I have one of those Mill Creek comedy collections, full of mostly completely forgotten comedies from the 30’s, 40’s and early 50’s, mostly B flicks, some lousy, some with moments, and some really funny. They range from sophisticated–the nearly completely forgotten Animal Kingdom, a Noel Coward thing from 1932 written by the same guy who did Philadelphia Story and a real gem–to virtually plotless Hal Roach things that are excuses to pull out every slapstick bit he ever used in a silent short. I’d never actually seen Olsen and Johnson and gotta admit in their couple films in this monstrous box set (fifty movies!) they completely break me up, much funnier than Abbott and Costello, and their physical comedy bits are really similar to the Marx Brothers, you can certainly get the feel of the vaudeville both came from. In fact, that led me to Hellzapoppin’ on YouTube (a beautiful print), which was the Universal Studios version of Olsen and Johnson’s huge Broadway hit Hellzapoppin (Universal’s grammar nazis insisted on the apostrophe). The Broadway show was, by all accounts, the most anarchic thing in the history of American entertainment, utter madness, script be damned, incredibly loud, with action on the stage, behind the stage, in the audience, in the aisles, and in the lobby as people left. None of its 1,404 performances was alike. Skits could be dropped, or stopped midway, or completely altered, or destroyed by manic improvisation. Musical numbers rarely made it uninterrupted. Shills planted in the audience would start yelling or weirding out or heckling or loudly announce, over and over, they were going to the bathroom. The fourth wall was not just broken through, it was shredded, it was inverted, it was drawn on, it was pulled inside out, it had its own fourth wall (would that be a fifth wall?) Critics hated it. Audiences loved it. It was vaudeville’s last crazy act, really. That was our grandparents’ and great grandparents’ world, vaudeville, this sort of unapologetic cornball Yiddish and yokel and music hall madness. It’s the anarchy you see in the early Marx Brothers flicks, in Duck Soup and Monkey Business and Horse Feathers, before MGM tamed them. Universal tamed Hellzapoppin, too, or tried to, with an inane love story and too many uninterrupted musical numbers (though Martha Raye was no comic slouch, and there’s a killer jazz and lindy hop bit, just perfect, perhaps the best swing dance movie scene ever). But Olsen and Johnson (and screenwriter Nat Perrin, who also wrote Monkey Business as well as conceived and wrote the original Addams Family) manage to keep the anarchy going, with the fourth wall shattered in a zillion pieces. The first fifteen minutes apparently come closest to the dementia of the live show, and it is probably the most intensely manic comedy I have ever seen on film including the Marx Brothers. It’s more low brow than the Marx Brothers, with none of their intellectual cachet, and I imagine neither Olsen or Johnson ever sat around the Algonquin Round Table, but it is absolutely insane. Wonderful stuff. If you’re a fan of screwball comedy in its purest and most uncompromising form, or just want to see what it was that died when vaudeville died, I imagine Hellzapoppin’ (apostrophe’d) is essential. Besides, it has the hippest Citizen Kane reference ever: “I thought they burned that thing.”
Watched an old noir I’d never seen before, Trapped, with Lloyd Bridges as the anti-hero, a moltenly sexy Barbara Payton before she’d carrie fishered herself into oblivion, and the guy who played proto-Bones in the Star Trek pilot “The Cage”. It was a fast, tough and heartless tale in glorious black and white set in Hollywood and downtown LA with terrific location footage c. 1949. Any movie that says we’ll meet on Fountain is cool by me. Amazing finish where the old Red Line cars slept at night. Also, 1949 had the goofiest cars ever. Damn, like bulbous tin cans or huge aluminum shoes. Anyway, the ending is an appropriate shocker of dubious moral certitude. Amazing what a world war will do to society’s underpinnings.
A music utterly alien to our own, like it’s from a different planet. But the cultures of the Amazon were as different from our own as time and geography made possible. If our music and this music held any common roots, it may have been in Africa. The roots of western civilization went one way, the roots of the Amazonian cultures went another. We and they may have been bands of peoples that had not been closely related in tens of thousand of years before they even left Africa. We’ve been so far apart so long this is probably some of the strangest sounding folk music you have ever heard, and we assume ours sounded the same to them when they first heard it. Before the Spanish arrived there were six million people living in the Amazon, in large towns, with expansive farms, canals and road systems. This album, the tunes collected by musicologist Marlui Miranda (an Amazon Indian herself) and transcribed for Brazilian musicians playing on acoustic instruments, is a survey of the music she heard sung and played by members of tribes throughout the Amazonian jungle. It’s a selection what remains of the music of those pre-Columbian cultures. The CD is annotated, with descriptions of the tunes and peoples and meanings. We lose the text on YouTube. All we hear is the beautifully alien melodies. I began with track four here because it is among the most jarring to western ears. I have to say that as a connoisseur of music from about the world and especially field recordings, I was never struck by a selection of music so different as this album, even if it has been scored and played and sung by a lot of Brazilian musicians. What a wonderful world the Amazon must have been before 1492. Within decades Old World diseases swept it like thermonuclear war. The population was reduced by 90%. The tribes that exist are all that remain. It’s a post apocalyptic world. A dozen or so bands yet remain uncontacted. They sings songs like these, oblivious to us, and then when the barrier between them and us is breached they too die, 70%, 80% even 90%. Who knows how many melodies disappear with the dead.
This is a hysterical send up of Beat poetry–it was a parody of The Beat Generation spoken word LP–and an homage to Beat poetry at the same time. Trash the things you love. There is no higher compliment. Thus the Pistols annihilated the New York Dolls in “New York” while worshipping them at the same time. It was a punk rock thing. Years later I was at a show heckling my friend’s band because I liked them so much. Glares from the much younger audience. Try playing this one in tune, I yelled. A kid in a leather jacket and a Ramones tee shirt shushed me. Show some respect, he said. Respect? Seriously? This is punk rock, you little fuck. He slunk away. Ah well, times change. People are so nice now. I hate it.
Don’t sit under the apogee with anybody else but me. Heard myself singing that, but it’s as far as I got. One line, or half a line, of the Andrews Sisters looping round and round in my brain. That’s what I woke up to. Some Allan Sherman I’d make.
I have no idea when the pun was added. Ten minutes ago? In my sleep? Last year? During childhood? Perhaps it was one of the lesser episodes in a previous life as an unsuccessful songwriter on Tin Pan Alley. Whatever. All I know is that if it doesn’t leave my skull soon I’ll have to blast it out with Steam. Na na na na, Na na na na, hey hey, kiss it goodbye. Never fails.
Remember when Bowie was a nazi? He went from unconvincing blue eyed soulster on Young Americans to The Thin White Duke. That was a weird time. The nazi salute, the swastika paraphernalia, the statements about Britain needing fascism. I believe very strongly in fascism, he declared, and called Adolf Hitler the first rock stars. Visionary as always, Bowie was National Front before National Front was hip. “You’ve got to have an extreme right-wing front come up and sweep everything off its feet and tidy everything up.” It was all pretty unnerving at the time. He made my favorite Bowie album then, though–Station To Station. It glistens with cocaine, hard as glass, sharp corners, unforgiving. His was an intellectual fascism, very European, we’ve never had that here in the States, the androgynous appeal of Heydrich’s shiny uniform and cold steel stare. Nazi high fashion. Gotta admit those SS boys were sharp, right up until Götterdämmerung they looked good. Bowie drank his milk and ate his red peppers and held seances and snorted mountains of cocaine. Utterly mad music filled his brain. In Berlin, surrounded by the ghosts of dead Nazis, he saw his name spraypainted on a wall, the letters interweaved with swastikas. Talk about a mindfuck moment. Skinny little David Bowie high out of his mind and his luggage full of Nazi paraphernalia (they took it from him in Poland, you can imagine the custom inspectors’ shock at this weird looking rock star with a suitcase full of Third Reich collectibles), suddenly realizing people took him seriously at this. About then he kicked the coke and began talking about love and equality like the whole Nazi thing had never happened. We still all pretend it never happened. Artists, you know, they have their little whims.
Just watched Secret Agent. One of Hitchcock’s sillier films, but I loved it nonetheless. John Gielgud’s character was another of Hitchcock’s pompous twits, Peter Lorre plays a crazed Mexican general apparently on the run from Mexico during their revolution, Robert Young is a characteristically swell American, a million laughs, and then, uncharacteristically, a noirish cad, and of course there’s Madeleine Carroll again, after having just seen her and her legs (and Robert Donat’s hand) in The 39 Steps. She’s nearly as stunning here, down a notch only because of the weaknesses in the script. What a beauty she was. Radiant. I would have been so madly in love with her at the time were I a Brit, unless I was a pompous twit. She slaps Gielgud for his wanton twittery, he slaps her back. The English you know, I’d like to see him try slapping an Irish dame that way. But that is halfway through the film. Flashing back to the beginning, there’s a creepy opener of an air raid, you can hear the rumbling hum of a zeppelin, the periodic explosions of the bombs (dropped back then by hand), the searchlights seeking it out although, in 1916, the German airships were far out of range of any aeroplane and vulnerable to only the luckiest shot of the luckiest gunner. London sat in the dark, helpless. We don’t know that now, we have images of the Blitz and dogfights and batteries of anti-aircraft guns, but British audiences watching this in 1936 or so would have remembered that terror vividly. Very unsettling. Indeed, it wouldn’t be until the V-1s that London would hear the buzzing and wait helplessly for explosions again. But both they and the silent V-2s make for lousy cinematography and scarcely ever made it into movies. No Mrs. Miniver heroics, though I believe Robert Taylor chats up Vivien Leigh while ducking a zeppelin raid in Waterloo Sunset. But I seem to have drifted off into the wrong film. Getting back to Secret Agent, it’s about this time that three of the leads zip off to fun and intrigue in Switzerland. They meet Robert Young there. There are a couple of astonishing sonic sequences, one involving a Swiss Alpine chorus singing tunes that seem to hearken back to ancient harmonies, accompanied by coins swirling metallicly about bowls. Stunning. Just as stunning is the long scene of pipe organ dissonance in a mountain church. Never mind what or how, just wait for it. Creepy and gorgeous. Indeed, far from me to leak any of the plot, but it ends in a bewildering train trip to Constantinople though whether they are Turkish or Bulgarian soldiers on board with them I couldn’t quite tell, nor understand just why English spies and a defrocked Mexican general were allowed on military trains with such ease. And the events highlighted in the newspaper headlines at the film’s conclusion refer to Allenby’s (Trevor Howard in Lawrence of Arabia) Palestinian campaign in 1918, while Secret Agent begins in early summer of 1916 and seems to run on for only a fortnight if that, indeed ending before the Battle of the Somme even commences (as there is no mention of it). I’m certain English audiences would have noticed this, one armed Tommies complaining loudly in the lobby afterward till plied with a dram or three at the local pub. And I too was thoroughly confused at this point, even straight and sober as I was, though to be honest I could care less that the plot seemed to have gone off the rails somewhere east of Zurich and had entered some sort of wormhole through space and time, 1916 rendered into 1918 like magic. It’s Hitchcock, why ask for an explanation. Besides, many of the English audience would have read the Somerset Maugham novel anyway, and could have filled in the details apparently excised from the screenplay by the chapter full. Then, as I was busily looking at Madeleine Carroll, the film suddenly ended in one of Hitchcock’s beloved disasters. The screech of metal and madness and irony. A few laughs even. The leads that didn’t die live happily ever after humping their way through the rest of the war. The end. Fortunately no children or puppies were blown up in the making of the picture, nor kitty cats skinned and eaten. Not exactly a classic, but who gives a fuck. It’s Hitchcock.
Up next is Jamaica Inn. Don’t know if I’ve ever seen that one either.