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.
This film, written by David Storey and directed by Lindsay Anderson, is one of the best films from (what is sometimes called) The British New Wave.
Partly filmed in West Yorkshire the film has a splendid performance by Richard Harris as Rugby League star Frank Machin. And opposite him is Rachel Roberts, equally fine as widow Margaret Hammond. The film is about about Machin’s career in a Yorkshire League club but also his doomed relationship with Margaret. The fine screenplay and acting is ably supported by the black and white cinematography of Denys Coop, the music of Robert Gerhard and (especially good) the editing by Peter Taylor.
Lindsay Anderson was a key member of the new-style cinema in the 1960s. He was also an influential writer and mentor. His film output never quite matched his talents, but with this film and the better-known If… (1968) he left two memorable films.
Karel Reisz, who produced the film, commented that it was
“the most completely achieved of the “new wave” films, because the most passionately felt and ambitious.” (In Never Apologise The Collected Writings of Lindsay Anderson, edited by Paul Ryan, Plexus 2004).
The ambition is apparent in the radical style of the film, most noticeable in the editing: the timeframe and structure of the narration approach the avant-garde. This is a film that shows most clearly the influence of the nouvelle vague on British film at this time.
There is a fine supporting cast, including Alan Badel, William Hartnell, Colin Blakely and Vanda Godsell. Whilst the film’s techniques are impressive, the drama is absorbing and moving. So the good news is that Hebden Bridge Picture House are screening it as part of their ‘reel films’ in 35mm on Saturday June 4th. The last time I saw the print it looked good (in 1.66:1), certainly better than the recent DCP transfer which did not serve the cinematography well, and which made some back projection fairly obvious.
This film was screened at the Hebden Bridge Picture House in their ‘reel film’ series. The cinema now has a new set of custom-built seats in the auditoriums, replacing those damaged during the ravages of the floods in the area. These new seats are comfortable, well designed and roomy. So the cinema can now seat nearly 500 patrons. There were not quite that many for this screening, but it was an appreciative audience. The 35mm print was good quality with both the colour and definition looking fine. There was a little emergency with the projector just before the feature and there was not time to reset the shutter. So we had some occasional ‘ghosting’ but this was not realty noticeable.
The film is an acting vehicle with a fine company of experienced British actors. It is adapted from a play by Ronald Harwood which is a study of the important [but now almost defunct] actor-manager tradition of British repertory theatre. The main character is modelled on the real-life Sir Donald Wolfit: if you ever saw him on stage or film, or indeed heard him on radio, then this characterisation by Albert Finney is instantly recognisable. In fact, the writer Ronald Harwood worked with Wolfit for a number of years.
The film is set in Yorkshire during World War II. The original play was set in Plymouth, which made more sense of an air aid which occurs during one performance. The film uses locations in Halifax and Bradford, including Branford’s Alhambra Theatre. These are very well done and give the film a sense of realism rather separate from the artificial world of the theatre. The latter show us both backstage and front-of-house. The former is an inventory of stagecraft and offers a variety of cameos. Meanwhile the packed audiences are of a varied composition, with both working class and middle class members and members of the armed forces. This reminded me of the centrality of wartime culture that one finds in the films of Humphrey Jennings.
In one way the film is dominated by the performance of Albert Finney as the ‘Sir’ – star and manager of the company. But the title role is his personal dresser, played by Tom Courtenay, who also starred in the original stage production. Both are excellent, displaying all their crafts to characterise both the larger-than-life actor/manager and his devoted but rather camp valet. The performances, as with the theatrical sequences, show the tenor of the original theatrical origins of the story. However, there is a low-key and nicely underplayed performance by Eileen Atkins as the troupe’s stage manager. Between them the film and the performances offer humour, drama, irony and finally a certain sadness.
The film opens with the closing scene of Shakespeare’s ‘Othello’. The bulk of the film is a performance of Shakespeare’s ‘King Lear’. And there are references or even dialogue from ‘As You Like It’, ‘Hamlet’ ‘Macbeth’, ‘The Merchant of Venice’ and Richard III’. More than this, the plot is modelled partly on ‘King Lear’ with interpolations from the other plays. These variations on the Bard’s works are very effective. This was a good start to Shakespeare’s anniversary.
Sadly Alan Rickman ended his career last month. He was one of the most interesting actors in British cinema in recent decades. His prime acting focus was the theatre and he bought to film the craft skills common among thespians trained for this medium. Among the accolades awarded him was ’46th best villain in film history’. A notable achievement when measured against the like of Jules Berry, James Cagney, Robert Ryan or Ann Savage.
He attracted notice first on film as a villain: Hans Gruber in the original Die Hard(1988). The sheer aplomb of his follow-up to a demand to release terrorists in jail, ‘I read about them in Time magazine’ makes it stand out in the film’s dialogue. His film follow-up as the Sherriff of Nottingham in Robin Hood Prince of Thieves (1991) was equally memorable. Who would not vote for a politician with a policy to ‘Abolish Christmas’. Rickman himself is quoted as saying ” I don’t play villains, I play very interesting people.” His villains were certainly were more interesting than the heroes they combated. Rickman had that assurance, found amongst really fine actors, of being able to pitch over the top and be effective.
He was also voted among the ‘sexiest screen actors’ in another poll. One thinks of his Colonel Brandon in Sense and Sensibility (1995), who has so much more oomph than the character in the Austen novel: indeed more oomph than his film rival John Willoughby (Greg Wise). He was also good at very serious drama. He and Juliet Stevenson were memorable in the very fine Truly, Madly Deeply from BBC’s Screen 2 in 1990. And in a totally different vein he was the passing stranger/Samaritan with Sigourney Weaver in the Canadian Snow Cake 2006. The same year saw him as the angst father, Richis, in Perfume: The Story of a Murderer.
Since I only saw the first of the Harry Potter film adaptations I missed his Severus Snape in the several episodes of the chronicle. However, I really enjoyed his Alexander Dane in Galaxy Quest (1999) – I can actually watch Star Trek now with a quiet smile.
Happily the Hebden Bridge Picture House is offering a tribute with a screening of Blow Dry (2001) in which Rickman plays the hairdresser competing in a major Championship. A plus, the film is set in Keighley, seemingly a popular location for British films. This is one of those comedies with its own distinctive British flavour: scripted by Simon Beaufoy of The Full Monty (1997) success. And Rickman plays opposite another lost British actor, Natasha Richardson. Moreover, on this occasion the film is screening in its original 35mm format.
Yes, it is welcome opportunities to see films in their proper format, 35mm. The Hebden Bridge Picture House is starting a regular slot on the first Saturday of the month. And the next feature is the 1961 film, Whistle Down the Wind. This is a fine drama, with location filming in Lancashire by Arthur Ibbetson. Most famously it is one of the films that established Hayley Mills as a star. It was also the first film feature for Alan Bates, the start of an illustrious career on celluloid. There is [as usual in British films] a strong supporting cast and fine music by Malcolm Arnold.
This was one of the production efforts of Richard Attenborough when he was [with colleagues like Bryan Forbes] producing interesting and distinctive British films. It is a children’s story and a parable, very much offering their point-of-view on the adult world. As is often the case, including in a series of British films, this point-of-view asks questions about how adults regard their world. It is a definitely a film to be seen on the big screen.
Then the Hyde Park Picture House have the highly praised Carol on 35mm. This is on the same Saturday as Whistle Down the Wind, but fortunately it is also on the Sunday as well. Carol has been praised for the acting of the two leads, Cate Blanchett and Rooney Mara. But it also has a fine supporting cast and excellent production design by Judy Becker. What should be particularly well served by 35mm is the cinematography of Edward Lachman, who shot the film on Super 16 Kodak film. The adaptation follows closely the very fine novel by Patricia Highsmith, (for me, a fan, possibly her finest) but also adds a couple of significant variations. These serve the cinematic rendering of the story extremely well.
If perchance you miss the latter it is also screening at Picturehouse at the National Media Museum on March 23rd. The bad news so far is that there is no sign of The Hateful Eight on either 70mm or 35mm around West Yorkshire.