Lilith Eternal

March 5, 2013


First there was the novel, Nightmare Alley, now available in a new printing from the NYRB.  Then the film, with Helen Walker playing Lilith Ritter, the female psychiatrist with ice water in her veins.  She sucks the life out of Stanton Carlisle, played by Tyrone Power, and throws away his deflated husk of a body.  He descends back into the muck from which he came and finishes as a geek, biting the heads off chickens for a living. It’s a faithful adaptation of the book.
   
Then there was Lilith, the uptight dominatrix of the TV sitcom Cheers, played by Bebe Neuwirth.  She has to be channelling Helen Walker!
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After that, came the comic book adaptation of Nightmare Alley by Spain Rodriguez, published by Fantagraphics.

Lilith has Bebe’s dark hair…


… and is up-front about her needs…  The toe nail painting is a nice noir reference to Scarlett Street, by Fritz Lang.

And finally, we have the nifty neo-noir, Side Effects, in which Catherine Zeta-Jones , as Victoria Seibert, is definitely channelling all of the above.


The Killers

December 16, 2012

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Nothing much to say about The Killers (1946), a Siodmak gem with Ava Gardner and Burt Lancaster. This picture tells the whole story. He’s remarkable for his strong masculine appearance joined to an aura of total vulnerability and victimhood.

Kitty Collins looks nice even when she’s not being the fatal woman, or trying not to seem like one.

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Drainage Made Him Do It!

December 4, 2012

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Laid low by some sort of virus, Fritz Lang’s House on the River (1950) is just the sort of relatively light-weight confection I needed to keep boredom away.  A low-budget gem to be sure, this gothic-noir features a rich author, Steven Byrne, who is having a bit of writer’s block.  We learn that he has a not-too-healthy relationship with his co-dependent brother, who complains about the thousands of scrapes he’s helped his literary brother escape.  He even lives modestly as a bookkeeper so his brother can have the luxury due to an artiste, all on their joint inheritance.

Steven has a pretty wife and a wandering eye.  He is delightfully twisted, and always speaks with an upper crust calm and suavity, even when he is responding to his wife’s charges that he stays out at night, comes home drunk and smelling of cheap perfume.  “The smell of cheap perfume can be quite exciting, my dear…”  he replies.  Honest to a fault, that Steven.

The plot is set in motion by his desire for the fresh-faced young girl who is the housemaid.  She tells him that the servant’s quarters bath is not yet fixed, and he graciously allows her to use the upstairs one, his wife’s, who is away with friends.  The sound of the bath water sluicing down the pipe is too much for the imaginative Steven – he must have her.  (Pipes in those days were often mounted outside of the walls, as shown here.  The film takes place in the early 20th century.)

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click to animate – drainage!

His romantic advances are spurned, they struggle, he kills her, quite by accident of course.  He enlists his mush-brained brother to help him cover it up by dumping the body in the river.  His brother will do anything to avoid disgrace or discomfort for Steven’s wife, whom he secretly loves.

All seems to go well as they dump the body, but then a leaping fish breaks the calm of the night, terrifying Steven.  The image of the leaping fish will come back to haunt him, called up by the sparkles of light on the vanity mirror in his house.

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When Steven’s brother confronts him, the author admits that he feels he gained something from the murder; his writing is so much better now.  His brother tells him he must be very ill to think that way.  Steven (top image) replies, “Ill…?”  Well, it’s a thin line.  

His relationship with his pretty wife seems rather cool, but here, they are in quite a passionate clutch.  Of course, he’s just about to start strangling her.

That’s Fritz all over.
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M for Metropolis!

December 3, 2012

Fritz Lang, who made that fabulous Ur-noir, M, made Metropolis (1927) as well, but until the last few years, it was never seen in its original form. The restored version, including lost footage retrieved from a full print found in Argentina, is available on Netflix, and it is glorious.  A sci-fi fairy tale with ominous Art Deco sets and art production, a full-on tale from the Germanic medieval Apocalyptic tradition, and an Expressionist masterpiece, it awakens in me a deep understanding of the older name for movies, motion pictures.  The images, each one, are fabulous, and they are given life through the technology of cinema.

Lang expressed distaste for his masterpiece later in his life.  He felt that it was politically naïve and simplistic.  His feelings may have had something to do with the fact that his collaborator on the work, his then-wife, Thea von Harbou, went on to embrace the Nazis, leading to their divorce soon after, and to his exile to Hollywood where he made several excellent film noirs, including Human Desire, Scarlett Street, The Big Heat.  It’s hard for me to watch this film and not think about the conflagration to come to Germany, and Europe, ten years later.

The melodramatic plot concerns Joh Fredersen, The Master of Metropolis, the city that he built on the backs of his workers.  The city is a brilliant aerial extravaganza: the workers live underground in dismal blocks of flats that look like the work of a dropout from the Bauhaus architecture school.  His magnificent brain produces the ideas and directives that keep the city humming, and his every word, utterance, and gesture is attended to with slavish awe by his subordinates.

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The children of the rich frolic in pleasure domes at the top of the city towers that look like something out of Hieronymous Bosch, if he had gone to Hollywood.  Maria, a teacher from the worker’s world, brings some of her charges up on a field trip.  One wonders what were the guards who let her in thinking?  That begins the ruin of all of them.

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Freder, The Master’s son, is transfixed by the sight of Maria, and decides he must go down to the depths of the worker’s city to find her. She is regarded as a spiritual leader by the workers, and restrains their violent tendencies, telling them that a Mediator will come, to join together the Head (The Master) and the The Hands (the Workers.) The allusions and similarities to New and Old Testament language and imagery are deliberate and consistent.

Freder is appalled by what he finds underground.  He witnesses an explosion at the main machine that kills many workers, and he has a vision of the infernal engine as a Moloch devouring the people. From then on, he refers to his father’s city as The Tower of Babel.

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He goes in search of other knowledge, and comes upon a man killing himself with the effort of manning his post.  He is part of a crude feedback mechanism, and he must manually move the arms of the machine to point to the lights on the outer circle as they blink.  They change often, and he is worn out with keeping up, but if he does not, disaster will ensue:  He looks like a man crucified. Freder relieves him and takes his place and his worker’s clothes. He sends the man up to the city and to wait for him at a friend’s apartment, but the worker ends up spending his type at the city’s casino, a decadent fleshpot.  So much for the virtuous proles!

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In another part of the city, in the only building that retains a pre-modern appearance, a tall, ancient mansion, lives Rotwang, the mad scientist- inventor.  It is obvious from his artificial hand that Dr. Strangelove owes something to this movie, as do so many others!

Rotwang's House

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There’s a back story here:  Frederson’s wife, Hel, is dead, but it seems that both Master and Madman loved her.  The inventor maintains a shrine to her memory that Frederson  contemplates when he pays a visit to his main technological adviser and mentor. (These images are from restored footage, and they are grainy, and cropped differently.)

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Rotwang reveals that he has been developing a mechanical man to reincarnate Hel, and Frederson is horrified, but intrigued.

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Knowing that his workers are being roused to rebellion by Maria, he commands Rotwang to fashion her in the image of Maria, and send her among the workers to sow chaos and discord.  Instead of Maria’s message of peace and reconciliation, the mechanical-Maria will preach insurrection and violence.  Joh Frederson will have a perfect excuse for retaliating brutally and teaching the proles their proper place.

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Rotwang kidnaps Maria and uses her in his deranged experiment…

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…which ends up being rather successful.

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The transformed Maria is presented to Frederson, and he sets his awful plan in motion, not knowing that his son is in love with the real woman, and is living among the workers.  The guys on the top just don’t know what’s going down…

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Freder sees his father with the false Maria and is stunned and horrified.  He swoons, and is put to bed, where he has an extended  vision along the lines of Revelation, ending with his cry, “Death come to the city!”  I have created an animated GIF of his vision, below, that you can click to activate.

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click to animate and view in full

Meanwhile, the false Maria carries out her mission of evil among the workers.

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Freder tries to unmask her as the impostor he knows she must be, but the workers turn on him as a member of the ruling class.
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Talk about a femme fatale!

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Roused by her calls to violence, the workers storm the engine rooms, and overcome the foreman, who occupies a rather difficult position in the class hierarchy.  He is a worker, but he is at the top of the class, a sort of craft-union type, and he knows the mob is wreaking destruction on itself!  He shuts the gates to hold off the mob, but The Master, with his own long game in play, orders him to raise them.  He obeys, the engines are smashed, the pumps stop, and the workers city begins to flood.

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The workers do an infernal dance around the smoldering ruin of the main engine, but the foreman breaks the spell, demanding of them, “Where are your children?”  Indeed, they gave no thought to them as they went on their rampage, and the foreman makes clear to them their utter dependence on the machines that they have smashed.  Luddite he ain’t.

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The real Maria comes to the rescue, herding the children left behind to the alarm station where she is ringing the bell.

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Meanwhile, the false Maria declares, “Let’s watch the city go to the devil!!” an parties with the city élite.

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Like Hugo’s novel Notre dame de Paris, the center of the city, even of the godless machine-metropolis, is the cathedral.  It symbolizes the mediating heart between head and hands.  And as in that novel, a climactic struggle between Good and Evil takes place on the roof as Freder fights with Rotwang.

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Down in the square, the foreman leads the action, roping the false Maria to a stake for burning in the good old fashioned way.

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With purifying flame comes the revelation of her true nature.

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Finally, Freder emerges with Maria and his father, and mediates an uneasy reconciliation between the foreman, speaking for the masses, and his father.  Happy ending for ruler and ruled!

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White Hot

December 1, 2012

White Heat (1949), a gangster film starring James Cagney, gave us the ‘iconic’ finale of Jarrett shouting to his dead mother, “Made it Ma! Top of the world!” from inside a refinery about to explode.  Va va va voom! and he’s gone in a glowing plume of flame. Jarrett is a homicidal maniac prone to crippling headaches, and he has a too-strong attachment to his murderous demon of a mom. A volatile combination.

The plot of the film is pretty dull, involving Fallon (Edmund O’Brien) as an undercover cop who gets close to Jarrett in prison to try to learn the identity of the currency fence who launders Jarrett’s loot. Fallon is too cool, too efficient, and dull, but Cagney and his co-star Virginia Mayo as his wife, Verne, keep the movie crackling. According to Wikipedia, it was said that she “looked like a pin-up painting come to life,” and she plays it for all it’s worth in this flick.

The film has many scenes that are classic sequences, including the mess hall bit when Cody passes word along the tables that he wants to hear how his mother is doing on the outside.  When word is returned that she is dead, he goes wild, flailing away at the guards who try to restrain him until he is carried out horizontally, bawling like a little boy.

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Earlier, while hiding out from the cops in a drive-in movie theater, Verne, Ma, and Cody share the front seat of their sedan, with Ma in the middle in more ways than one.  The kisses that Cody gives his wife and the ones he gives his mother aren’t all that different. He seems to have more feeling for Ma, and not much heat when it comes to his luscious wife.

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Cody hatches a plan to ‘confess’ to a lesser crime in another state, and do a short stretch in stir to get the heat off him for a massive and bloody heist he has just committed.  This gives Verne some ideas about making the separation permanent.

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As these thoughts move through Verne’s head, the WWII movie reels on, and we get a  prefiguration of Cody’s destiny.  Could that torpedo have other significance as well?

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While Jarrett’s away, Verne and Big Ed get to spend more time together.  Big Ed has a lot of moxie, but his plans to get Cody bumped off in jail don’t pan out.  Instead, Cody breaks out and is headed back to the gang, with some scores to settle.  Verne is all for fleeing, but Big Ed wants to stand and face down Cody.  To keep Verne around, and who wouldn’t want to keep her?, he threatens to tell Cody how his ma died, shot, in the back, by Verne.  Yep, they’ll face Cody together…

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Well, things don’t go so well for Big Ed, and Verne and Cody are back together.  Maybe there is some chemistry between them after all?

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click to animate

Fallon rigs Cody’s car with a tracking device, a primitive GPS setup, to foil his last heist.  I always enjoy the use of maps in these old movies, shown here as the cops demonstrate their newfangled toys for following Jarrett’s car remotely.

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Fallon is still undercover with the gang, right up to the end when he’s found out after the heist goes bad.  Cody wants to use him as a hostage to get out, but Fallon tells him the obvious, it won’t work.  With the gang armed, dangerous, but surrounded, Verne shows up to try to make a deal with the cops, claiming that she can coax Jarrett to give up.  No deal – her charms fall flat on the copper.

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The last gang member tries to give up, but Cody shoots him down in cold blood.  No deals for anyone!

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Those tanks are ready to blow!

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21 Grams – Darwinian Fable?

October 24, 2012

Click for explanation.

21 Grams (2003), is a tale of the intersection of strangers’ lives, by Alejandro González Iñárritu.  In structure, it is similar to his later film Babel, although in this film, the story does not follow a linear path forward through time.  The actors are great, but I did not find it credible or compelling.

The film left me wondering…is Iñárritu a Darwinian ironist of some sort?  Mr nice-guy architect, married to Naomi Watts, is run over and killed with his two young daughters by del Toro, who is shown above suffering in mental hell for his sins.  Sean Penn, a self-centered jerk,  gets Mr. Nice-guy’s heart as a transplant, and ends up “staying in his house and fucking his wife,” i.e Watts, widow of dead Mr. Nice-guy:  her words.  And in the end, Watts is pregnant again, and Penn’s estranged wife is going to get pregnant by artificial insemination with Penn’s sperm.

So Mr. Nice-guy is dead and gone, along with his biological progeny, while Penn’s character, also dead, lives on in the form of two children to be born with his genetic legacy.

Nice guys do finish last.


Va va va voom!

September 17, 2012

Angel Face must be added to my list of film noirs featuring ladies with black hair, big eyes, who are out of their minds.  Robert Mitchum, cool, but not so smart, and Jean Simmons (she ain’t doin’ Shakespeare here) weirdly magnetic, do a pas de deux that ends up in reverse.  Not a very compelling storyline, but as the critics all say, Otto Preminger does it very well.  You can’t get that final acceleration out of your mind. 

Everything in their relationship is centered around this sports roadster and the throaty roar of its engine:  their meetings; their lovemaking; their future; his past; and the denouement.


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