To open a film with mischief is to prepare an audience for unknown degrees of tension. One is unaware of its magnitude or meaning at first, but hyperaware of its presence throughout the work. Tony Richardson's Mademoiselle begins with the breathtaking Jeanne Moreau (Elevator to the Gallows) tampering with the village sluice gate, causing a flood. She walks away from this menacing act only to stumble upon another opportunity for destruction; she crushes eggs in an onlooking bird's nest. This immediate and blatant portrait of sadism--outlined by serenity and juxtaposed with glimpses of the annual springtime procession through the fields--is one of the most powerful first impressions of a character that I've yet to behold. It's enough to make one utter "And this is only the beginning...."
Richardson keeps an impeccable pace throughout the film. We are thrust into one of many chaotic scenarios as farmers try to save their livestock from drowning. Here we are introduced to the town "hero," a strapping Italian named Manou (Ettore Manni, City of Women) who has developed a bit of a bad reputation despite his valiant efforts. His good looks have placed him with several women from the town, all of whom are either married and/or Catholic, and therefore expected to maintain their chastity until being so. His perceived weak morality and status as an immigrant has made him and his preteen son despised in a small town that is already in arms over their unknown and dangerous vandal.Continue Reading
The Loved One
Besides being one of the funniest, yet strangest comedies ever made, The Loved One may be the greatest satire of life in Los Angeles during the 1960s and has one of the most eclectic, but well used casts of all time (including Jonathan Winters in dual roles, Robert Morse, Milton Berle, Rod Steiger, John Gielgud, Paul Williams, Tab Hunter, Roddy McDowall…oh, and Liberace). Morse plays Dennis Barlow, a young British poet who shows up in Los Angeles to visit his uncle, Sir Francis Hinsley (John Gielgud), a film studio worker. After the uncle dies Dennis gets involved with Aimee (Anjanette Comer), an employee at the sinister funeral home, Whispering Glades.
Based on the book by the big-time British novelist Evelyn Waugh (Brideshead Revisited), The Loved One was adapted for the screen by the American satirist Terry Southern (Dr. Strangelove) and the haughty author and critic Christopher Isherwood (A Single Man). To make this motley crew even more improbable it was directed British filmmaker Tony Richardson who arose to much acclaim during the “angry young man” movement of British filmmaking in the late '50s and early '60s and won an Oscar for Tom Jones. But after The Loved One, he was never able to find his filmmaking footing. The film was shot beautifully in black and white, giving a crisp, yet gothic look to the Los Angeles locations, by legendary cinematographer Haskell Wexler (One Flew Over The Cuckoo’s Nest, Who’s Afraid Of Virginia Woolf?, Bound For Glory) and it was edited by the soon-to-be-major director of the '70s, Hal Ashby (Harold And Maude, Coming Home). All of these very improbable voices came together to create one of the more unique films of the decade.Continue Reading