Tweet

THE DIRECTOR LEFT NO CARD

There are two short films that shine like beacons in the fantasy genre of British Cinema that I now consider to be masterpieces and remain in my memory forever. They are “The Stranger Left No Card” (1952) and the first segment of “Three Cases of Murder” entitled “In the Picture” (1955). Both star the incomparable Alan Badel at his most decadent. Both are directed by the equally incomparable Wendy Toye CBE (Commander of the British Empire).

“The Stranger Left No Card” is only 23 mins long and cost around three thousand pounds to make in the Britain of 1952. Yet its length does not matter as director Wendy Toye manages to invest in its short running time a sinister parable, beautifully timed to its score and performed immaculately by all the actors involved, making something of a star out of Alan Badel in the process..

Without giving away too much, as you must seek this little masterpiece out for yourselves, the story concerns a wildly dressed eccentric who arrives by train into a small English village and is quickly embraced by one and all as a harmless clown they call “Napoleon”.

After ten days the man visits the most respected business man in the village, a Mr. Latham, and the plot turns into something quite unforgettable.

Wendy Toye is something of a legend in the UK. She began her long career as a respected dancer and choreographer. Toye caught the attention of the great Diaghilev who rewarded her with a place in his Ballet Russe. She met Jean Cocteau during this time and his influence on her work is obvious, especially with the abovementioned short films. One feels a bit of the Powell/Pressburger influence in these works as well.

“In the Picture” is based on a short story by Roderick Wilkinson which concerns a painting that hangs in a museum and appears to be populated by four lost souls. As the film begins we observe Alan Badel sitting in front of a large painting entitled “Landscape” The glass has cracked around the frame allowing something to escape perhaps? An employee of the museum sits down next to him and they begin a conversation about the painting which then escalates until the two men rise and walk toward the painting entering into it magically.

The photography by Georges Perinal achieves both an atmosphere of mystery and dread in equal measure, a bit like the ballet of the red shoes. We never fully understand what these poor souls have done in life to be so punished. Are they in the painting to atone for sins so heinous that we may never know them, or is the painting a dark projection of their collective fears? The film ultimately questions the role of the artist and his place in our world. Wendy Toye’s direction is adroit and clever as she seamlessly guides her cast through this maze until the end, where it all can begins again as most dreams do. The film has always been remembered for the star turn given it by Orson Welles in the last segment “Lord Montdrago”. For me however it will always be the first segment that has captured my imagination, and my eternal admiration for its director Wendy Toye.

Wendy Toye spent the rest of her film career in British comedies unworthy of her gifts as a director, and would never again tap into her talent for the macabre, which is our loss. She did create brilliant musical revues of Noel Coward not to mention very well received revivals of ‘Showboat’ and a huge success on Broadway with “Peter Pan” starring Jean Arthur, with the great Boris Karloff as Capt Hook.

Ms. Toye is now retired after a life well-lived, a true renaissance artist from a brighter and more enlightened age.

CINEMA RETRO

The essential guide to movies of the 60’s &70’s

Recently I was delighted to discover a brand new film magazine at a time when a lot of them were closing their doors as we speak. This magazine is held together by the enthusiasm and devotion of two men – Mr. Lee Pfeiffer in New York and Mr. David Worrall in London.

These men love the films of the now “golden era” of filmmaking, when Steve McQueen was speeding around San Francisco and Sean Connery was having his martinis shaken not stirred. The 60’s &70’s were truly the most exciting time to be working in show business, and especially to be going to the movies. The sad state of today’s cinema is not lost on any of us and this magazine could not have come around at a better time than right now. They have already put out nearly half a dozen issues and the buzz around the industry is a new star is born.

I spoke at length the other day with Editor Lee and he assured me that they had enough material to keep even the most discriminating film buff satisfied for the next two years.

His phones and computer have been bombarded with well-wishers from John Badham, who is desperate to contribute, to Steven Spielberg, who has a subscription. Christopher Lee already has a regular column in each issue recalling his golden days as a working actor and this guy is busier now than then.

The articles are beautifully laid out and most of the photos are rare and one of a kind from Lee’s private collection. I have the first three issues and already can’t wait for the rest to come. The first issue has a never before seen interview with Steve McQueen, a profile of his THE GREAT ESCAPE, plus articles on classic television like “The Protectors,” not to mention an appreciation of the late Peter Cushing. This magazine is pure bliss from cover to cover. You must seek it out or go online to www.cinemaretro.com and tell the Editor you heard it here at Camp David. I have already thrown my hat in the ring to contribute as soon as they find an opening for one of my vintage interviews or perhaps I’ll do something just for them. They have but to ask.

UNTIL NEXT TIME REMEMBER,
MAY ALL YOUR DREAMS BE IN HIGH DEFINITION AND BE ENHANCED FOR 16X9.

Continue to page: 1 2 3 4