the big picture magazine: issue 6

8/14/2019 The Big Picture Magazine: Issue 6

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february 2010 3

coverimagegentlemen

prefer

blondes(cour

tesyparkcircusltd.)

The Big PictureISSN 1759-0922 2010 intellect Ltd.ph i l. th m, p r. b bs16 3Jg / ..

Editorial oce t. 0117 9589910 / e: @hz. Publisher m yz GuestEditor s J H / Art Direction g s

ContributorsJz c, nh p, e s, d s, a d, H t, ch bh, t n, a eh

Special thanks to Jh lh, s c p c, J s, mh p cz c g s c s

p : [email protected] / www.thebigpicturemagazine.com th b p z h

intellect |Published by

When Suzy arrives in London tovisit an old school friend, she isunwittingly plunged into theruthless world of the groupie. Soonher exciting new world of sex anddrugs leads to tragedy. Includescomplete bonus feature, Bread.

In 1960s London, a beautifulcontinental au pair finds herselfcaught up in the affections of threemen. But fun and freedom soonturn to shame and despair and shemust confess a terrible secret. Theworld premiere release for thispreviously unseen sixties gem.

teve Shorter, the biggest pop star ofis day, is loved by millions. But, ineality, he is a puppet whosearefully managed popularity isesigned to keep the countrys youthnder control. From theontroversial director ofThe Warame.

New from the BFI

FLIPSIDE

bfi.org.uk Buy on DVD & Blu-ray from

Released 25 January

The transferscome to Blu-rayin better shape

than many recentblockbusters

Kim Newman

WEIRD ANDWONDERFULBRITISH FILMSRESCUED FROMOBSCURITYAND PRESENTEDIN HIGH-QUALITYEDITIONS

Regulars

04 / Reel WorldDr. Starngelove

18 / One SheetMain Attraction

34 / On LocationMonument Valley, Utah

38 / ScreengemsMedusas Head

42 / Parting ShotInvisible Men

44 / Competition

Whos that girl?

46 / ListingsFilms coming to a bigscreen near you

cntents Issue Six. February 2010Features

06 / SpotlightBright Ideas:Evocative colour useon the silver screen

14 / Art & FilmDream Catcher:Stephen Coates and therevival oDreams ThatMoney Can Buy

24 / WidescreenTerror Vision:A re-appraisal o 3-Dslatest incarnation

30 / 1000 WordsBeautiul Creatures:Ray Harryhausenand stop-motionphotography

24

Produced in partnership with www.parkcircus.com

I was partial to tragedyin my youth. That wasbefore experience taughtme that life was tragicalenough without myhaving to write about it.Ammon

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Movie moments dont come any bigger than those that herald the end othe world. Lucky or us its just make believe. Wrds by Gabriel Slmns

WhoopsApocalyps

reelwrld

A a , it couldbe argued that an atomicexplosion, with its ensuingiconic mushroom cloud, is thegrandest o them all. Puttingaside the small matter o massdestruction, post-apocalypticallout and the eradication oall known lie (save perhapsthe odd cockroach or two),the awesomness o thesegod-awul explosions isundeniable. So much so thatmovies have oten exploitedtheir wide-screen-riendlygrandeur to ull eect, asmulti-megaton kabooms laywaste to large swathes othe worlds population. Nonehave been more eective

though than the stock ootageo nuclear blasts used in thenale o Stanley Kubricksascerbic parody o war Dr.Strangelove or How I learnedto stop worrying and lovethe bomb. The nal scene asurreal medley in which VeraLynns Well Meet Againis played over several shots

o nuclear explosions (anidea suggested by master othe obscure sight gag, SpikeMilligan) incorporatedstock ootage o 19 nuclearexplosions, the ninth o whichis nuclear test Baker romOperation Crossroads, therst post-war nuclear tests othe Bikini atoll (see image).

The genius o this scene isin its choreography and theblacker than black humourelicited by such inspiredjuxstaposition o humanitysdemise alongside a rousingsing-song. With no realoption other than to use stockimagery o real explosions(special digital eects were

still in their inancy), Kubrickharnessed their nakedpotential to create one othe nest and most apt lmendings ever an ending thaboth terries us and makes u

smile. Go gure. [tbp]

info@thebigpicturemagazine. com

Kubrick harnessed thenuclear explosions

naked cinematicpotential to create oneo the nest and mostapt lm endings ever.

above tHe baker explosion, part of operation crossroads

pHoto by united states department of defense

alssee... The Day Ater (1983) / Miracle Mile (1988) / Terminatr 2 & 3 (1991/2003)

above slim pickens drops out in dr. strangelove or

How i learned to stop worrying and love tHe bomb

4www.thebigpicturemagazine .com february 2010 5


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sptlight

Theres no spectacle in cinemaquite like the sight o MarilynMonroe. Here, the epitome otwentieth-century sex appealplays Lorelei Lee, the onlygirl in the world who can stanon a stage with a spotlight inher eye and still see a diamonin a mans pocket.

Monroes ellow siren JaneRussell plays Lees ellowshowgirl Dorothy Shaw, whossupposedly chaperoning Leeon an ocean liner carryingmultiple millionaires, andthe entire US Olympic team,across the Atlantic. Everyman onboard bids or a seatat the girls table but whenLorelei proves she really doesbelieve diamonds are a girlsbest riend she makes a highsociety spectacle o herseland attracts the resolutely unamorous attentions o lawyers

and lawmen. Hawks masteryo his musical material ensureshes extricated rom hertroubles in a delightul whirlo golden age glamour andwhistle-worthy show-stopper

Gentlemen Preer Blondes isback in UK cinemas from 26th ofFebruary. See page 46 for details

far left Jane russell and

marilyn monroe go for broke

left pretty spectacular: monroe

Hawks mastery his musical materialprvides r adelightul whirl glden age glamurand whistle-wrthyshw-stppers.Society o

TeSpectacleAs audiences prepare to welcome Howard Hawks classic50s romp Gentlemen Prefer Blondes back into cinemas, theBig Picture gives you the chance to vote or which o ourshortlist o spectacular movies youd most like to see backon the big screen. Introduction by Scott Jordan Harriss

Vting is easy:simply select your avourite title

rom the lms eatured on the

ollowing six pages, visit

www.thebigpicturemagazine.com

and ollow the instructions on the

Back in Cinemas page.

Gentlemen PreerBlndes (1953)Dir.Hward Hawks

Now go cast your vote or one o the ollowing flms youd like to see Back in Cinemas

bAckon the

bigscreen

cover feature

Vting pens nFebruary 14th.The winning lm and

screening venues will

be announced on the

website on March 30th.

Images courtesy o Park Circus Limited

february 2010 7


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This Wild West musical isclassical Hollywood cinema atits most joyously spectacular.Doris Day plays Calam, agun-toting, thigh-slappingcowgirl who considers herselone o the boys until, thatis, a glamorous showgirlblows into town and the twobecome rivals in love. Therollicking soundtrack includesthe classics Whip-Crack-A-Way, Black Hills o Dakotaand Windy City, withdelightully rivolous lyricssuch as Men wear sideburns,and they oughta/ Cos ahaircut costs a quarter.

This gem rom the golden agedeserves to be back on the bigscreen because everythingabout it is larger than lie:rom its sweeping lovestory to Days famboyantperormance. Whimsical andcharming, it is pure reverie,as cinema ought to be: as onelove-struck character sings, Iwouldnt be at all surprised /I I were only dreamin all othis AD

Friends, Britns, cuntrymen,ellow moving-pictureenthusiasts, I imploreyou to consider Theatre ofBlood. This spine-chillingspectacle eatures wickedwit and ingenious executions,perpetrated by the maverick nay, the master o themacabre, the incomparableVincent Price. Add adevilish dame (Diana Rigg),catastrophically shoddycoppers and a cast o doomedBritish icons and it makes ora marvellous medley.

In this cinematic banqueto beastliness, Price playsEdward Lionheart, aShakespearian ham, presumedead ater a dramatic plungeinto the Thames, returning toenact revenge on the criticswhose reliably dreadulreviews dogged his career.Lionhearts bloodthirstyschemes, inspired by the woro his beloved Bard, quitesimply have to be seen to bebelieved: witness death bydog-pie, murderous trampsand a killer coiure. People oBritain: vote Theatre of BloodIts an absolute ruddy riot. ES

february 2010

ptlightSimply Spectacular

Everything about it islarger than lie: romits sweeping love storyto Days amboyant

perormance... it ispure reverie, as cinemaought to be...

Lionheartsbloodthirstyschemes, inspiredby the work o his

beloved Bard, quitesimply have to beseen to be believed.

above doris day makes a scene in calamity Jane above gagging for attention: tHeatre of blood

Calamity Jane (1953)Dir. David Butler

Theatre Bld (1973)Dir. Duglas Hickx

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whent vte Vting pens n February 14th, 2010. The winning lm will be annunced March 30thhwt vte G the Big Picture website and llw the instructins n the Back in Cinemas page

Image Courtesy o Park Circus LimitKobal

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Rberta (Rsanna Arquette)is married to a bath salesmanlives in suburbia and spendsher boring housewiedays imagining the storiesbehind personals in thenewspapers. Her obsessionwith Susan (Madonna), aascinating reewheelerwho communicates with herboyriend through personalads, launches her into aninadvertent adventureeaturing amnesia, mistakenidentity, a chase with themaa and alling in love.

The lm caught the zeitgeisto the New York new wave,but its the spectacle oMadonna at her coolest romwhich its keenest cinematicpleasures come. Madonnaestablished a new paradigm oa pop-star-as-style-icon, withsheer tops, lacy bras, vintagedresses and the most amazinstudded boots in cinema.Balmain is doing thosestudded boots this season:the 1980s are cool again andDesperately Seeking Susandenitely deserves a rerunon the big screen as a glimpse

o when we all wanted to beMadonna. HT

A batty, techn-centric cncept,a unique love-triangle plot,and a mid-1980s synth-estsoundtrack, pop-promo-guruBarrons Electric Dreamsis Reagan-Thatcher eraspectacle at its most glorious.Beginning rom the yuppiesto concepts a San Franciscanproperty developer buyingan enormous home computer the lm spirals deliriouslybeyond sense, as the pluckyPC acquires a personality.At rst, this represents anunlikely boon or owner Miles

(Lenny Von Dohlen) Cort,the computer, synchs withhis household appliances and

oers romantic assistancewhen super-hot cellistMadeline (Virginia Madsen)moves in next door. But whenCort develops its own compu-crush on Madeline usingMiles techno-heavy domesticset-up to sabotage its loverival Dreams goes all out indayglo, cultish excess.

Italian electro-disco maestroGiorgio Moroders score setstime and tone perectly oran ecstatic snapshot o an ageo misunderstood technicaladvance and dizzyinglyunchecked overindulgence thatdeserves to be re-seen on thebig screen. DS


hwt vte G the Big Picture website and llw the instructins n the back in cinemas page

Images Courtesy o Park Circus Limit

Desperately Seeking Susan (1985)Dir. Susan Seidelman

Electric Dreams (1984)Dir. Steve Barrn

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DAnielsteADmAn

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its the spectacle Madnnaat her clestrm which itskeenest cinematicpleasures cme.

Italian electr-disc maestrGirgi Mrdersscre sets timeand tne perectlyr an ecstaticsnapsht an age misunderstdtechnical advance...

whent vte Vting pens n February 14th, 2010. The winning lm will be annunced March 30th

bove lenny von doHlen in electric dreams above girls aloud: rosanna arquette and madonna in desperately seeking susan



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Frm the pening mments,when bronzed bank robberGal (Ray Winstone) is almostcrushed by a runaway boulder,Sexy Beast is obviously arrom a typical cockney crimecaper. Director JonathanGlazer is immediately boldenough to plaster the titles

over Winstones speedo-cladcrotch, and drops tendermoments right alongsidedisturbingly surreal images oan Uzi-toting monster rabbit.The result is a tense andhilarious spectacle rom startto blood-soaked nale, pushedinto sheer reneticism byBen Kingsleys mesmerising

perormance as the psychoticDon Logan. Here is acharacter so depraved thateven Ray Winstone is araido him! Even when standingin just his Y-ronts, Kingsleyevokes more menace with asingle piercing glare than amillion Travis Bickles ever

could.A vote or Sexy Beast isa vote or thrilling andprovocative cinema. Justdont take your granny. CB

The wrlds wittiest man ismore usually associated withspectacles than spectacle,but his 1983 masterpieceo mockumentary-makingis dierent. Zelig is anastonishing satire on our needto conorm that showcasesthe talents o The Human

Chameleon LeonardZelig a man so keen tot in he shits shape, size,personality and proessionin order to resemble thosearound him. While Allensphysical transormations aresuciently spectacular to linkZelig to our theme here, it isthe lms ingenious editing

and visual eects whichposition Allen alongsideamous gures rom the lm1920s setting in otherwisegenuine newsreel ootage that provide the truespectacle. Newsreels were auniquely cinematic mediumand so, to be appreciated

properly, Zelig must be seenin a cinema. As Allen arguesconormity isnt alwaysideal. But it is here: Do TheChameleon. Vote Zelig. SJH

Sexy Beast (2000)Dir. Jnathan Glazer

Zelig (1983)Dir. Wdy Allen

Even when standingin just his Y-ronts,Kingsley evokes moremenace with a single

piercing glare than amillion ravis Bicklesever could.

Newsreels were auniquely cinematicmedium and so, to beappreciated properly,

Zmust be seen ina cinema.

above ben kingsley sees red in sexy beast

above same again please: zelig

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scottjorDAnhArris

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hwt vte G the Big Picture website and llw the instructins n the back in cinemas page whent vte Vting pens n February 14th, 2010. The winning lm will be annunced March 30th

february 2010 13

Images Courtesy o Park Circus Limit



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art&lm

Jez Cnlly revisits a classic crossover betweenart and lm, and talks with the musicianresponsible or its recent revival.

DreamCatcher

Tis pre-Lynchiansatire o Hollywood is asurrealist portmanteaueaturing seven pieceslinked by the story oJoe, a sel-conessedbum, who tries to

make a living out oselling dreams.

or the lm. Coates was aperect choice; his sel-termedantique beat style is anattempt to capture the wayhe heard music when he wasa child the strange andhaunting sounds o old songsfoating rom radios in thelate aternoon. I rememberplaying and singing along toold 78s on a portable recordplayer even when I wasvery small, he says. And Iwould be totally transportedby songs like White Horsesand Somewhere over theRainbow.

The new score, blendedwith Joes original rhymingvoice-over, lends eachsection o the lm a reshintrigue and piquancy.Max Ernsts Desire is aever dream o vivid colour,eroticism, lace, velvet anddry ice. Fernand Lgers TheGirl with the PreabricatedHeart eatures a romancebetween two mannequins.Man Rays visual treat, Ruth,Roses and Revolvers, isa sel-refective piece

about cinema and cinemaaudiences. Marcel Duchampprovided Discs: a poeticdream o spinning ellipsesinterspersed with shotsthat recall his earlierpainting Nude Descendinga Staircase. AlexanderCalder, noted mainly or hissculptures, contributes twosegments, Ballet, a danceo foating mobiles o variousshapes and sizes, and Circusa parade o wire gures,mechanisms, moving partsand springs. Finally HansRichter, the mastermindbehind the whole project,

caps the lm with Joes owndream, Narcissus, in whichour narrator turns blue andexperiences alienation.

Coates involvement withthe re-score dates backto 2005. Originally it wasconceived as a purely liveperormance. Stuart Brownat BFI events introduced meto Marek Pytel o RealityFilm who has pioneered theproduction o collaborationsbetween musicians and

Lng bere the current crpo artists, headed notablyby Steve McQueen (Hunger,2008) and Sam TaylorWood (Nowhere Boy,2009),switched careerpaths towards lmmaking,a loose collection o art-world creatives werepersuaded to commit theirideas to celluloid. The resultwas Dreams That MoneyCan Buy (1947): a lm thatcontinues to play to ullhouses on its rare outings,enhanced by a new musicalsoundtrack.

This pre-Lynchiansatireo Hollywood (the greatdream actory) is a surrealistportmanteau eaturing sevenpieces linked by the story oJoe, a sel-conessed bum,who tries to make a livingout o selling dreams. Morethan hal a century ater itsoriginal release, the BFIcommissioned the innovativemusician Stephen Coates,ounder o the group TheReal Tuesday Weld, towrite an alternative score

above & opposite stills from Hans ricHters masterpiece



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art&lm Dreams That Mney Cant Buy

sounds, samples and textrom the original. Beinga relatively early coloureature Dreams That MoneyCan Buy provided a uniquesensory spectacle or Coatesand his cohort to respond to.There are a lot o faws in thlm technical, editing, etc. probably budget-related, butmainly it looks absolutelygorgeous and o course thenew restoration by the BFIbrought that out. It reallyt with the palette that wehave been working with overthe years in terms o imagesand colour, so that was a bigthing.

Coates has a clearconnectedness with the worko the artists that eature inthe lm but is less enamourewith the cinematic eorts o

contemporary practitioners:Im not interested personally I generally preer HBOseries! I am a an o moviesbut not particularly artlms. Dreams That MoneyCan Buy was an exception,partly because o the era thait comes rom and partly theweight o the content o itscontributors. There are somany great lmmakers Ind the artists now generallycant compete.

The live perormances othe new score accompanyingscreenings o the lm continuto entertain audiences, mostrecently at the Bath FilmFestival, much to Coatessatisaction: The responseis amazing. We have playedit internationally, evenin Moscow with Cyrillicsubtitles. Its a wonderulbut dicult lm, whichpeople are generally amazedby and I think what we domakes it easier in some

ways. We aim to make it anenjoyable theatrical event.A avourite segment? MaxErnsts Desire is wonderu but I nd the nal sequenceby Richter himsel verymoving now. I know the textinside out and it seems like itis the thoughts and images,refections and dreams o aconsciousness at the end o a

lie. [tbp]

alssee... [FILM]Dadascpe (1961) [WEBSITE]www.tuesdayweld.cm [FILM]Hunger (2008)

lms with an existingsoundtrack. We watched aew potential lms, one owhich was Dreams ThatMoney Can Buy. I was blownaway; I couldnt believe itwas not better known. I lovedthe look o it, and having astrong interest in dreamsand psychology it seemedan inevitable choice. Theband elt the same way andwe worked out how to do itusing narrators C belle andDavid Piper and perormedit initially at BFI Southbankand then at Tate Modern orthe rst Long Weekend inthe Turbine Hall. It worked sowell that the BFI asked us torecord the alternative score

or the rst release o the lmon DVD.

In tune with the nature o theoriginal lm, the musicianswere able to retain a sense oexperimentation: There wereno prescriptions at all. Stuartwas completely open to whatwe came up with in the rstplace and it developed in aseries o live improvisationsand then recorded sessionsbased around a set o writtenthemes. We incorporated

bove & opposite performing tHe score at tHe bfi soutHbank

Te response isamazing. We haveplayed it internationally,even in Moscow withCyrillic subtitles. Its awonderul but difcultlm, which people aregenerally amazed by...



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When the emergence otelevision threatened

cinema, movies and movieposters were stretched to

unprecedented extremes.Tny Nurmand, o Londons

Reel Poster Gallery, takesa look at our striking

examples.

d e c o n s t r u c t i n g f i l m p o s t e r s

In the space just three years,between 1948 and 1951, cinemaaudiences almost halved. Thisall was a direct result o the riseo television. People were muchhappier to sit comortably athome watching the new noveltybox than venture out to theirdusty local lm theatre. The lmstudios response was to ocuson productions that were notpossible with televisions limitedtechnology.The Big Country,or example, was a big budgetwestern told on an epic scale withan epic cast and an epic story.Such grand spectaculars wereonly possible on the big screen,and enticed audiences back intocinemas. Legendary designerSaul Bass style B poster or TheBig Country aptly refects theepic scale o the movie.

gurther... www.reelpster.cm [MATINEE IDoL] William Castle [ARTIST] Jsk Hinchclif


MainAttraction

nesheet

tHe big country (1958) original us / art by saul bass


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Pr psitive

Likewise, Jock Hinchcliskitsch British poster orThe Fly used a gimmickthat oered cinemagoersthe chance to win 100 (theequivalent o more than 150today) i they could proveits premise was impossible.Aside rom the monetaryincentive, the prove it canthappen tagline also playedon public anxiety aboutthe recent discovery o thestructure o DNA, whichmade a mutant fy a morecredible scientic possibilityand encouraged the idea thatthere was a real threat oexisting species being altereby scientic experiments ornuclear radiation.

20www.thebigpicturemagazine.com

nesheetMain Attractin

Castle scary

Schlockmeister WilliamCastle was a master oB-movies. As an independentproducer, Castle recognizedthe necessity o having anedge over his competitorsboth in the ilm and televisionindustries. He also notedthe growing public interestin shock-horror and science-iction movies and capitalizedon it by developing variousgimmicks to accompany hisilms: or The Tingler, Castlewired-up certain cinemas sothat audiences would be givenmild electric shocks through

their chairs. This eaturewas exploited as a majorselling point in the US postercampaign.

Jock Hinchclis kitschBritish poster or Te Flyused a gimmick that oeredcinemagoers the chance to winmoney i they could prove its

premise was impossible.

tHe fly (1958) original britisH / art by Jock HincHcl

february 2010 21

He tingler (1959) original us

r The Tingler,William Castlewired-up certaincinemas s thataudiences wuld begiven mild electricshcks thrughtheir chairs.


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nesheetMain Attractin

www.worldcinemadirectory.org

The Directory of World Cinema aims to bring a

new dimension to the academic study o flm.

The directory is intended to play a part in the

distribution o academic output, by building a

orum or the study o flm rom a disciplined

theoretical base.

Download the ree volume

Directory of World Cimema: Japan

q

directory of

worldcinema

Visit the website where you can:

Learn more about the project

Comment on any o the reviews

Write your own flm or director reviews

Oer to edit a volume o the directory

New

Pr psitive

Another technique used tolure audiences back to thesilver screen was 3D. In 1953,

Bwana Devil, the rst ull-length colour eature lm shotentirely in the 3D process,was released. Audiences wereentranced and the lm wasa sell-out success, grossingover $1.3 million in the rstmonth o general release. Thissparked the early-1950s boomin 3D eatures.

Just a ew months later,Warner Brothers releasedHouse of Wax and billed it

as the rst major studio 3Dlm. The American billboardposter was the perect size toully exploit the promotion o

this new technology.[tbp]

House of wax (1953) original us

gurther... www.reelpster.cm [FILM] Bwana Dvil (1953) [FILM] Jsh Hinchclif



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february 2010 25

widescreen

Vision Like that ld pest JasnVoorhees rising inexplicablybut predictably rom his latestdemise, 3-D is back. 2009brought with it a slew o highprole 3-D releases, amongstthem: animated eatures Upand Coraline; amily-riendlyspectacle Journey to the

Center of the Earth; JamesCamerons long-awaitedAvatarand horror ficks TheFinal Destination and MyBloody Valentine. Whetherthis is the ormat o the utureor merely another fight ospectacular cinematic whimsyis still very much up ordebate. Yet, a more appositequestion may be whether itwas worth making many othese movies stereoscopicat all. Is the extra layer oartice epitomized by its

continued dependence on thegawkish glasses too high aprice to pay or eects thatrequently achieve only alimited impact?

3-D as a spectacle demandto be noticed and itssomething o a bore when itsnot. However, or most lms,

repeatedly drawing attentionto the wizardry is contrivedand distracting, siphoningattention rom the narrative.The horror genre alonehas the advantage o beinguniquely and unashamedlymanipulative, so can playup the trickery as anotherweapon in its arsenal. Friday13th Part III(1982) is alandmark example o this.Its consistently inventive,sometimes rightening butoten witty use o 3-D isa powerul contrast to itsgeneral God-awulness, withcharacters conspicuouslyholding objects up to thescreen or our dastardlydelectation. Its an archapproach but one thatsentirely appropriate or aranchise horror movie.

In addition, the act obeing terrorized theheightened, rapt immersionassociated with being heldin nail-nibbling suspense signicantly distracts rom

the cumbersome eyewearand oten imperect eects.As demonstrated by Friday13th Part III, it is easy toexcuse lms o this ilk anymanner o other ailingsprovided they succeed in theibare bones remit to createtension and rights; the skilucultivation o such an intenseand diverting experiencecan temper the detrimentalimpact o a multitude oinadequacies.

The recent resurgence in 3-D means itstime to reappraise just what the ormat

adds to the cinematic experience.Emma Simmnds argues that only thehorror genre successully exploits thetechnologys potential, by putting itbrazenly centre stage.

lookingAgAin:

3-Dtchnology

opposite tHe early days of 3d cinema / below feeling tHe force / rigHt old scHool scares

Whether this is theormat o the uture ormerely another ight ospectacular cinematicwhimsy is still verymuch up or debate.

error



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february 2010 27

widescreen 3-D technlgy

3-Ds in-your-acetechnology has the capacityto enhance rather thandistract rom a horror lmssinister surprises (usuallyonly feetingly glimpsed andthereore not subjected totremendous scrutiny) witheects that appear to smashthrough the ourth wall. In thguise o a threat, such eectscan meaningully erode theline between the big screenand the audiences space,ratcheting up the ear actoras audiences are ooled intododging images that seem toleap o the screen.

Purely in terms o visceralimpact, can the three-dimensional rendering o ahouse buoyed by hundreds ocolourul balloons in Up reallcompare with the moment

when a pickaxe comes haringtoward the audience in MyBloody Valentine 3D? Whatother type o movie can usethe extra dimension to prompa thrilling physical reaction?To paraphrase the advertisincampaign or The Last Houseon the Left, how do we keeptelling ourselves its onlya movie when the skilulutilization o 3-D can conjuresuch convincing assaults?

While all this may be trueo the big screen experience,however, the experienceor those viewing at homestill trails limply behind.The modern polarizationtechnique avoids much o thediscolouration and ghostingassociated with the earlierversions o 3-D technology,but the amiliar headache-inducing anaglyph system,viewed in conjunction with thpoxy coloured-lens glasses,is the only technology thatour beloved telly-boxes willcurrently support. So, anyone

who ound themselves in thrato the macabre manipulationo, say, My Bloody Valentine3D will on purchasing theDVD version nd the impasadly diminished.

But ear not couch potatoesignicant developmentsin home entertainment areimminent, with Sony planninto start selling 3-D Ready TV

Purely in terms ovisceral impact, canthe three-dimensionalrendering o a house

buoyed by hundreds ocolourul balloons inureally compare with themoment when a pickaxecomes haring toward theaudience inm BV 3d?

a... Rbt Mnster (1953) / Huse Wax (1953) / Creature Frm the Black Lagn (1954)

left pixar does it again: up

below making moves down under: Journey to tHe center of tHe eartH

Ultimately, therevitalizatin 3-D is less away t urtherimmerse urselvesin animatedwnderlandsand mre an

pprtunity tinspire shck andawe in seasned,inured punters...

left in tHe cut: tHe final destination

26www.thebigpicturemagazine.com26www.thebigpicturemagazine .com


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widescreen 3-D technlgy

18 TO 28 FEBRUARY 201

GFF10S RETROSPECTIVE

CARY GRANTWWW.GLASGOWFILMFESTIVAL.ORG.UK/CARY

ets in 2010 and Sky launching3-D channel the same year.

Both will use versions ohe polarized system thato successully terrorizesinemagoers. For now, though,nd until such advancesecome commonplace andordable, the disparityetween the cinematic andelevisual impact o 3-D givess yet another reason to keepeading to the pictures.Ultimately, the

evitalization o 3-D is lessway to urther immerseurselves in animated

wonderlands and more anpportunity to inspire shocknd awe in seasoned, inuredunters ater the mostepraved depths have beenlundered. Its an undeniablyombastic, knuckle-headed

pproach, but its a bona deoot and, or a ranchise lmke The Final Destinationr a remake like My Bloody

Valentine , its a new lease oe as these are the perect,ynical vehicles or such crass,ut un, exploitation. [tbp]

Calamity JaneDesperately seeking susan

theatre of BlooDeleCtriC Dreamssexy Beast / Zelig

Find out more inormation at:.aaz.

BaCkinCinemasVOTE FOR THE FILM YOUD LIKE TO SEE BACK ON THE BIG SCREEN

a... Andy Warhls Frankenstein (1973) / T2 3-D: Battle Acrss Time (1996) / Craline (2009)

Te disparity between thecinematic and televisualimpact o 3-D gives us yetanother reason to keepheading to the pictures.

below breaking tHe 4tH wall: avatar bottom an audience watcHes u2 in 3d

VOTE

twentietH

centuryfox

allrigHtsreserved



16/25

Ray Harryhausen was in hisearly teens when he rst sawseminal creature eature KingKong. As he watched theamous ape battle terriyingdinosaurs and ultimatelywreak terrible destruction onNew York City, he knew orcertain that his uture lay incinema. What he didnt knowwas how pioneering animator

Willis OBrien had brought a50-oot gorilla to lie.At the time o the lms

release, in 1933, only a handulo people knew OBrienssecret: he had used stop-motion photography, in whichtiny models are painstakinglymoved and shot a rame at atime. It was a technique hehad rst implemented eightyears earlier in The LostWorld and, while that lm isundoubtedly still impressive,it was simply a warm up

1000wrdsor his work in King Kong,which successully combinedstop-motion eects withootage o real-lie actors.The result bewildered evenindustry experts with someexclaiming that a 50-oot tallgorilla must have actuallyexisted.

The secret o stop-motionwas nally revealed to themasses by Look magazine,which eatured a memorablephotograph o actress FayWray shaking hands withan 18-inch high model o thegiant gorilla. Harryhausenimmediately beganconstructing his own modelsin an attempt to replicatethe technique, until a chancemeeting with OBrien led to arather bittersweet outcome.The animator took one look atHarryhausens attempt at a

stegosaurus, and immediatelyproclaimed it had legs likesausages.

Regardless, Harryhausenworked hard to perecthis crat and remainedin constant contact withOBrien, eventually becominghis protg. The pair rstworked together on MightyJoe Young, another lm abouthumans exploiting a giantgorilla that ultimately endsin tragedy. As OBrien wasoverworked, Harryhausenwas responsible or themajority o the lms stop-motion animation and hiseorts so impressed theAcademy that the lm wasawarded an Oscar or BestVisual Eects in 1949.

While OBriens careerfoundered amid promiseso projects that were neverrealized, Harryhausen tookstop-motion as his own.Each lm he worked on,rom 1954s The Beast from20,000Fathoms to 1981sClash of the Titans, pushedthe technology urther andurther to produce evermorestartling eects. Beast hada budget o just 200,000 apittance by modern standardseven ater infation andyet still delivered a horricand enormous humanoiddinosaur destroying hugecities and an entire themepark. Harryhausen usedhis experience to developa revolutionary method o

splicing creature eects andreal-lie actors: eectivelysandwiching the stop-motionreel between other ootage.This integration soon becamepractically seamless, asshown in 1963s Jason andthe Argonauts, in which thetitular hero amously, andconvincingly, battles a hordeo skeletons in a our-minutesequence that took ourmonths to produce.

Harryhausens creatures or we dont call themmonsters remain amongstthe most lielike andexpressive ever conceived,even compared to theirmodern day computer-generated equivalents. Tocreate such convincing beasts,he invested a lot o timegetting beneath their skin.For Mighty Joe Young, he

conessed that I even went soar as to eat celery and carrotsin my tea break. Many o hiscreatures were sympatheticcharacters, provoked into

Harryhausenused hisexperiencet develp arevlutinarymethd splicing creatureefects and real-lie actrs.

their destructive assaultsby careless experimentsor greedy humans keen toexploit them: the Rhedosauruthat emerged rom the oceanin 20,000 Fathoms wasawakened by nuclear testingjust as 20 Million Miles toEarths Ymir was torn romits habitat at the start o thelm and immediately set upoby a dumbounded nation.Indeed, the Ymir exhibits awonderul display o emotionwhen ater killing anenraged elephant it takes alingering look at the animalscorpse, and then guiltily slinkaway.

Although Harryhausenwas a master at invokingeelings rom lumps oplasticine, he also createdspectacular set pieces thatamazed audiences. From

the Rhedosaurus rampagealong North Americas eastcoast, to Clash of the Titansclimactic battle against theerocious Kraken, the action

moments that changed film forever

... Mighty Je Yung (1949) / The Beast rm 20,000 Fathms (19

BelwThe Golden Voyage of Sinbad

Belw The master at work: the Kraken rom Clash of the Ti

Beautiul

CreaturesHarryhausen & stop-motion photographyText byChris Barraclugh



17/25

a... 20 Millin Miles t Earth (1957) / Earth vs. The F lying Saucers (1956) / Fantastic Mr. Fx (2009)

cenes in his lms are as goods anything in the biggest

Hollywood blockbusters.Even more impressive is theway Harryhausen integratedeal-lie locales into his lms.

Clearly inspired by KingKongs New York assault, hewent on to devastate major

lobal cities rom WashingtonDC to Rome. The destruction the Washington Monumentn Earth vs. The Flying

Saucers was a personalighlight one that requiredull model reconstruction the mighty structure.

Meticulous stop-motion was

sed to show the collapse every piece o debris ashe alien crat bulldozed the

monument, with Harryhausenoing so ar as to paint each

ndividual wire out o theicture beore he took a shot.The great animator nally

etired in the 1980s, aterworking on almost 20 lms.

In the 1950s, we were theonly ones doing antasy, hesaid in a later interview. Nowthere are so many companies,everythings been done. Therereaches a point where youcant see yoursel spendinganother year o your lie in adarkened room, twisting littlemodels around. But I stilllove the work and I miss itsometimes.

Although hes no longermaking movies, Harryhausensinfuence on the art can still be

seen. Industry giants such asPeter Jackson and Tim Burtonmay never have even pickedup a camera were it not orhis work, and his devotion tostop-motion photography hasinspired scores o directors toadopt the same techniques.Burton had huge hits withThe Nightmare BeforeChristmas and Corpse Bride,while Wes Anderson turnedto stop-motion or his latesteort, Fantastic Mr Fox.Harryhausen kept the practicealive, and, in the process,gave us the most memorablecollection o creatures everseen on the silver screen. Inact, his menagerie has onlyever been upstaged once byRaquel Welchs inamouscavewoman costume in One

Million Years B.C.[tbp]

A remake ofClash o theTitans is due out in cinemas

March 26th, 2010

1000wrds

Iloveeveryaspectofmotionpictures,andImcommittedtoitforlife.FILMCOMMENThasthatsamecommitmentwhenitcomestowritingaboutmotionpictures.ClintEastwood

FILMCOMMENTconnectsmetoatimewhenfilmsandfilmmakersactuallymatteredandweretreatedasbeingworthyofseriousdiscussion.Theresnoothercinemamagazineremotelylikeit.StevenSoderbergh

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Harryhausens creatures rwe dnt call them mnsters remain amngst the mst lielikeand expressive ever cnceived,even cmpared t mdern daycmputer-generated standards.

bove special effects stripped to tHe bone: Jason and tHe argonauts



18/25

Oten seen as a revisionisttake on the western genre, TheSearcherscore themes include

inherent racism and ear omiscegenation. These aspectsare dealt with in an obvious, yetsomewhat tentative ashion,by John Ford, and are upheldin the views o his fawedprotagonist, Ethan Edwards(Wayne). The surly Ethan,uelled by his hatred or allthings Native American, leadsa band o searchers acrosssouthern America lookingor his nieces, who have beencaptured by Comanche raiders.

John Fords Stagecoach mayhave taken up a airly unas-suming position in the archiveso the western genre, butits importance as a template

or things to come is welldocumented: as is its positionas the movie that launched thecareer o John Wayne one oHollywoods biggest icons. Thelm, which sees Wayne playinga ugitive named the RingoKid as he helps protect astagecoach against an Apacheattack, was not only the rstsound western that Ford madebut also his rst eature to beshot in Monument Valley.

Dir. John Ford

USA, 96 minutes

Starring John Wayne,

Claire Trevor, Andy Devine

Stagecoach(1939)

above looking for salvation: tHe searcHers

rigHt sweeping statements: stagecoacH

Natural movie locations dont come morespectacular than Americas Monument Valley, aseemingly endless backdrop that has inspired manya dusty western. Nichlas Page takes a look atsome o this amous valleys appearances on lm.

nlcatin

utah,u.s.a

MonumentValley

Dir. John Ford

USA, 119 minutes

Starring John Wayne, Vera

Miles, Jefrey Hunter

TheSearchers(1956)



19/25

An extremely loose take onthe legend o the O.K. Corralshoot-out, John Fords MyDarling Clementine ollowsormer lawman Wyatt Earp(Henry Fonda) as he comesout o retirement to capturethe notorious Clanton clan,simultaneously ridding thesmall town o Tombstone oits blight and avenging thedeath o his younger brother,James. In his quest or justice,Wyatt encounters manyshady characters, as well as abeautiul young lady namedClementine.

Dir. John Ford

USA, 97 minutes

Starring Henry Fonda, Walter

Brennan, Linda Darnell

My DarlingClementine(1946)

nlcatin Mnument Valley

Te flm, which wasnominated or twoAcademy Awards,is an extraordinaryencapsulation oAmerican counter-culture in the 1960s.

Contrary to what this articlemay imply, not all lms shot,or set, in Monument Val-ley are westerns. DennisHoppers Easy Rider, a 1969road movie that ollows twohippie motorcyclists (played

by Hopper and Peter Fonda)as they make their way acrosAmerica to Mardi Gras, ea-tures the location somewhatbriefy as part o the passinglandscape. The lm, which wanominated or two AcademyAwards, is an extraordinaryencapsulation o Americancounter-culture in the 1960s.

Dir. Dennis Hopper

USA, 95 minutes

Starring Dennis Hopper, Pete

Fonda, Jack Nicholson

Easy Rider(1969)

once Upn a Time in the West (1968) / Three Amigs! (1986) / Thelma & Luise (1991)alssee...

left Henry fonda rides HigH in my darling clementine above cHasing tHe american dream: easy rider



20/25

screengems

Medusas mst memrablecelluloid appearance camecourtesy o Ray Harryhausenin his 1981 swansong, Clashof the Titans, when the hero,Perseus, nds himsel hunting thgrotesque gorgon so he can use

her powers to destroy the KrakeThe eventual conrontationin her lair is both tense andterriying, and made all the moreunbearable by the soundtrackthat quickly builds rom stonysilence to crashing cacophony.Perseus nally betters Medusaby decapitating her and his prizeis her severed head a trophy asdeadly as it is grisly.

Harryhausen always maintainedthat he never made horror lms,but he could certainly conjure uphorriying moments when neededOnce youve seen that head, theimage remains orever burned inyour brain: a mess o snakes orhair and eyes so erce that theyglow green the same colouras the disgustingly scaly skin.Even worse are the teeth, a seto razor-sharp incisors that couldbite through steel cables or evenstale Jaa Cake. The moment thaPerseus victoriously holds thehead alot is undeniably rousing,but its a relie when that hideousvisage is nally concealed within

cloth bag.Medusas head somehow retainsits destructive power despitebeing separated rom her body, ai its an individual, living entity.While universally recognized asa symbol o potency as well asrage, her appearance in Clash ofthe Titans has to be her crowningglory. Take one last, lingering looat that ace, then turn the page the next time youll see her will bin your nightmares. [tbp]

Continuing our look at memorableobjects in lm, this issues choice wasquite simply too much to look at.Wrds by Chris Barraclugh

left Harry Hamlin makes a killing in

clasH of tHe titans (1981)

screengem

MedusasHead

mrescreengems visit www.thebigpicturemagazine.cm

Kobal



21/25

Diects &

Designes

Edited by Christine White

ISBN 9781841502892

Paperback | 19.95

Decaatins f Independence

Ameican Cinema and the Patiaity

f Independent Pdctin

By John Berra

ISBN 9781841501857

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Ftes f Chinese Cinema

Technologies and Temporalities in Chinese

Screen Cultures

Edited by Olivia Khoo and Sean Metzger

ISBN 9781841502748

Paperback | 19.95

With the burgeoning interest in Chinese lm,

this interdisciplinary collection investigates

how new technologies, changing production

constraints and shifting viewing practices have

shaped perceptions of Chinese screen cultures.

Futures of Chinese Cinema contains essays

by international scholars considering new

directions in Chinese cinema. After the

devastation of the economic crisis, the

uncertainty of the Hong Kong handover and

the events at Tiananmen Square in 1989,

the late twentieth century and beyond has

seen the emergence of a number of fresh

new works from the regions lm-makers.

For the rst time, scholars from lm studies,

media studies, history and sociology have

been brought together in their focus on the

concepts of technology and temporality in

these lms.

Beaty and the Beast

Itaianness in Bitish

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By Elisabetta Girelli

ISBN 9781841502441

Paperback | 19.95

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Cinemas

Principal Editors: Armida de la Garza

Deborah Shaw

ISSN 20403526

2 issues per volume

Transnational Cinemas has emerged in

response to a shift in global lm cultures

and how we understand them. Dynamic

new industrial and textual practices arebeing established throughout the world

and the academic community is responding.

Transnational Cinemas aims to break down

traditional geographical divisions and

welcomes submissions that reect the

changing nature of global lmmaking.

A symposium will be held to celebrate

the launch of the journal Transnational

Cinemas and the inauguration of the Centre

for Cultural and Creative Research at the

University of Portsmouth on the 13th of

February 2010. For more information and to

book your place, please visit the website

www.port.ac.uk/research/cccr

ublishers of original thinking | www.intellectbooks.com

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22/25

january/february 2009 43

Mel Gibson wasnt lms rst man without a ace.Alanna Dnaldsn explores how, ater The InvisibleMan, the ully bandaged head became a recurrentimage in generations o thrillers.

James Whales 1933adaptation o H.G. Wells TheInvisible Man was one othe great Hollywood horrorlms o its era and led tonumerous sequels, spin-osand spoos. The lm launched

the career o Claude Rains(chosen or his distinctive,intellectual voice), despitethe act that his ace is onlyseen in the lms nal shot.Until that point, it is obscuredby the tightly wrappedbandages the invisible manwears to give himsel theappearance o substance. Hiscompletely bandaged ace isa strikingly disturbing imagethat has been echoed in darkpsychological thrillers suchas Hiroshi TeshigaharasThe Face of Another(1966),Roman Polanskis The Tenant(1976), and Scott McGeheeand David Siegels Suture(1993).

In the early days o cinema,the development o theclose-up (or big head asit was called) meant thatlm could dispense with theexaggerated acting styleit had inherited rom thetheatre, and the ace becamethe expressive surace ocinema. A lm charactersace tells us who they are, butor these aceless characterswho they are becomesunathomable. Each o theselms deals with the ragilityo identity and each characterhas suered a traumaticloss o their sense o sel: asinister implication o theirbandages is that, as with theinvisible man, there is no one

let inside. [tbp]

Invisible

Men adam sandler and emily morton (puncH drunk love)gurther The Face Anther (1966) / Darkman (1990) / Time Crimes (2007)

m itatio n is th e since r e st fo r m o f flatte r y

partingsht

toptHe face of anotHer (1966) / above suture(1993)

A lm charactersace tells us whthey are, but r

these acelesscharacters whthey are becmesunathmable.

lefttHe invisible man (1933)



23/25

G Furtherwww.thebigpicturemagazine.com

Getting involved with...

wuld yu like t

cntribute t The Big

Picture magazine?

Were always on the lookout

or enthusiastic lm-lovers

with a passion and fair or

the written word. So, i this

sounds like you, then

simply send us a ew

examples o your writing

along with a short personal

bio to Gabriel Solomons:

[email protected]

The writings n the wall

Read some o the nest

writing on lm by our growing

team o ridiculously talented

contributors, with regular posts

satiating even the most avid o

lm-loving appetites.

Backpage

A cmplete back issue archive

Print issues o the Big Picture

get snapped up pretty ast, so i

you missed out - simply visit the

downloads section o the website

to catch up on all content rom

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visit: www.thebigpicturemagazine.cm

jointhe bigpicturefAmily

Picturehis

Cmpetitin

Questin:Whats the cnnectin between thelm Pretty Womanand the pera La Traviata?

Answers to [email protected] or

a chance to win a copy o an intellect lm book

o your choice. To see whats available, visit the

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Deadline r entries is:February 21st, 2010

Email answers t:

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Welcome to Hollywood!Whats your dream?Everybody comes here;this is Hollywood, land odreams. Some dreams cometrue, some dont; but keepon dreamin...

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Articles

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misseD

44www.thebigpicturemagazine .com february2009 45


24/25

Back in Cinemas

Backpages

r. Strangelve (1964)

irs. Stanley Kubrick

gsee page 4/5

entlemen Preer Blndes (1953)

ir. Hward Hawks

gsee page 6/7

alamity Jane (1953)

ir. David Butler

gsee page 8

heatre Bld (1973)

ir. Duglas Hickx

gsee page 9

lectric Dreams (1984)

ir. Steve Barrn

gsee page 10

esperately Seeking Susan (1985)

ir. Susan Seidelman

gsee page 11

exy Beast (2000)

ir. Jnathan Glazer

gsee page 12

elig (1983)ir. Wdy Allen

gsee page 13

reams That Mney Can Buy (1947)ir. Hans Richter

gsee page 14/15

My Bldy Valentine (2009)ir. Patrick Lussier

gsee page 25

p (2009)irs. Pete Dcter / Bb Petersn

gsee page 26

Avatar (2009)

Dir. James Camern

gsee page 28

Jurney t the Center

the Earth (2008)Dir. Eric Brevig

gsee page 27

The Glden Vyage Sinbad (1973)Dir. Grdn Hessler

gsee page 30

Clash the Titans (1981)Dir. Desmnd Davis

gsee page 32/38

Th e Searchers (1956)Dir. Jhn Frd

gsee page 34

Stagecach (1939)

Dir. Jhn Frd

gsee page 35

My Darling Clementine (1946)

Dir. Jhn Frd

gsee page 36

Easy Rider (1969)

Dir. Dennis Hpper

gsee page 37

The Invisible Man (1933)

Dir. James Whale

gsee page 42

The Face Anther (1966)

Dir. Hirshi Teshigahara

gsee page 43

Suture (1993)

Dirs. Sctt McGehee / David Siegel

gsee page 43

Putting the movies back where they belong...

Film Index


da

The views and opinions o all texts, including

editorial and regular columns, are those o the

authors and do not necessarily represent or

refect those o the editors or publishers.

The Big Picture magazine is published six times a

year by Intellect Ltd. www.intellectbooks.com

So youve read about the flms, now go watch em!

This edition o The Big Picture has been

produced in partnership with Park

Circus, who are committed to bringing

classic lms back to the big screen.

Have a perect Valentines Day by

sharing a romantic movie with your

loved one. Classics such as Brie

Encounter and Casablanca are back

in cinemas around the country and,

as a special treat this year celebrating

its 20th anniversary, the ultimate

rom-com Pretty Woman is screening

or one day only, 14 February, at

Cineworld Cinemas nationwide.

The glamour continues as the

magical, musical spectacular

Gentlemen Preer Blondes is being

re-released rom 26 February at BFI

Southbank and selected cinemas.

More details o cinema screenings o these

and other classic movies rom the Park Circus

catalogue can be accessed via:

www.backincinemas.cmthe

big pictureissue 7

AvAilAblemArch

15th, 2010


25/25

the big picture magazine: issue 6

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