was screened at the National Media Museum in a 35mm print, presumably the same one screening on Saturday. The print was in good condition and looked great, especially in Jarman’s design and Gabriel Beristain’s colour cinematography [Fuji film stock processed by Technicolor] in presenting the artists and the art works.
The BBFC gave it a 15 certificate, down from the original 18.
“Contains strong language, sex references and bloody images.”
Derek Jarman has dropped out of sight a little: I think the last retrospective was in 2014 in London. He remains a major contributor to British cinema and his best work, like Caravaggio, stands out and stands up to time.
The print had a few more scratches but the definition, contrast and colour were all very good. An audience of seventy turned up for the film, which seems pretty good these days.
This is a classic romantic comedy of the studio era (an MGM production): not quite a screwball but with touches of that genre. The centre of the film is a captivating performance by Katherine Hepburn as socialite Tracy Lord. In fact Hepburn had appeared in the original Broadway production of the play by Philip Barry. That other unconventional Hollywood figure, Howard Hughes, bought the rights to the play and presented it to Hepburn. So she was able to pick the director, George Cukor, and also have some say in the casting.
The cast is splendid. Cary Grant is ex-husband C. K. Dexter Haven, rather less virtuous than his ex-wife Tracy. James Stewart is journalist Macaulay O’Connor, playing the role lightly in the period before filmmakers discovered his dark side. And he is accompanied delightfully by Ruth Hussey as his photographer Elizabeth Imbrie. The plot revolves around Tracy’s planned second wedding to George Kittredge (John Howard) safely contained within the Hays Code. The principals are at times very funny, at times very charming. The supporting cast is excellent. My particular favourite is William Daniel as Sidney Kidd, publisher and the employer of O’Connor and Imbrie. It is his machinations which propel much of the plot and which also provide a fine final moment to the film.
Hepburn had good taste in directors, in this case George Cukor. Among Cukor’s talents was the ability to bring out full and distinctive characterisation from female stars. And he is working with a number of other fine craftsmen, including Joseph Ruttenberg on cinematography and Franz Waxman providing the score.
The film was an undoubted success, something that escaped Hepburn in a number of her earlier starring roles. It received six nominations for Academy Awards. James Stewart walked off with the Best Actor Oscar. The writer Donald Ogden Stewart won an Oscar for Best Adapted Screenplay. His success was curtailed within a decade as he was one of the victims of the Hollywood Blacklist.
The property was remade in 1956 as High Society. It is not in the same class but, as a musical, it does have some fine numbers. Now it will be possible to see the original this coming Saturday (June 18th) at the Hebden Bridge Picture House. It seems the film will screen in its original format, Academy ratio black and white 35mm: it will look all the better for this, though it also has a 1940s mono soundtrack.
Apologies, it seems the film is screening from digital.