Monday, October 22, 2012

cinema obscura: Charles Chaplin's "A Countess from Hong Kong" (1967)

“The Girl,” the new HBO film about the tortured relationship between Alfred Hitchcock and Tippi Hedren, makes it clear that while Hitch may not have succeeded in breaking the spirit of his star, he did leave her with a broken career. It premiered last Saturday on the cable channel.

Directed by Julian Jarrold and adapted by Gwyneth Hughes from a portion of Donald Spoto’s “Spellbound by Beauty: Alfred Hitchcock and His Leading Ladies,” the movie quotes Hitchcock (brilliantly incarnated by Toby Jones) telling Hedren (Sienna Miller, above with Jones) that if she insists on breaking her personal contract with him, she will never work in film again. Not entirely true. While Hedren would never enjoy the A-level career she deserved (she’s magnificent in Hitchcock’s “Marnie”), she did land a role in an important – and prestigious – film three years after she and Hitch ditched each other.

Charles Chaplin’s “A Countess from Hong Kong,” released in 1967, had Hedren being handpicked by another legendary filmmaker (shades of her Hitchcock situation here) for a role in a highly anticipated film starring Marlon Brando and Sophia Loren. This was Chaplin’s first film in 10 years, his first (and only) film in color and it would be his final film.

Based on a script that Chaplin wrote in the 1930s as a Paulette Goddard vehicle, it has the contours of a filmed play, with Brando, witty as a 'tic-afflicted American ambassador en route to the States on his boat and Loren as a glamorous Russian countess who stows away on it.

Hedren had the third lead as Brando’s estranged wife who enters the last act. It was originally a small role that Hedren hoped Chaplin would enlarge but, given that the piece is largely a two-hander, its narrative arc made that impossible. It remained a small, but crucial role.

Hedren thought of leaving the production but, according to Wikipedia, “in the end, she remained in the film and later said that it was a pleasure working for (Chaplin).”

The finished film is odd and oddly charming, full of eccentric touches – such as Brando’s character feeling uncomfortable with the close quarters that he’s sharing with Loren and being particularly embarrassed by the idea of using the bathroom (to relieve himself) when she is so nearby. I mean, rude bodily noises. Brando, who has a terrifically guarded chemistry with Loren, plays this moment for all its neurotic idiosyncrasy.

Chaplin cast himself as the ship's steward, a cameo role - once again shades of Hitchcock.

Misunderstood and dismissed, “A Countess from Hong Kong” was not a success, with either critics or its audience. It’s something of a flawed masterwork (Chaplin considered it his best movie) that joins the ranks of such criminally underrated films as Michael Cimino’s “Heaven’s Gate,” Robert Aldrich’s “The Legend of Lylah Clare,” Peter Bogdanovich’s “At Long Last Love” and Hitchcock’s own “Vertigo” and “Marnie.” At least, the latter two have been rediscovered and reevaluated with a new appreciation.

"A Countess from Hong Kong," which has occasionally and uneventually popped up on home entertainment without much enthusiasm from Universal, is ripe for the same attention and consideration.

Monday, October 15, 2012

the famous warner bros. logo(s)

Warner Bros. - the original and the Saul Bass update
It took a little coaxing but for two releases this year, Warner Bros. has revived the mod logo designed for its '70s titles. Both Steven Soderbergh's "Magic Mike" and Ben Affleck's "Argo," each one coincidentally set in the 1970s, opened with the logo with the unmistakable look of its artist, Saul Bass. Film buffs have been divided on Bass's re-design. Some, who preferred the original Warner logo, familiar and venerable, were appalled; others, devotees of Bass, were enthusiastic about the update, which was futher altered when Warners absorbed Seven Arts.