“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.
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.