idlesuperstar:

I could spend the rest of the year picking favourite scenes from P&P films, because there’s just that many. 

This is one of those many. 

idlesuperstar:

I could spend the rest of the year picking favourite scenes from P&P films, because there’s just that many. 

This is one of those many. 


I was at last night’s screening of Blimp at Film Forum wiht Martin Scorcese introducing, and I got there early to get a good seat. It’s a small cinema and I knew there’d be a line. I asked the few peiple who were standing nearby if they’d come to see Blimp, and all of them knew nothing about the film. They’d come because Marty was introducing it and wanted to see him! But at least they got to see the film as a bonus! Before Marty there was a short film presentation on the restoration given by a woman whose name I forget. They showed several before and after clips and went into quite some detail discussing the state the print was found in and the amount of work required to restore. They showed before and after clips of the German beer hall scene and the difference was truly striking. I want to go back and look at my DVD, because even there it such a visually arresting scene, but the estoration was magnificent. The bright blue coats of new guests walking in, the brilliant red of the skirt of the woman pouring the beers.I forget some of what Marty said. I kept taking mental notes, but when the film started, I was lost and forgot most of it. This is the first time I’ve ever seen him, so if I’m repeating what he’s said a dozen times, apologies. He told a story about how he and Robert DeNiro were talking about ways to tradically transform his physical form for Raging Bull, where he gains large amounts of weight, and so naturally Blimp came up in the discussions. DeNiro said he’d like to talk to Michael Powell about what Roger Livesey went through, and so Marty asked MP to dinner one night, telling him he wanted to introduce him to DeNiro. About halfway through the dinner, MP, who was sitting next to Marty, leaned over and whispered, “I thought you said DeNiro was gioing to be here?” Of course, he was, he was sitting on the other side of MP, but was so self-effacing in public he virtually disappeared. DeNiro did get to ask MP about the Livesey’s transformation, but all Marty claims MP said was,  “It’s called acting.” (Isn’t Gielguld or someone also supposed to have said that to DeNiro about Raging Bull?).Marty also talked about his own first experiences watching Blimp, the buthchered 90-minute version in black and white on TV in the 50s. He said he saw this again, in color, in the late 70s, and talked about the reconstitution of the film back to its original 163-minute form for the 1983 version. It was these negatives, if I remember rightly, that were used as the basis of the restoration. Well, the restoration! I always thought the DVD looked really fine, with sharp, bright colors and excellent sound, and wondered if a restoration was even needed, but this new version is something else. Some of the moments were a pure revelation. For example, when Clive walks into the convent at Bonne Amie (sp?) the quality of light when he first sees the rows of nurses is astonishing. There are some close-ups of Deborah Kerr’s face when she becomes luminous, and the play of emotion is tangible. There was moment after moment which came alive in a new way, and that’s hard to do for a movie that is, well, so alive in the first place. Also, the sound restoration was beautiful. I was there with a friend who had never seen it before, and was awestruck at the end. The man sitting beside me let out a loud “Wow” when the end credits began rolling, and there were similar exclamations from other audience members, and the credits were met by a round of applause. So I think Marty drawing in the unknowing New York crowds did a great service by introducing this movie to many who would never have seen it otherwise.

Ranbir

I was at last night’s screening of Blimp at Film Forum wiht Martin Scorcese introducing, and I got there early to get a good seat. It’s a small cinema and I knew there’d be a line. I asked the few peiple who were standing nearby if they’d come to see Blimp, and all of them knew nothing about the film. They’d come because Marty was introducing it and wanted to see him! But at least they got to see the film as a bonus!
 Before Marty there was a short film presentation on the restoration given by a woman whose name I forget. They showed several before and after clips and went into quite some detail discussing the state the print was found in and the amount of work required to restore. They showed before and after clips of the German beer hall scene and the difference was truly striking. I want to go back and look at my DVD, because even there it such a visually arresting scene, but the estoration was magnificent. The bright blue coats of new guests walking in, the brilliant red of the skirt of the woman pouring the beers.
I forget some of what Marty said. I kept taking mental notes, but when the film started, I was lost and forgot most of it. This is the first time I’ve ever seen him, so if I’m repeating what he’s said a dozen times, apologies. He told a story about how he and Robert DeNiro were talking about ways to tradically transform his physical form for Raging Bull, where he gains large amounts of weight, and so naturally Blimp came up in the discussions. DeNiro said he’d like to talk to Michael Powell about what Roger Livesey went through, and so Marty asked MP to dinner one night, telling him he wanted to introduce him to DeNiro. About halfway through the dinner, MP, who was sitting next to Marty, leaned over and whispered, “I thought you said DeNiro was gioing to be here?” Of course, he was, he was sitting on the other side of MP, but was so self-effacing in public he virtually disappeared. DeNiro did get to ask MP about the Livesey’s transformation, but all Marty claims MP said was,  “It’s called acting.” (Isn’t Gielguld or someone also supposed to have said that to DeNiro about Raging Bull?).
Marty also talked about his own first experiences watching Blimp, the buthchered 90-minute version in black and white on TV in the 50s. He said he saw this again, in color, in the late 70s, and talked about the reconstitution of the film back to its original 163-minute form for the 1983 version. It was these negatives, if I remember rightly, that were used as the basis of the restoration.
 Well, the restoration! I always thought the DVD looked really fine, with sharp, bright colors and excellent sound, and wondered if a restoration was even needed, but this new version is something else. Some of the moments were a pure revelation. For example, when Clive walks into the convent at Bonne Amie (sp?) the quality of light when he first sees the rows of nurses is astonishing. There are some close-ups of Deborah Kerr’s face when she becomes luminous, and the play of emotion is tangible. There was moment after moment which came alive in a new way, and that’s hard to do for a movie that is, well, so alive in the first place. Also, the sound restoration was beautiful. I was there with a friend who had never seen it before, and was awestruck at the end. The man sitting beside me let out a loud “Wow” when the end credits began rolling, and there were similar exclamations from other audience members, and the credits were met by a round of applause. So I think Marty drawing in the unknowing New York crowds did a great service by introducing this movie to many who would never have seen it otherwise.

Ranbir

"Seeing Colonel Blimp strictly in the terms of for-the-war-effort propaganda is a terrible mistake,” warns Jaime N Christley in Slant. “There isn’t a jingoistic, early-to-mid-20th-century ‘I dare say old chap’ moment or sentiment in the film that Powell and Pressburger fail to elevate to a broader, frequently mythic, perspective. All the same, the wars portrayed in the film (the Boer War, the First and Second World Wars), depicted as they are indirectly, often through montage, are often merely a vehicle for the duo’s more pressing concerns, being no less than an inverse of Kurt Vonnegut's Slaughterhouse-Five; instead of becoming unstuck in time, General Candy (Roger Livesey) remains stuck while the century seems to evaporate and transform around him, ungraspable, in a whirlwind of battlefield commendations and animal heads. Only two things seem to remain, besides the dependability of change and a world always seeming to ignite in violent conflagration: his dear friend Theodor Kretschmar-Schuldorff (Anton Walbrook, in one the greatest performances from one of the screen’s most dignified, charismatic figures), and Deborah Kerr, who plays three characters. For the audience, the idea of a triple-Kerr is a Buñuelian fantasy abstraction, but for Theo and Clive, it’s nearly the only continuity they can depend on as the 20th century marches on, eventually without them.”

It’s a crucial moment in The Life and Death of Colonel Blimp (1943), and thus all the more conspicuous as it elides the payoff of  the long sequence preceding it: as Clive Candy (Roger Livesey) and Theo  Kretschmar-Schuldorff (Anton Walbrook) begin their duel in 1902  (heralding the start of their forty-year relationship) after a prolonged  dithering over protocol, the camera, while observing them from  overhead, pulls back into the rafters, and then (courtesy of a dissolve)  into the sky above the wonderfully obvious miniature of the gymnasium, a  miniature Berlin in the distance, false snow whipping the lens;  reaching its peak, it descends back to the cardboard earth towards a toy  hansom cab, in which Edith Hunter (Deborah Kerr) anxiously awaits the  outcome.
A virtuoso shot, and one with more than an echo of the famous  “unbroken” take craning into Susan Kane’s nightclub a mere two years  previous. But Michael Powell’s willfully grandiose gesture carries far  more resonance than Welles’s masterful showboating. Stanley Kauffmann’s  rather harsh charge that Welles was “a scene and sequence-maker, not a  filmmaker” nevertheless contains an irreducible truth at its core: for a  great majority of “ambitious” filmmakers in the first two decades of  the sound era, scenes and sequences took precedence over the film as a  whole. One need think only of Ford’s overt preciousness of composition  in The Informer (1935) or The Fugitive (1947), or  Mamoulian’s aggressive playfulness, or Milestone’s uniquely weighty  sense of innovativeness to realize that Welles was only the most  pronounced (and publicized) example of Hollywood’s erratic but  consistent romance with capital-A Art. Innovation in cinema never  springs from some pure and untapped creative well. For those Thirties  and (more dwindling) Forties Hollywood producers who counted prestige as  a subdivision of profit, these occasional ventures into the Artistic  were only good business sense.
For Powell, however, the constrictions exerted by the far more staid  British system somewhat modulated the stylistic exuberance he had first  begun to exhibit at the end of the ‘30s. This isn’t (merely) cultural  stereotyping, but historical fact: Britain’s entrance into World War II  exerted a far more wide-ranging and deep-seated effect upon British  films than did America’s cinematic outpouring post-1941. The cinema’s  shift into propaganda mode, however, did not so much squelch Powell’s  verve as channel it, and even develop it. The vivid documentary quality  he brought to his remarkable 1937 film The Edge of the World (the beginning of his love affair with Scotland’s Orkney Islands, crystallized in his 1945 masterpiece I Know Where I’m Going!) indelibly marked the rugged outdoor footage interspersed between the all-star theatrics of 49th Parallel (1941) and the flying sequences of One of Our Aircraft Is Missing (1942). And the taste for fantasy and artifice which he had first indulged in Alexander Korda’s Wizard of Oz-baiting mega-production The Thief of Bagdad (1940), which became so pronounced with his official postwar classics A Matter of Life and Death (1946), Black Narcissus (1947), and The Red Shoes (1948) (not to mention the surrealist dream sequences in 1949’s fascinating war drama The Small Back Room), first surfaced in the midwar curio that is Colonel Blimp, one of the strangest epics, most bizarre propaganda efforts, and greatest films to ever emerge from the British cinema.
Indeed, Colonel Blimp’s greatness stems from the convergence  of these disparities. The grand title connected to the name of David  Low’s buffoonish cartoon character, who is most unlike Livesey’s  innately dignified Candy; the decades-long tracing of a military career  which includes not a single scene of battle, even in stock footage; a  salute to British military tradition which depicts it as hopelessly  outdated in the modern era of warfare, while simultaneously depicting  the new practicality, in the person of a brutal Welsh sergeant in World  War I and an upstart young lieutenant in World War II, as inherently  unattractive and quite possibly amoral (no wonder Churchill detested the  film and tried to have it banned). And threaded throughout this is one  of the most poignant and beautiful of all cinematic love stories, which  of course features not a single scene of romance and is split between  three women: Candy’s pre-WWI love for the fiery suffragette Edith, whom  he amiably loses to Theo, realizing his love only upon the moment of  loss; his postwar bride Barbara, a gentle and understanding nurse; and  his WWII driver Johnny, a vibrant working girl engaged to the  aforementioned upstart who humiliates the aged and at least physically  blimpish Candy in the film’s opening.
Powell’s reverse-Buٕñuelian tactic of casting Kerr in all three roles  is only the most prominent example of the strain of fantasy he works  into his historical panorama. The early sequences in Berlin, culminating  in the duel, are marked by scenes of extraordinarily intricate, almost  balletically choreographed movement, invariably cut to music: Candy’s  taunting and insulting of a German agent in a posh restaurant, the  amusingly agitated fervour of scurrying aides in the halls of the  British embassy, and finally the methodical preparations in the  gymnasium for the duel that will settle British and German “honor.”
Powell and his partner Emeric Pressburger (credited as co-director,  actually the film’s chief writer) are noticeably arch about the actual  meaning of the duel, though slyly nationalistic at the same time: the  Germans are stiff-backed and insistent, the British side viewing the  whole affair as decidedly archaic but unfortunately necessary. Colonel Blimp looks back to this earlier era not with fond nostalgia for a better and  truer time, but with a pronounced sense of its absurdity. Yet  underlying that absurdity is a genuine regard for those who, knowing its  absurdity, nevertheless adhered to its strictures—which is either the  greatest absurdity of all or the true nobility that so often accompanies  it. Candy’s friendly and amused smile to his opponent just before the  match that may cost either of them their lives—occasioning a quizzical  furrowing of the German’s brow—is not only a bit of “typically British”  bravado, but a recognition of the idiocy of their position as well as an  appreciation of the utter seriousness with which they undertake the  playing out of that idiocy. It would take a dogmatically rigid view of  such things not to see the equal weight of both sides of that balance,  nor the mysterious, dreamlike quality in the midst of the enervatingly  precise preparations which elevates this encounter into romance—a  romance founded on the entrance into, and acceptance of, the presence of  death.
Naturally, death has no real place in Powell’s masterpiece either,  despite the promise of the title. The duel will result in mutual injury,  mutual recovery, and mutual friendship, but in that one extra-narrative  camera movement, Powell subtly unites the many movements operating  within his most ambitious film thus far. It is a narrative movement,  eliding the outcome of the duel and increasing the suspense by focusing  upon those who wait outside. It is a technical and stylistic movement,  evidence of a cross-pollinating influence from the American cinematic  flair exemplified by Welles. It is a movement towards fantasy in its  delicately lovely miniaturization of a snowbound commencement-de-siècle Berlin even as it moves against nostalgia by the preceding  disparagement of the duel itself. And as Allan Gray’s music shifts from  an urgent swashbuckling theme cast to the clashing of blades to a  wistful and melodic one timed to the gentle blowing of snow as the  camera reaches its apex, we are moved away from the disparities of these  other movements and invited to reflect upon their confluence, on the  curious and curiously beautiful progression of life even as death hangs  over it. More than anything, Powell’s intentionally conspicuous shot is  an emotional movement, an exemplar of the great tenderness underlying  his stylistic flourishes, as opposed to the so often forthright  assertiveness of his American contemporaries (the Ford of Grapes of Wrath and How Green Was My Valley excluded). No one sequence can encapsulate The Life and Death of Colonel Blimp,  for its beauty exists as a film entire. In moving his film always  forward, however, Powell can still find time for the grace notes, for  those spaces of reflection that cause us to consider where all the many  movements within this single, gentle flow intersect, and bloom.
Up and Away - Andrew Tracy on The Life and Death of Colonel Blimp

It’s a crucial moment in The Life and Death of Colonel Blimp (1943), and thus all the more conspicuous as it elides the payoff of the long sequence preceding it: as Clive Candy (Roger Livesey) and Theo Kretschmar-Schuldorff (Anton Walbrook) begin their duel in 1902 (heralding the start of their forty-year relationship) after a prolonged dithering over protocol, the camera, while observing them from overhead, pulls back into the rafters, and then (courtesy of a dissolve) into the sky above the wonderfully obvious miniature of the gymnasium, a miniature Berlin in the distance, false snow whipping the lens; reaching its peak, it descends back to the cardboard earth towards a toy hansom cab, in which Edith Hunter (Deborah Kerr) anxiously awaits the outcome.

A virtuoso shot, and one with more than an echo of the famous “unbroken” take craning into Susan Kane’s nightclub a mere two years previous. But Michael Powell’s willfully grandiose gesture carries far more resonance than Welles’s masterful showboating. Stanley Kauffmann’s rather harsh charge that Welles was “a scene and sequence-maker, not a filmmaker” nevertheless contains an irreducible truth at its core: for a great majority of “ambitious” filmmakers in the first two decades of the sound era, scenes and sequences took precedence over the film as a whole. One need think only of Ford’s overt preciousness of composition in The Informer (1935) or The Fugitive (1947), or Mamoulian’s aggressive playfulness, or Milestone’s uniquely weighty sense of innovativeness to realize that Welles was only the most pronounced (and publicized) example of Hollywood’s erratic but consistent romance with capital-A Art. Innovation in cinema never springs from some pure and untapped creative well. For those Thirties and (more dwindling) Forties Hollywood producers who counted prestige as a subdivision of profit, these occasional ventures into the Artistic were only good business sense.

For Powell, however, the constrictions exerted by the far more staid British system somewhat modulated the stylistic exuberance he had first begun to exhibit at the end of the ‘30s. This isn’t (merely) cultural stereotyping, but historical fact: Britain’s entrance into World War II exerted a far more wide-ranging and deep-seated effect upon British films than did America’s cinematic outpouring post-1941. The cinema’s shift into propaganda mode, however, did not so much squelch Powell’s verve as channel it, and even develop it. The vivid documentary quality he brought to his remarkable 1937 film The Edge of the World (the beginning of his love affair with Scotland’s Orkney Islands, crystallized in his 1945 masterpiece I Know Where I’m Going!) indelibly marked the rugged outdoor footage interspersed between the all-star theatrics of 49th Parallel (1941) and the flying sequences of One of Our Aircraft Is Missing (1942). And the taste for fantasy and artifice which he had first indulged in Alexander Korda’s Wizard of Oz-baiting mega-production The Thief of Bagdad (1940), which became so pronounced with his official postwar classics A Matter of Life and Death (1946), Black Narcissus (1947), and The Red Shoes (1948) (not to mention the surrealist dream sequences in 1949’s fascinating war drama The Small Back Room), first surfaced in the midwar curio that is Colonel Blimp, one of the strangest epics, most bizarre propaganda efforts, and greatest films to ever emerge from the British cinema.

Indeed, Colonel Blimp’s greatness stems from the convergence of these disparities. The grand title connected to the name of David Low’s buffoonish cartoon character, who is most unlike Livesey’s innately dignified Candy; the decades-long tracing of a military career which includes not a single scene of battle, even in stock footage; a salute to British military tradition which depicts it as hopelessly outdated in the modern era of warfare, while simultaneously depicting the new practicality, in the person of a brutal Welsh sergeant in World War I and an upstart young lieutenant in World War II, as inherently unattractive and quite possibly amoral (no wonder Churchill detested the film and tried to have it banned). And threaded throughout this is one of the most poignant and beautiful of all cinematic love stories, which of course features not a single scene of romance and is split between three women: Candy’s pre-WWI love for the fiery suffragette Edith, whom he amiably loses to Theo, realizing his love only upon the moment of loss; his postwar bride Barbara, a gentle and understanding nurse; and his WWII driver Johnny, a vibrant working girl engaged to the aforementioned upstart who humiliates the aged and at least physically blimpish Candy in the film’s opening.

Powell’s reverse-Buٕñuelian tactic of casting Kerr in all three roles is only the most prominent example of the strain of fantasy he works into his historical panorama. The early sequences in Berlin, culminating in the duel, are marked by scenes of extraordinarily intricate, almost balletically choreographed movement, invariably cut to music: Candy’s taunting and insulting of a German agent in a posh restaurant, the amusingly agitated fervour of scurrying aides in the halls of the British embassy, and finally the methodical preparations in the gymnasium for the duel that will settle British and German “honor.”

Powell and his partner Emeric Pressburger (credited as co-director, actually the film’s chief writer) are noticeably arch about the actual meaning of the duel, though slyly nationalistic at the same time: the Germans are stiff-backed and insistent, the British side viewing the whole affair as decidedly archaic but unfortunately necessary. Colonel Blimp looks back to this earlier era not with fond nostalgia for a better and truer time, but with a pronounced sense of its absurdity. Yet underlying that absurdity is a genuine regard for those who, knowing its absurdity, nevertheless adhered to its strictures—which is either the greatest absurdity of all or the true nobility that so often accompanies it. Candy’s friendly and amused smile to his opponent just before the match that may cost either of them their lives—occasioning a quizzical furrowing of the German’s brow—is not only a bit of “typically British” bravado, but a recognition of the idiocy of their position as well as an appreciation of the utter seriousness with which they undertake the playing out of that idiocy. It would take a dogmatically rigid view of such things not to see the equal weight of both sides of that balance, nor the mysterious, dreamlike quality in the midst of the enervatingly precise preparations which elevates this encounter into romance—a romance founded on the entrance into, and acceptance of, the presence of death.

Naturally, death has no real place in Powell’s masterpiece either, despite the promise of the title. The duel will result in mutual injury, mutual recovery, and mutual friendship, but in that one extra-narrative camera movement, Powell subtly unites the many movements operating within his most ambitious film thus far. It is a narrative movement, eliding the outcome of the duel and increasing the suspense by focusing upon those who wait outside. It is a technical and stylistic movement, evidence of a cross-pollinating influence from the American cinematic flair exemplified by Welles. It is a movement towards fantasy in its delicately lovely miniaturization of a snowbound commencement-de-siècle Berlin even as it moves against nostalgia by the preceding disparagement of the duel itself. And as Allan Gray’s music shifts from an urgent swashbuckling theme cast to the clashing of blades to a wistful and melodic one timed to the gentle blowing of snow as the camera reaches its apex, we are moved away from the disparities of these other movements and invited to reflect upon their confluence, on the curious and curiously beautiful progression of life even as death hangs over it. More than anything, Powell’s intentionally conspicuous shot is an emotional movement, an exemplar of the great tenderness underlying his stylistic flourishes, as opposed to the so often forthright assertiveness of his American contemporaries (the Ford of Grapes of Wrath and How Green Was My Valley excluded). No one sequence can encapsulate The Life and Death of Colonel Blimp, for its beauty exists as a film entire. In moving his film always forward, however, Powell can still find time for the grace notes, for those spaces of reflection that cause us to consider where all the many movements within this single, gentle flow intersect, and bloom.

Up and Away - Andrew Tracy on The Life and Death of Colonel Blimp