Martin Landau, who died today 89, was an incredibly nuanced actor. He was intense, unique, and controlled, and gave his characters depth. He was a beloved recognizable character actor. He was in Outer Limits (giving poignant performances in “The Man Who Was Never Born,” and “The Bellero Shield”), Columbo’s “Double Shock” as murderous twins, and in Tim Burton’s Ed Wood as Bela Lugosi. Among his more quirky portrayals was Byron, the psychopathic preacher (an escaped mental patient with a menacing laugh), in Alone in the Dark (1982), and Hitchcock’s North By Northwest, and the 1960s television show Mission Impossible.
It’s always sad to see an actor of his talent, but he’s left a magnificent legacy. I’ll watch some of his shows and films today in tribute.
May 16th is a day to celebrate classic movies, and we’re inspired to pick our 5 favorite stars as if that would be easy!
Never settled for less than perfection in her work, though studio head Jack Warner did not consider her a beauty, Davis possessed one of the most striking, sensually expressive and memorable faces of all time. Not least are those mesmerizing eyes of hers, and that classy devil may care, cigarette in hand, she had a style she aged with forever gutsy and graceful.
She fought with integrity and grit against a studio system that held down strong women’s voices, but she persevered regardless. In her private life she remained an eternal romantic though she suffered many failed relationships, yet she forged an image of a strong, independent woman on and off screen– a heroine for the ages.
With performances that didn’t always paint her as ‘attractive’ –an ingenue, a seductress, nor a obviously sympathetic character -she had the bold courage to take on intricate roles that challenged her to prevail as one of the truly great actresses of all time.
An icon she will always remain… I will love her forever…
Though one of my favorite performances will always be for the beautiful and tragically stoic Charlotte Vale in Now, Voyager 1942 there is of course these Davis gems– Dark Victory 1939, Dangerous 1935, The Petrified Forest 1936, A Stolen Life 1946, Mr. Skeffington 1944, Beyond the Forest 1949, and especially her brilliant performances in– All About Eve, What Ever Happened to Baby Jane?, Hush… Hush, Sweet Charlotte and yes, for those of us that enjoy a good Grande Dame Guignol certainly her dual role as twins in Dead Ringer 1964…
The tragic Joyce Heath in Dangerous 1935, Gabrielle Maple in The Petrified Forest 1936, Valerie Purvis in Satan Met a Lady 1936, Julie Marsden in Jezebel 1938, Judith Traherne in Dark Victory 1939, Leslie Crosbie in The Letter 1940, Maggie Patterson in The Great Lie 1941, Regina Giddens in The Little Foxes 1941, the devious Stanley Timberlake in In This Our Life 1942, Charlotte Vale in Now, Voyager 1942, Kit Marlowe in Old Acquaintance 1943, Fanny Trellis Skeffington in Mr. Skeffington 1944, Kate and Patricia Bosworth in A Stolen Life 1946, the ruthless Rosa Moline in Beyond the Forest 1949, the wise and witty stage icon Margo Channing in All About Eve 1950, Joyce Ramsey in Payment on Demand 1951, Janet Frobisher in Another Man’s Poison 1951, Marie Hoke in Phone Call from a Stranger 1952, Aggie Hurley in The Catered Affair 1956, the ethical Alicia Hull in Storm Center 1956, sympathetically tragic anti-heroine Jane Hudson in What Ever Happened to Baby Jane? 1962, Margaret Delorca/Edith Phillips in Dead Ringer 1964, ravaged by time and renegade Charlotte Hollis in Hush… Hush, Sweet Charlotte 1964, the twisted Nanny in The Nanny 1965, Mrs. Taggart in The Anniversary 1968, The Widow Fortune in The Dark Secrets of Harvest Home 1978, Mrs. Aylwood in The Watcher in the Woods 1980, Libby Strong in The Whales of August 1987. I can’t think about her short role in Burnt Offerings 1976 ugh...
Elizabeth Rosamond Taylor is a woman possessed of layers upon layers of intricate emotional turmoil and passion. In her later years she had done some pretty challenging and offbeat roles but she always manages to evoke pathos and a strong inner manifesto of an ineffable deity about her. On and off screen. No matter who she is performing, Taylor is a wild fire that will burn up the screen. Elizabeth Taylor is one of the most evocative actresses, who can either bring me to raw agonizing tears or make me clench my body because she’s manages to trigger an emotion that just needed to get out!
One of my particular favorites is her portrayal of the misunderstood Gloria Wandrous in Butterfield 8 (1960) and Catherine Holly who is tormented by her horrid aunt Katherine Hepburn in Tennessee Williams’ Suddenly, Last Summer 1959.
I still believe Taylor is one of the most intensely beautiful women that has ever emerged in this lifetime, and there is a wild and untamed passion in Elizabeth Taylor that I find so compelling, it’s hard for me not to fall in love with her and those violet eyes. Whether she’s Maggie a Cat on a Hot Tin Roof 1958, Leslie Benedict in Giant 1956, Angela Vickers in A Place in the Sun 1951, Susannah Drake Shawnessy in Raintree County 1957, or the emotionally tortured Catherine Holly in Suddenly, Last Summer 1959, as Laura Reynolds in The Sandpiper 1965, or Martha in Who’s Afraid of Virginia Woolf ? 1966, Helen in Doctor Faustus 1967, Leonora Penderton married to a closet homosexual (Marlon Brando) in Tennessee Williams’ Reflections in a Golden Eye 1967, as Flora ‘Sissy’ Goforth in Boom! 1968. She still showed her vast array of colors as Leonora a woman who embarks on a strange relationship with an even stranger young woman in Joseph Losey’s odd and disturbing Secret Ceremony 1968 co-starring Mia Farrow and Robert Mitchum. And yes I admit it, I loved her as Zee Blakeley in X, Y and Zee 1972 and consider these others to be additional guilty pleasures, Night Watch and Ash Wednesday 1973
and The Driver’s Seat 1974.
Referred to as Volcanic – Anna Magnani is a bold and beautiful woman who bares her soul on the screen. A fine Italian actress who could command the rain and thunder to appear with just one of her passionate pleas, she has that kind of ascendancy. Anna Magnani has a raw and natural sensual quality that allows her ability to tap into the primal dimensions of emotion. She is truly real when she is on the screen. It’s like the earth moves with her! Of course one of my favorite performances is from Tennessee William’s adaption of The Fugitive Kind 1960 where she plays the poignant Lady Torrance opposite Marlon Brando. I also adored her as Maddalena Cecconi in Bellissima 1951 and as the widow Rose in The Rose Tattoo 1955 with Burt Lancaster as well as her enigmatic role in ...and the Wild Wild Women 1959 and Mamma Roma 1962. She has appeared in the intensely evocative Roma, Open City 1945, as Sister Letizia in The Awakening 1957 Magnani has appeared as Maddalena Natoli in William Dieterle’s Volcano 1950, in George Cukor’s Wild is the Wind 1957, The Passionate Thief (Risate di Gioia) 1960, The Secret of Santa Vittoria 1969.
Anna Magnani in The Fugitive Kind
… and the Wild Wild Women 1959
Mamma Roma 1962
The Passionate Thief 1960
Rome, Open City 1945
The Fugitive Kind 1960
The Rose Tattoo 1955
The Secret of Santa Vittoria 1969
Was a thoughtful and evocative, sexy blonde bombshell who wore her heart on her sleeve. She had a unique zest for life that she exudes, from her earliest diverse supporting roles in romantic comedies, noir, melodramas and cult classics Winters wasn’t afraid to delve into the more aggressively quirky and profane performances even as a bloody mama, Ma Barker in Roger Corman’s Bloody Mama 1970, and a few flaming psychopaths scattered around! A sensuous screen actress who was also adorable, lovable, seriously talented and off screen in life was kind, courageously honest and loyal.
From her role as the sympathetic wife to two time loser Robert Ryan in Odds Against Tomorrow 1959, to the love deprive wife Charlotte Haze in Lolita and as the heartless Rose-Ann D’arcy in Guy Green’s A Patch of Blue 1965. To the doomed Alice Tripp in A Place in the Sun 1951 and equally imperiled Willa Harper in Night of the Hunter 1955.
Winters’ life was filled with a collection of interesting lovers & relationships with some of the most impressive men in Hollywood, and a dear friend to Marilyn Monroe. Though she freely spoke in her memoirs of the midnight dooms she would get, you can ultimately see that Shelley Winters was consuming life for all it’s treasures. She will always be a kind and ebullient goddess to me…
A Double Life 1947 with Ronald Coleman
With Dan Duryea in Johnny Stool Pigeon 1949
A Cry in the Night 1949 with Richard Conte
Winchester 73 (1950)
Shelley Winters as Eva Bademan and Paul Douglas as Josiah Walkter Dudley in Executive Suite 1954
With Frank Sinatra in Meet Danny Wilson 1951
With John Garfield in He Ran All the Way 1951
With Jack Palance in I Died a Thousand Times 1955
with Jack Palance in The Big Knife 1955
With Robert Ryan in Odds Against Tomorrow 1959
With James Mason in Lolita 1961
Bloody Mama 1970 here with Robert DeNiro
With Debbie Reynolds in What’s the Matter with Helen? 1971
Whoever Slew Auntie Roo? 1972
Next Stop, Greenwich Village 1976
With Gene Hackman in The Poseidon Adventure 1972
Some of my favorite performances were for Brenda Martindale in Cry of the City 1949, as Faye Lapinski in Next Stop, Greenwich Village 1976 , as Alice Tripp in A Place in the Sun 1951, as Terry Stewart in Johnny Stool Pigeon 1949, as Lola Manners in Winchester ’73 (1950) as Joy Carroll in Meet Danny Wilson 1951, as Fran Davis in Playgirl 1954, as Eva Bardeman in Executive Suite 1954, as Marie Garson in I Died a Thousand Times 1955, Dixie Evans in The Big Knife 1955, as Peg Dobbs in He Ran all the Way 1951, Binky Gay in Phone Call From a Stranger 1952, as Lorry in Odds Against Tomorrow 1959, as Charlotte Haze in Lolita 1961, Rose-Ann D’arcy in A Patch of Blue 1965, Fay Esterbrook in Harper 1966, as the insane Helen Hill/Martin in What’s the Matter with Helen? 1971, as ‘Ma’ Kate Barker in Bloody Mama 1970, as the wonderful Belle Rosen who saves the day in The Poseidon Adventure 1972!
Gene Tierney whom I’ve always attributed such grace and gentility flips that persona and is masterful as the icy & enigmatic Ellen Berent in Leave Her to Heaven… And though she manages to create a perfect 1950s psychopathic villain — Tierney still brings me to tears with her portrayal of widow Lucy Muir in The Ghost & Mrs. Muir 1947.
There is an otherworldly quality to Tierney that makes her seem almost unreal, like there are treasures and journeys happening within those sparkling eyes of hers. Perhaps her eyes transport you to another world, because they are so beguiling and dreamy. Tierney has the ability to make you feel like you must hang onto the dulcet tones of her voice, yet she is also capable of thrusting you into turmoil when she demonstrates that she can invert that angelic face and become almost menacing. Well, only once but what a performance –it lasts a lifetime of re-watching Leave Her to Heaven! But I can’t forget all her other extraordinary performances as Ellie May in Tobacco Road 1941 and as Poppy, also that year in Belle Starr, in The Shanghai Gesture 1941, as Martha in Heaven Can Wait 1943, in Otto Preminger’s noir masterpiece Laura 1944, as Miranda Wells in Dragonwyck 1946, as Isabel Bradley in The Razor’s Edge 1946, Sara Farley in That Wonderful Urge 1948, in three noirs from 1950- Whirlpool, Where the Sidewalk Ends and as the sympathetic Mary Bristol in Night and the City. As Marcia Stoddard The Secret of Convict Lake 1951, as Midge Sheridan in Close to My Heart 1951, as Ann Scotti Scott in The Left Hand of God 1955, as Albertine Prine in Toys in the Attic 1963
The best little tough guy that rates small villainhood… Thanks so much Once Upon a Screen for making me cry laughing and picking this little menace for The Great Villain Blogathon 2017…. Brings back memories of the sublimely brilliant show…
5-year-old Tommy Bond was walking down the street in Dallas, Texas with his mother and grandmother when a talent scout from Hal Roach Studios approached. “Your son has a great face,” the scout said to Mrs. Bond, “he’d be perfect for “Our Gang.” Before you knew it Tommy’s grandmother agreed to drive him to Hollywood, a perilous car journey in 1931, but that didn’t stop her. Once in Hollywood the two were led into Hal Roach’s office for an interview. “Can you get mad? Do you like to fight?,” the producer asked the boy who answered “yes” to both questions. Tommy was hired on the spot for $50 a week.
5-year-old Tommy in a fighting stance
According to Tommy Bond Hal Roach’s secret for the success of the Our Gang series was simple, “he found regular kids who were individuals and who could act.” Who could argue with that?
Our Gang in 1933:…
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It’s that dastardly wonderful time of year when Speakeasy* Shadows and Satin & Silver Screenings host The Great Villain Blogathon 2017! featuring an endless array of diabolically cunning, insensate evil, down right nefarious and at times psychotic adversaries that Cinema has to offer!
Now in the past several years I’ve taken a long look at Gloria Holden & Gloria Swanson: When the Spider Woman Looks: Wicked Love, Close ups & Old Jewels -Sunset Blvd (1950) and Dracula’s Daughter (1936).
Dark Patroons & Hat Box Killers: for 2015’s The Great Villain Blogathon! I focused on the extraordinarily passionate Vincent Price in Dragonwyck 1946 and the ruthlessly sublime Robert Montgomery in Night Must Fall 1937—in a twisted nail biter by director Walter Graumen who puts the lovely Olivia de Havilland in peril at the hands of a sociopathic animal James Caan — Lady in a Cage (1964) for the spectacular Blogathonian lady’s hosting the 2014’s —The Great Villain Blogathon and once again last year for 2016’s event, I featured True Crime Folie à deux: with my take on Truman Capote’s true crime drama In Cold Blood (1967) & the offbeat psycho thriller The Honeymoon Killers (1969).
I was tempted to do a double feature tribute to the two masterful, despicably loathsome characters brought to life by Robert Mitchum. First his superb manifestation of the crazed preacher Harry Powell in Charles Laughton’s expressionist masterpiece The Night of the Hunter (1955). And then as the animalistic psychotic Max Cady in director J. Lee Thompson’s Cape Fear (1962).
I might not wait until The Great Villain Blogathon 2018, and just do a special feature “Robert Mitchum’s Alpha Madmen” because he & these two films are just too good not to write about before next go around! And I’m simply mad about Robert Mitchum, not to worry, not mad in the same way as Angel Face’s Diane Tremayne!
The Great Villain Blogathon is perhaps one of my favorite blogathons because the possibilities are devilishly deliciously endless. My mind began to wander around all the delightfully deadly possibility of dastardly dames…
Beautiful Anti-Heroines with a psychological underpinning as in THE DARK MIRROR 1946 starring Olivia de Havilland playing twin sisters one bad, one good, de Havilland also embodies that certain dangerous allure in MY COUSIN RACHEL 1952.
THE STRANGE WOMAN 1946 features a very cunning and mesmerizing Hedy Lamarr, and then there’s always Anne Baxter who portrays a deeply disturbed woman in GUEST IN THE HOUSE 1944. All would be excellent choices for this bad ass… blogathon! BUT…!
This year, I find myself drawn to two intoxicatingly beautiful antagonists who’s veneer of elegance & delicate exquisiteness is tenuously covering their obsessive shattered psyches. Jean Simmons and Gene Tierney both manage to create an icy austerity and a menacing malignancy within the immediate allure of their physical beauty and wiles.
Also significant in both these films, the characters of Diane Tremayne and Ellen Berent flip the male gaze and conquer it for themselves, being the ones ‘to look’.
In both these films the two deadly women are father-fixated! Both are pathologically jealous. And both women will not go “easy” Diane won’t put the car in gear “Easy!” and Ellen will not leave Dick alone and go away “easy.” These two killer psycho-noir ladies are a great pairing of deadly damsels!
DEFINITION : beauty |ˈbyo͞odē|
noun (pl. beauties)
1 a combination of qualities, such as shape, color, or form, that pleases the aesthetic senses, especially the sight: I was struck by her beauty | an area of outstanding natural beauty.
DEFINITION : CRIMINALLY INSANE
1 in a manner that is contrary to or forbidden by criminal law:
noun (pl. psychoses |-ˌsēz| )
a severe mental disorder in which thought and emotions are so impaired that contact is lost with external reality.
the state of being obsessed with someone or something: she cared for him with a devotion bordering on obsession.
- an idea or thought that continually preoccupies or intrudes on a person’s mind:
Freudian |ˈfroidēən| Psychology
relating to or influenced by Sigmund Freud and his methods of psychoanalysis, especially with reference to the importance of sexuality in human behavior.
pathological |ˌpaTHəˈläjək(ə)l| (also pathologic)
the science of the causes and effects of diseases, especially the branch of medicine that deals with the laboratory examination of samples of body tissue for diagnostic or forensic purposes.—• mental, social, or linguistic abnormality or malfunction—compulsive; obsessive
*feeling or showing envy of someone or their achievements and advantages:
*feeling or showing suspicion of someone’s unfaithfulness in a relationship:•
*fiercely protective or vigilant of one’s rights or possessions:
• (of God) demanding faithfulness and exclusive worship.
From Mary Ann Doane’s book “The femme fatale is the figure of a certain discursive unease, a potential epistemological trauma. For her most striking characteristic, perhaps, is the fact that she never really is what she seems to be. She harbors a threat which is not entirely legible, predictable or manageable. In thus transforming the threat of the woman into a secret, something which must be aggressively revealed, unmasked, discovered … Her appearance marks the confluence of modernity, urbanization, Freudian psychoanalysis…The femme fatale is a clear indication of the extent of the fears and anxieties prompted by shifts in the understanding of sexual difference in the late nineteenth century… “
Doane goes on to say that it’s no wonder cinema was a great place for the femme fatale of 1940s noir with the femme fatale representing a sign of deviant strength. That could be said of both of highlighted q!
Directed by Otto Preminger written by Frank Nugent, Oscar Milland, Chester Erskine and an uncredited Ben Hecht.
Jean Simmons stars as the antagonist Diane Tremayne Jessup, Robert Mitchum plays Frank Jessup, Mona Freeman as nice girl Mary Wilton, Herbert Marshall as Diane’s beloved father, Mr. Charles Tremayne, Barbara O’Neil as stepmother Mrs. Catherine Tremayne, Leon Ames as attorney Fred Barrett, and Kenneth Tobey as nice guy Bill Compton, who is also Franks ambulance jockey partner. Cinematography by Harry Straddling (Suspicion 1941, A Streetcar Named Desire 1951, A Face in the Crowd 1957, The Dark at the Top of the Stairs 1960, Gypsy 1962, My Fair Lady 1964) and haunting score by great composer Dimitri Tiomkin.
Angel Face is a bit of a reserved psycho-drama/noir directed by Otto Preminger who also produced. Quite striking in it’s few brutal moments scattered throughout as the murders play out at the hands of the extremely poised Jean Simmons, (So Long at the Fair 1950, The Big Country 1958, Spartacus 1960) which is what gives the film it’s nasty ironic burn in the end.
Jean Simmons was absolutely mesmerizing as Charlotte Bronn, a tormented woman who suffers a nervous breakdown, who leaves the institution and tries to make sense of her life with her austere husband Dan O’Herlihy, sister Rhonda Fleming, and sympathetic Efrem Zimbalist Jr. in director Mervyn Leroy’s Home Before Dark 1958.
In Angel Face, Simmons plays it almost perfectly chilling with her refined beauty that displays no affect, a few obvious inner demons behind those dreamy eyes, not so much bubbling passion underneath as there is bursts of fervency out of necessity. She stunningly floats through the scenes with ice water in her veins, determined to possess, first her father (Herbert Marshall) and then Frank Jessup (Robert Mitchum).
As an actor Robert Mitchum possesses an enormous range, and many layers to his film & real life persona– although he always exudes that smooth yet brawny exterior, he can either play it self-possessed, a coolly determined hero or visceral anti-hero and at times he’s been quite effective as a sicko. In Angel Face, Mitchum while still the usual rugged beast and cocksure fella, this time he is foolish and unsympathetically led by his pants, right into our anti-heroine’s trap…
Frank should have stayed with nice nurse Mary, a nice fella for a girl.
Herbert Marshall as Charles Tremayne tries to explain to the doctor and the ambulance drivers what might have happened when the gas valve was left on in his wife’s bedroom.
Robert Mitchum plays former race car driver Frank Jessup, and ambulance jockey who becomes drawn into Diane Tremayne’s (Jean Simmons) psychotically woven web of obsessive love. Frank and Bill are called to the wealthy Tremayne family’s hilltop mansion, when Catherine Tremayne (Barbara O’Neil) is almost asphyxiated when the gas valve on her bedroom fireplace is stuck on. In reality Diane’s attempt to gas her stepmother fails. It seems that Diane is insanely jealous of the woman who took her dear doting father Charles’ (Herbert Marshall) attentions away.
Catherine Tremayne insists that someone has tried to kill her, and that the gas inhalation was not a suicide attempt. Catherine Tremayne is looked after by the doctor, given a sedative and tucked into bed. Frank wanders down the great staircase, lured by haunting piano playing.
Frank wanders into the parlor when he hears the refined and innocent doe eye looking Diane playing a classical melody on the grand piano. He is immediately struck by the beautifully delicate young woman. As soon as Diane sees Frank who tells her that her stepmother is okay, she becomes hysterical. He tries to calm her down in his gruff manner, “Look take it easy I told ya she’s gonna be fine.” Diane continues to sob, “Leave me alone.” He grabs her arm forcefully and yells at her to stop it, but Diane acts as if she is inconsolable, while Frank is getting more frustrated with her. So, the big guys slaps her, slaps her hard. Some sort of awareness washes over her face, in fact she might have rather liked getting smacked in the face and so, she slaps him back, just as hard. Frank laughs, “Now look, the manual says that’s supposed to stop hysterics, it doesn’t say a word about getting slapped back.” “I’m sorry”, “That’s alright forget it. I’ve been slapped by dames before.”
We can see that there is something definitely off about this strange young woman and it should have raised the hair on the back of his neck but Frank is a bit of a dog you see.
Frank and Bill drive back to the hospital where they are set to get off from work. Frank says goodnight to Bill and walks over to the cafe, because Mary is waiting on his call. Bill tells Frank he’s a lucky guy, and he agrees- “You know it!”
What Frank doesn’t realize is that Diane has jumped into her little sportscar and has followed the men in the ambulance all the way back to the hospital. She watches as Frank enters the cafe. Harry the cafe owner says, “Well if it ain’t the dead body jockey” “Sure Harry that’s why I come here it looks like the morgue.”
Frank puts a coin in the phone and begins to call Mary but he gets a busy signal. He turns around and voilà Diane is standing there. She floats out an innocent sounding,“Hello.” Frank pleasantly surprised says “Well hello, you do get around fast don’t ya.” Diane answers, “I parked my broomstick outside” Frank-“Beer Harry… what do witches drink?”
Now… This is why Frank is a dog, it doesn’t trouble him that this young woman has followed him to work. He was supposed to have dinner with his girlfriend Mary who is a nurse at the hospital and a wonderful person.
Naturally one busy signal and Frank’s attention span is switched to this young stalker whom he finds intriguing. He finally gets Mary on the phone and tells her that he’s too tired to get together and goes off into the night to dine and dance with Diane. He is now ensnared in her web.
Frank-“I’ll see you tomorrow” Mary-“Tomorrow… was it a rough call?” Frank staring at Diane- “Yeah, rough.”
Diane asks Mary to lunch… she’s got a plan you see
What makes Diane even more conniving is that the next day she meets Mary for lunch and tells her about her evening with her boyfriend. She puts it under the pretense of helping the couple out with Franks plans on owning his own sports car repair ship, Diane having the means to offer financial support. But the seed is planted and Mary gets the heavy hint dropped that Frank is a dog and feels betrayed by Frank’s lie about being too tired. Mary is no dope and she let’s Diane know that she won’t be a fool. She tells Diane that she would have rather not known about their evening together and knows that Diane has brought her to lunch to try and shake her faith in Frank and to “find out how stupid” she was. Mary isn’t the typical good girl in noir—she’s more streetwise than that and a bit jaded by the ways of the world. She’s the good girl, but not a dumb girl.
That night Frank is about to go out on a date with Mary and he continues to lie about the previous evening “I was so beat last night I hit the sack as soon as I got in” Mary tells him “That, I can believe.”
Diane walks into the diner and tells Frank that she met with Mary for lunch.
Diane-“Go ahead hit me.” Frank-“First I’ll buy you dinner then I’ll hit ya.” Diane -“When I tell you what I did you probably won’t want to see me again, ever.” Frank-“sounds pretty grim.” Diane-“I had lunch with Mary I told her about last night… oh not everything just that we went out together.” Frank gripes-“Well why did you say that, I told her that…” Diane-“I just told her that I wanted to help you get the garage.” Frank-“Oh yeah you’re a big help.”
Later that evening while dropping subtle barbs at each other about the price of Diane’s spending, she lays the groundwork for getting Catherine to hire Frank as her new chauffeur.
Diane to Catherine complaining about her expense account-“Don’t you know it’s the simple things that cost the most!”
Diane tells Catherine that she could really use a chauffeur…
Now that Frank and Mary’s relationship is strained Diane moves in for the kill, she initiates a passionate kiss, she tempts him with the idea of a race coming up, tempting him with “pebble beach” and that she will loan her car to him, also luring him with the security of a better paying job.
He decides to take a job with the Tremayne’s as her stepmother Catherine’s chauffeur, though he tells Diane he’s just “not the type” even moving into an apartment over the garage. Diane tells Frank about her father, how he is a widowed writer, who has been wasting his talent, marrying into money for it’s comfort with the rich Catherine whom Diane despises for the way she treats him.
Part of Diane’s diabolical plot to draw Frank into her web, she pretends to be nice to Catherine asking her to invest in Frank’s desire to open up his own garage that caters to sports cars.
This is also a way for Diane to ingratiate herself into Franks life by appealing to his love of fast cars, as an extension of her own dangerous mind, she drives a sports car that Frank seems to be dazzled by and covets as he was once a race car driver. This is just an example of one of Diane’s manipulative powers as she seduces Frank with the illusion that he will be in control. Race cars are vehicles that represent freedom and freedom of movement as they are capable high speeds and risk taking. Both Diane and Frank seem to want to move at their own speed and of their own volition with no one interfering. In that way they are suited. Frank wants to do his own thing, opening up his own garage and Diane is looking for someone new to possess and control since her father is now a little more out of her reach.
But this is where the bait, or point of attraction leads Frank down a dangerous spiraling road led completely by Diane’s calculating will— where he will ultimately and literally crash and burn.
And so Frank meets with his employer who is receptive to him. Catherine actually thinks he’s a very nice young man and calls over to her lawyer to look over the papers, feeling fine about lending a great deal of money for him to open up his own garage, though she must wait for her attorney to look over the financial details of the transaction. Frank believes the deal is going to happen, until Diane sabotages the whole thing by insinuating herself using deception once again, pretending to show Frank a crumpled paper from the waste pail with the figures for the investment, that her stepmother supposedly trashed. Frank seems surprised that Catherine decided not to go ahead with it, as she appeared keen on the idea.
“Oh Frank I’m so sorry.” Frank-“Don’t take it so hard. You had a nice idea it just didn’t work that’s all.” Diane-“I’m so sorry for you.” Frank-“She changed her mind forget it, we’ll make a big night of it.” Diane– “Not tonight.” Frank slightly annoyed-“Now why?” Diane warns him, “It would be safer not too. We have to be careful for a few days. More than ever now.” Frank-“What do we have to be careful of now?” Diane-“Well if she finds out she’ll dismiss you and I couldn’t stand to lose you now…” Frank-“So she fires me and I get another job. Maybe it’s better that way. At least we won’t have to play around like this. Hiding like kids.” Diane-“You don’t know her Frank. She’d lock me in.” Frank laughs-“How could she lock you in?” Diane-“She could do anything to me because of my father. If I try to fight her, she makes him pay for it, she knows I can’t stand that, please try to understand.”
Of course Diane has constructed this lie as Catherine was very interested in going through with the deal. She wants to poison Frank’s mind against Catherine, and Frank doesn’t go straight to Catherine and merely ask if this is true, he just takes Diane’s word for it.
Once he is working for the Tremayne’s, and the prospect of his garage will not materialize-Frank gets antsy.
While Diane plays chess with dear old daddy, Frank gets bored playing chauffeur above the garage and tries to call Mary but he can’t reach her. Diane says goodnight to father laying out his milk, biscuits and cigarettes by his bedside, like the loving daughter, he can’t do without.
While Diane sits at the piano and plays her lamenting melody, in her eyes she appears like a black widow knowing that she has a juicy fly trapped above the garage, planning her next strategy which comes in the middle of the night.
She comes to Franks room crying and frightened claiming that Catherine had been in her bedroom looking down at her. Diane says with her most delicate voice-“It was so strange I wanted to speak but I couldn’t.” Diane tells Frank that Catherine had closed the window and put the gas on in her room, that she heard that awful hissing sound. She didn’t dare leave the room. Frank wants to tell her father and the police, but Diane quickly gathers her composure, “No Frank we mustn’t do that.”
Diane’s pretense of paranoia about Catherine’s trying to kill her emerges more clearly for Frank who is now taking notice of it.
An exercise in frustration, Frank begins to realize that he is in love with a lovely yet quite homicidal head case! but he fails to untangle himself from this deadly beauty.
Frank [of Diane’s supposed ‘evil’ stepmother] … “If she’s tryin’ to kill you, why did she turn on the gas in her own room first?”
Diane “To make it look as though somebody else were guilty…”
Frank “Is that what you did?”
Diane “Frank, are you accusing me?”
Frank “I’m not accusing anybody. But if I were a cop, and not a very bright cop at that, I’d say that your story was as phony as a three dollar bill.”
Diane “How can you say that to me?”
Frank “Oh, you mean after all we’ve been to each other?… Diane, look. I don’t pretend to know what goes on behind that pretty little face of yours – I don’t *want* to. But I learned one thing very early. Never be the innocent bystander – that’s the guy that always gets hurt. If you want to play with matches, that’s your business. But not in gas-filled rooms – that’s not only dangerous, it’s stupid.”
Diane tells him that she’s very tired. He says “Yeah, that I can believe.” When she tries to kiss him, he pulls away from her.
Meantime Frank visits with Mary, who is on her way out to meet up with Bill for a date. She is surprisingly nice to Frank which is more than he deserves. She tells him Bill was sure he’d show up for last night’s bowling tournament he tells her –“I’ve been busy.”
Frank asks how Bill did in the tournament, she tells him “wonderful.” Frank answers, “He’s been making out alright with you too huh.”
Mary says, “Bill was very sweet to me after you walked out.”
Frank-“I took a job that pays better than being a lousy ambulance driver, is that a crime?” Mary- “Is taking the bosses daughter to the Mocalmba (club) part of the job?” Frank-“They got a good band there, remind me to take you there sometime.”
You just can’t blame Mary for trying to move on, Bill is a much more dependable and a very likable guy who has worshiped Mary from the beginning. She asks about Frank’s new life, and he tells her that he’s thinking of quitting.
He tells her, “I’ve been thinking about quitting, it’s a weird outfit, not for me.”
Frank asks-“What’s the score Mary, has Bill taken over or do I still rate?”
Mary-“That’s a hard question to answer and I don’t think a fair one to ask” Frank-“A very simple question, yes or no, Bill or me? Can’t you make up your mind?” Mary tells him, “Yes, but I want to be sure you can make up yours. Can’t we let it go at that for a while” Frank-“Oh, I’m on probation, okay, how bout tonight, we got a date?” Mary laughs- “Why not” Frank says, “You know something you’re a pretty nice guy… for a girl.”
The next day Frank is going to leave, but Diane has packed her bags, and stumbles onto Frank packing his own bags. She asks him where he is going. He tells her that he’s quitting, when she asks why, he tells her, “well maybe it’s the altitude. Living up here makes my heart pound.”
Of course Diane collapses onto the couch and begins to weep. Frank tells her, “Now let’s face it I never should have taken this job. You shouldn’t have asked me… you know I’m right. You have your world I have mine. You got beautiful clothes a big house, someday you’ll come into a lot of money. I got a pair of big hands and not much else.”
“But all I want is you. I can’t let you go now… I won’t.”
He tells Diane that he wants to quit his job and she becomes upset as her plaything and the object of her second fixation is now slipping away from her. Frank doesn’t want to be involved with the whole package anymore. “It’s no good I tell you, I’m not getting involved.” She asks “Involved with what?”
“How stupid do you think I am –You hate that women Someday somehow you’re gonna hate her enough to kill her. It’s been in the back of your mind all along.”
Diane says coldly-“So she’s fooled you too! Just like she has everyone else.”
Diane reminds Frank about her father’s book. That one day she went into his desk to hide a present for him, just “something between him and me…”
And that she found inside the drawer where he was supposed to keep his manuscript, there was nothing but a stack of blank paper. He hasn’t written a line since he married Catherine. At first Frank just blows this off, “So he got tired. Writer marries a rich widow what’d ya expect him to write… checks.” This touches on a nerve, “Don’t joke about my father!” She tells Frank that Catherine has “humiliated and destroyed him.”
Frank tells her that there’s no law that says she has to stay, she could move out and find work the way other girls must do. She tells Frank that she would leave if it weren’t for her father. “That’s where I came in. I guess that’s where I leave.”
“Frank please will you tell me one thing. Do you love me at all? I must know…”
“I suppose it’s a kind of love. But with a girl like you how can a man be sure.” Diane quietly asks, “Will you take me with you?”
Frank-“You had it all figured out didn’t ya. You mean you’d really leave your father and everything here.” Diane-“If I have to, to keep you.” Frank-“I could be wrong about you.”
Diane begins to tell Frank how she can sell her jewels and the fancy car and he can get a small garage at first. He wants her to be sure what she is getting herself into. She tells him that she’s sure. They hear Catherine’s car pull around. He tells her to think it over for a few days. Her kisses and sympathetic story about her poor father has worked perfectly on Frank. And she makes sure that he promises that he won’t leave until then. Diane’s maneuvering has worked.
Diane leaves Franks room, and walks passed Catherine’s car. Tiomkin’s score plays fervently, feverishly as she looks down the steep cliff and seems thoughtful about the car that is framed behind her. Finding an empty package of cigarettes stuck in the hedge, she holds it out and watches it as it drops down the deep cliff side. Shades of darker things soon to follow.
Diane is so sinister she even loans Catherine a pair of her new driving gloves, just for the irony of it all. Sometimes she can be so sweet.
Catherine needs to go to her bridge game looking for Frank to drive her, Diane makes the excuse that he needed to go to Santa Barbara, having loaned her sports car to him. Diane offers to drive her instead, knowing all too well that she’ll refuse. And of course Catherine does in fact decide to drive herself to her bridge game. At the last minute, Charles decides to tag along for a ride to Beverly Hills.
Diane languidly floats as if in a psychotic trance and sits at her piano performing the same melody she played the night she failed to asphyxiate Catherine. We can hear Diane playing her melancholy ‘death song’ on the grand piano as her stepmother and father proceed to drive. But…
Diane has figured out how to tamper with the gear shift. She’s been watching Frank tinker with the mansion’s cars, and learns how to reconfigure the brakes and the shift.
Catherine starts up the car, put the gear into drive AND the car shoots backwards rather than forwards –it has been rigged to go into reverse, as her stepmother and father are propelled over the steep cliff’s edge.
Of course the convertible car goes careening over the jagged cliff, rolling over and over and smashing against the rocks, the crash dummies used are quite effective as they (Catherine and Diane’s father) seem to become crushed under the twisted fiery metal…
It is one horrific scene indeed. A scene that truly rattles me!
Diane is successful at the second attempt on her stepmother’s (Barbara O’Neil Stella Dallas 1937, Gone with the Wind 1939, All this, And Heaven Too 1940, Secret Beyond the Door 1947, Whirlpool 1950) life. The problem with Diane’s almost ingenious perfect murder unbeknownst to her is that dear daddy wasn’t supposed to be a passenger in the car so he also dies in the fiery crash, a casualty in the wreckage of Diane’s unbridled psychotic scheme of stepmother machine meddling.
The police think there is something strange about the accident and Frank is charged with murder after Diane’s packed suitcase is found in his room.
The a cop on the case knows Frank from driving the ambulance, and he brings Frank in for questioning. Detective Lt. Ed Brady asks how Frank came to work for the Tremaynes, and Frank tells him that he sort of just fell into it, after they had gotten the call about Catherine’s near asphyxiation. Ed tells him he knows. He’s got the report right there on his desk, Detective Lt. Ed Brady (Larry J. Blake)-“probably accidental, sure makes you wonder, don’t it.” Frank asks,“What da ya mean?” Ed “She claims somebody tried to murder her” Frank laughs it off-“She was hysterical, why would anyone try to murder her?” Ed-“Are you kiddin’ a woman with her kind of money. Oh by the way Frank, what sort of a girl is this step daughter er… Diane?” Frank tells him, “Very nice girl, very pretty girl.” Ed-“Any boyfriends?” Frank-“None that I ever saw. She and her father were very close.” he puffs on his cigarette some more. Ed mentions “But didn’t get a long with her stepmother eh” Frank- “I didn’t say that.” Ed-“Okay okay, when was the last time you drove the Tremayne car?”
Ed shows him the packed suitcase and then tells Frank he should get himself a lawyer.
Attorney Fred Barrett (Leon Ames), Diane’s lawyer comes to see her in the prison hospital ward.
“She idolized the man Fred it’s no wonder her nerves are cracked!”
Diane suffers a breakdown as she had only wanted to kill her stepmother, she never intended on killing her beloved father when she tinkered with the car. It looks like Frank is involved because he was the last known person to handle the car. He was known to have worked on the cars at the Tremaynes.
The Tremayne family lawyer hires one of L.A’s best defense attorneys, Fred Barrett a master at playing on a jury’s emotions.
Barrett tries to tell her that it won’t serve either she nor Frank to shoulder the blame because the jury would believe them both guilt. In a moment of honesty she tries to save Frank’s neck. Seeming less like a crazy girl and in more control of her powers now in the aftermath of what she has done, inadvertently killing her father, she wants to take responsibility for the murders herself, not wanting anyone to defend her and that she acted alone.
Diane confesses to the crime-“But I’m telling the truth.”
“The truth is what the jury decides…not you, not me, not Frank.”
At first Frank doesn’t want to go along with Barrett’s plan.
Barrett-“To be perfectly blunt Mr. Jessup I’m not particular invested in saving your neck. The concern is with my client Diane Tremayne” Frank-“Yeah that’s what I figured” Barrett tells him, “But the point is you have a much better chance together than separately. And the evidence actually points much more to you than it does to her. The fact that an automobile was involved” Frank interrupts, “If she thinks she can get away with that she’s lost her mind.”
Frank and Diane are married at the hospital…
The ladies at the prison bake the bride and groom a wedding cake-“Kids we sure hope you beat the rap!”
Barrett concocts a scheme to have Frank and Diane married in the hospital jail ward where Diane is spending her time while first catatonic, she is then convalescing after the break down. Diane’s legal team insists that she marry Frank so that it would seem like the couple were just innocent young people who intended matrimony and not having a sordid affair. They want Diane to keep her honest revelations to herself. A morally distasteful strategy that might guarantee a good outcome for them at the trial.
This scheme tries to offset any more scandal for the headlines framing it as two innocent people in love. And that explains them leaving the Tremayne house that day with plans to elope.
Another bad choice, Frank goes along with it, hoping to save his own skin not wanting to be convicted of the murders himself. He allows yet again an outside influence to manipulate his life. The idea of Frank and Diane getting married seems to push Diane further into the delusion that they will remain married and that she will have a future with Frank.
But Frank now wants nothing to do with the obsessive murderous Diane. D.A. Judson (Jim Backus) brings in the car’s mangled motor and drive shaft to demonstrate his theory how the transmission was jimmied to stay in reverse. The defense attorney Barrett manages to create a measure of reasonable doubt, supplied by with his own specialists who does create doubt in the minds of the jury and the trial ends with an acquittal. And the couple is now free to go. Frank wants a divorce.
Returning to the mansion Frank tells Diane he’ll go visit Mary to see if she’ll take him back. If she won’t he’ll leave for Mexico. Diane is devastated and in desperation makes him an offer. She’ll loan him her jaguar to go see Mary. If Mary takes him back, he can keep the car. If not he’ll bring the car back.
Here we are not sure whether Diane’s psychosis has broken up a little like a dark cloud getting clearer, as she appears more genuine at this point or is she is still manipulating Frank?
She shares a little history about her childhood and where her fixations might be coming from. She tells him that she was only ten years old when her mother was caught in an air raid in England, after which her father “became everything” to her. But once he married Catherine, Diane says she used to fantasize about what she and her father would do if her stepmother were dead.
She tells Frank that now she realizes that Catherine never meant any harm and she wants him to believe her when she says that she would give her life to bring them back. This is why she tells Frank that he cannot leave her because she wouldn’t know what to do without him. Now appearing just desperately lonely than viciously psychotic. But Frank isn’t ready to stay married to her, not even try at staying close, though he doesn’t hate her, he is “getting out all the same.”
After Frank leaves she closes up the house, dismisses the servants and wanders around the estate alone, before she goes to Frank’s room where she spends the night curled up in the armchair wrapped in his jacket.
Diane believes that she’ll never see him again. She goes to Barrett’s office, wanting to confess, and Barrett reluctantly agrees to take her statement. Diane details how she unwittingly got Frank to show her while giving the car a tune up how to rig the car to go in reverse. But he tells her she can’t be tried again due to double jeopardy. Her admission shows that she might not be totally delusional, just a regretful psychotic.
When Diane returns to the lonely mansion, Dimitri Tiomkin’s dark score swells dramatically around Diane as she appears to drift bereft with grief through the empty halls and rooms. But Diane’s hopes are sparked when Frank returns, Mary has by right rejected him, preferring the kind and loyal ex-partner Bill and Frank decides to leave for Mexico.
Diane pleads with him to let her go along. He says no way. Even though he’s called a cab, he decides to let her drive him to the bus station. They get in the jaguar, and Diane brings champagne and two glasses.
It might not be necessarily clear when the idea came to Diane, If it was the final realization that she’d be driving him to the station never to see him again. Maybe she thinks she can change his mind over that glass of champagne. But something clicks in her brain when Frank criticizes the way she puts the car in gear, as he exclaims. “Easy” that seems to spark her reaction…
He pours the champagne as she starts the engine. Then looking at him, she floors the car in reverse as the two go frighteningly backwards over that scary steep cliff…
And rockets them down the same cliff that killed her father and stepmother, the car smashing against the rocks mangled into the same kind of twisted metal sculpture.
Irony-a few minutes later the cab arrives…. Frank you idiot.
The scene is given it’s moxie by cinematographer Harry Straddling (Suspicion 1941, A Streetcar Named Desire 1951, A Face in the Crowd 1957)
Angel Face dramatically embraces the darker implications of noir.
I admit, I’d have a hard time saying no to Jean Simmons too… but Franks stupidity and Mitchum’s ability to play a tough guy (who smokes a cigarette sexier than any man I can think of) a guy just floating where the wind blows his pants is aptly described in Silver and Ursini’s book—FILM NOIR: THE DIRECTORS– on Otto Preminger
“One of the big achievement of Preminger his writers his cast and composer Tiomkin is to create a tone of amour fou in Angel Face that is realistic, poignant, delirious and suspenseful in equal doses. Frank is not the smartest guy, but he’s not a dummy, either. His lackadaisical attitude about life is embodied in Mitchum’s languid body language. Slow on the uptake about how dangerous Diane is, his problem is one of the noir anti-hero most common:thinking with his balls and not his brains. If he hadn’t given Diane a second chance, if Mary had taken him back;and if he’d realized Diane was willing to sacrifice her own life to be with him. A lot of ifs. Frank is always a half-beat behind trying to get in rhythm and he pays for it dearly. Preminger actually generates some sympathy for Diane when she tries to make up for the murders by confessing, only to realize the state will never punish her. Barrett’s assertion she may end up institutionalized if she presses the issue is more unpalatable to her than the gas chamber. When she comes home before seeing Frank for the final time, the romantic delirium builds to fever pitch, culminating in a bittersweet shot of her curled up in the shadows in Frank’s room. Frank’s coat wrapped around her. It is one of the most moving sequences… the character is completely self-aware of her own psychosis. Angel Face is Preminger’s finest noir.”
See you soon in the lobby! Your EverLovin’ pickle lover MonsterGirl- Joey
I might not have discovered the beautifully imagined magical world of Lotte Reiniger if it wasn’t for Fritzi’s Voracious appetite for the innovative spirit of women in the film industry particularly silent films. My particular favorite is her Thumbelina or Däumelinchen -An ethereal journey that is engaging and lovely.
In reverence to Women’s History Month, Movies Silently is hosting the wonderful — Early Women Filmmakers Blogathon : Sponsored by Early Women Filmmakers: An International Anthology -from Flicker Alley, and it’s a pleasure and an honor to be included in the invent.
Charlotte “Lotte” Reiniger (1899-1981) was a visionary German filmmaker who pioneered silhouette or “profile art animation”. Reiniger was fascinated with cutouts and puppetry from childhood.
Her work developing a back-lit glass animation table with a multiplane camera to create effects that predates animators like Walt Disney and Ub Iwerks by at least a decade. she adapted old European stories and fables like “Cinderella,” “Thumbelina,” and “Hansel and Gretel” into a striking visual style and groundbreaking for the 1920s — working well into the 1950s with fabulous fables like The Frog Prince 1954, The Grasshopper and the Ant 1954, Jack and the Bean Stalk 1955.
Aladdin, the Magic Lamp and the demons of Wak-Wak!
The Adventures of Prince Achmed made in Black & White with tinted tones is based on stories from “The Arabian Nights” is considered her masterwork, which she worked on for over three years. The film predates Disney’s SNOW WHITE by eleven years.
The original score was composed by German composer Wolfgang Zelle. The score was developed in concert with animation, as Reiniger created photograms for the orchestra which were performed live in the theaters.
Her passion for animation started as a child. She was fascinated with Chinese silhouette puppetry and traditional Indonesian shadow puppet theater and built her own puppet theatre. As a teenager, during the dawn of cinema, Lotte was drawn to the special effects in films like those of Georges Méliès and Paul Wegener.
After attending a lecture by Wegener, she joined the acting troupe he belonged to, and started making costumes and props backstage at the Theatre of Max Reinhardt.
At 19 years old, Lotte created the animation for the intertitles in Wegener’s Der Rattenfänger von Hameln (The Pied Piper of Hamelin), creating wooden rats for animation. This work led to her admittance into the experimental animation and short film studio in the Institut für Kulturforschung (Institute for Cultural Research). Here, she met her future husband and animation partner Carl Koch, and rubbed elbows with artists like Hans Cürlis, Bertolt Brecht, and Berthold Bartosch. She made six short films during this period, with her husband producing and photographing and became the center of a group of brilliant German animators during the Weimar Republic (the group included Bartosch, Hans Richter, Walter Ruttmann and Oskar Fischinger).
Lotte Reiniger with fellow artist husband Carl Koch
In 1923, she was asked to make a full length animated feature for Lois Hagen. Full length animated features were unheard of at the time. Typically animated films were short (less than 10 minutes) and meant to make the audience laugh. Nevertheless, Reiniger animated The Adventures of Prince Achmed in 1926. While the film had a difficult time finding a distributor, it premiered in Paris (with the support of Jean Renoir) and became a success. It is not only the oldest full-length animated feature, but the first avant-garde full length film.
When the Weimar Republic fell to the Nazis, Reiniger and Koch, both anti-Nazi activists, tried to emigrate to other countries, but no other country would take them permanently. They spent from 1933-1944 moving from one country to another, staying as long as their visas would allow. They made 12 films during this period, finally settling in London in 1949.
In addition to developing pioneering film animation techniques, Lotte’s mark remains in world of film animation, particularly fairy tales. Her techniques influenced future stop-motion animation movements. Her distinct style was unique for the time period, relying on gestures instead of facial expressions to show emotions. Her work focuses on character’s transformations, showing a fluidity very much in the style of expressionism.
Her original materials are part of a permanent exhibition of her work “The World in Light and Shadow: Silhouette, shadow theatre, silhouette film” in Filmmuseum Düsseldorf in Tübingen.
Lotte Reiniger in London 1970
In 2010, her style of animation was used in Harry Potter The Deathly Hallows short animation film “The Tale of the Three Brothers.”
Lotte Reiniger obviously loved her craft in unique silhouette films became groundbreaking, Reiniger would look for a fairytale character that she loved and then she would settle in knowing that the work will take a long time of tedious and arduous work, as she has herself said the lead character must be made to fit into the story so various figures and sets are designed to create the storyboard, showing sequences that will be broken down into particular movements by the main figures, but the importance of the story must not be underestimated. She was fascinated by great fairytales and folktales, the magic and lyrical quality they possess. Lotte Reiniger brought to them her own unique interpretation and it shows as they all bear her unmistakable quality.
She was passionate about her characters bringing them to life. There is an intricate nature to her style of film making. Lotte worked with her husband Carl Koch who was a film maker in his own right having worked with Jean Renoir, he died in 1963. Both Lotte and Carl developed a silhouette technique that included color. This was used in the wonderful feature The Frog Prince.
She created the first full length animated film in the history of cinema. Though her technique uses simple variations on her basic technique, which is simple in form, Lotte Reiniger imbues her characters with a magical sense of being real, within all the subtleties, these figures come to life.
Reiniger cuts out intricate figures from black cardboard, then creates movable parts, that are hinged by wires and then weighted with flat pieces of lead. This keeps the figure from bending from the heat of the camera lights. Once the figure is placed on the animation table, with a light from underneath the panel, the figure is placed in the precise position as the camera takes ONE shot at a time. Stop motion animation. Lotte Reiniger lovingly showed concentration as the figure slowly moves one shot at a time. Their movements seem so life like and not robotic , that it is an extraordinary achievement of precision and patience to achieve this end result. To achieve close ups, it is then necessary to make a new figure, larger, so the expression of the figure can be altered up close.
When introducing new magical figures that seem to appear from nowhere, the main figure must be created in various different sizes, each one numbered. This effect is used to show all kinds of transformations and appearances on the scene. The action is composed so that the effects of distance and depth are avoided to maintain a purity of style.
THE RAKES PROGRESS
Hansel and Gretel
ALADDIN and his MAGIC LAMP from THE ADVENTURES OF PRINCE ACHMED (1926)
Once Upon a Screen covers one hell of a groundbreaking pilots for Dan Curtis’ terrific series, with one memorable character brought to life by one of my favorites –Darren McGavin It’s a great choice for the MOVIE OF THE WEEK BLOGATHON hosted by Classic Film & TV Cafe
Darren McGavin‘s agents called him to say that ABC had purchased the rights to a yet-to-be-published book called The Kolchak Papers. The script by Richard Matheson was in its early stages and McGavin was the intended star of the would-be movie. “Listen,” McGavin’s representative said, “it’s this crazy story about a reporter and some kind of monster in Vegas. You don’t want to do this.” (McGavin) Darren McGavin read the script then gave it to his wife to see if she agreed with him. The consensus was, “it’s terrific.”
The NIght Stalker aired on ABC on January 11, 1972. Directed by John Llewellyn Moxey and produced by Dan Curtis, best known at the time for Dark Shadows, The Night Stalker became ABC’s highest rated original TV movie and the most widely viewed TV movie to date. The movie did so well, in fact, that it was…
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