Tag Archives: Mime

CAPSULE: LA CRAVATE (1957)

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DIRECTED BY: , Saul Gilbert, Ruth Michelly

FEATURING: Alejandro Jodorowsky, Raymond Devos

PLOT: A man patronizes a shop that sells human heads, trying to find one which will please his beloved.

Still from La Cravate (1957)

COMMENTS: It took me a while to realize that the baby-faced, clean-shaven, curly-headed protagonist of “La Cravate” was actually director Alejandro Jodorowsky as a young man. The director’s early style, as seen in this mime piece, is almost as unrecognizable as his face; but look hard and you can see the seeds of themes and styles that would haunt his later work, in primitive and innocent forms. There may be none of the shock imagery, no blood or nudity or deformity, no pools of bunny blood or lactating hermaphrodites; but the theatricality, the spirit of the circus, the focus on archetypes rather than characters, the eyes turned always towards the strange, all are here in germinal form.

Created as a 28-year old expatriate studying pantomime in Paris, “La Cravate” is just about exactly the kind of production you’d expect from someone who was palling up with avant-gardists and André Breton while interning with . It’s essentially a silent film, with a soundtrack supplied mostly by calliope and accordion. Like a collection of s and s, the characters communicate humorously and non-verbally. Jodorwosky’s rival’s arrogance is obvious from his dismissive glances and the way he slides in front of the slimmer man to gaze into a shop window, forcing Jodorowsky to keep peeking over and around his broad frame. Alternating smiles and scowls, his inamorata jerks Jodorowsky backwards and forwards like a hooked fish on a line. The characters act in front of painted backdrops representing both the interiors and city streets. From the beginning, Jodorowsky is utterly uninterested in realism as a style, even if the conventional theatricality here isn’t as unique and radical a break from norms as the surreality of his successive works would come to be.

Since the plot involves a literal head shop where noggins can be swapped out at will, the story is macabre, but whimsically so. This short might delight children, which is something that can’t be said for the rest of Jodorowsky’s corpus. Although the director’s future mystical/philosophical preoccupations don’t show up here, the scenario toys lightly with the concept of identity. Once the protagonist’s head is (willingly) detached, has he been split in two? The head seems perfectly happy perched on the shopkeeper’s mantle, where he can play fruit checkers by nodding his approval of the appropriate move, and serenade his owner with a recorder sonata in the evening. 1. When his rival’s head is placed on his old body, it continues to try to seduce the cold woman, then shows buyer’s remorse and longs for reunion with its original face. If anything, the main personality seems to inhere in the costume, symbolized by the long purple cravate (which very nearly ends up doing duty as a noose). Weird stuff, when you think about it, although the whole scenario slides through the mind casually as a charmingly cartoonish fancy.

“La Cravate” was inspired by a Thomas Mann story. Co-star Raymond Devos went on to become a successful French comedian (even making an appearance in Pierrot le Fou). The film was once believed to be lost, but a print was discovered in 2006. You can only find it as an extra on Jodorowsky box sets.

WHAT THE CRITICS SAY:

“This odd comedy manages to incorporate a bit of the absurd and the surreal on a light level.”–Adrian Halen, HorrorNews.net (DVD)

(This movie was nominated for review by “quirkdee” with a simple “its AJ’s first nuff said.” Suggest a weird movie of your own here.)

159. SHANKS (1974)

“Released by Paramount Pictures and utilizing top-tier talent like composer Alex North, cinematographer Joseph Biroc, and production designer Boris Leven, Shanks is an exceedingly strange film, a horror-fantasy punctuated by stretches of dialogue-free narrative, morbid black comedy, and occasional sentimentality.”–John M. Miller, TCM.com

Recommended

DIRECTED BY:

FEATURING: , Cindy Eilbacher, Tsilla Chelton, Phillipe Clay

PLOT: Malcolm Shanks is a talented mute puppeteer who lives with his shrewish step-sister and her alcoholic husband. A reclusive local scientist, who is working on a device that allows him to animate dead animal bodies with electrodes activated via remote control, hires Shanks as his assistant. Shanks’ puppeteering training makes him a natural at controlling the corpses; naturally, it is only a matter of time until he finds a human subject to experiment on.

Still from Shanks (1974)
BACKGROUND:

  • This was the final film directed by B-movie gimmick-meister William Castle (Homicidal, Strait-Jacket). At the beginning of his career in the 1950s, Castle was known for his outrageous promotions such as “Emergo” (glow-in-the-dark skeletons that flew above the audience at a scary moment in House on Haunted Hill) and “Percepto” (electrified theater seats used to shock patrons’ rears in The Tingler).
  • Although famous mime Marcel Marceau played may bit parts in films (including a role in Barbarella and a notorious cameo in Mel Brooks’ Silent Movie), this is his most substantial role as an actor. Marceau plays both Malcolm Shanks and the inventor Old Walker, often acting alongside himself. Marceau came to Hollywood searching for roles but found producers unwilling to hire him for parts other than cameos or appearances as his alter-ego, Bip the clown. “I was a great admirer of the silent-film comedians, Chaplin and Keaton, and I thought producers would recognize that I could also perform the same broad pathos comedy. But nothing happened,” he told an AP reporter in 1973. When Shanks came along, it “was exactly what I had been looking for.”
  • Marceau originally hoped would direct and Castle would produce; he asked Castle to direct when told Polanski was unavailable. Castle reported that Marceau was a perfectionist, eccentric and difficult to work with, and didn’t seem to appreciate the practical aspects of shooting on a tight schedule and budget.
  • Although the movie was not generally well-received, it did earn an Academy Award nomination for Alex North’s eerie score. North reused and re-worked some of the compositions he wrote for 2001: A Space Odyssey that had been mothballed when decided to use an all classical score.
  • Shanks had not been available on VHS or DVD until Olive Films’ 2013 release.

INDELIBLE IMAGE: The herky-jerky birthday cake cutting scene, when Shanks’ typically impeccable control over his remote control zombies breaks down for one brief moment for comic effect.

WHAT MAKES IT WEIRD: This is a movie about a mute puppeteer who learns to control dead bodies by remote control, and eventually harnesses that power to fight a biker gang. Calling itself “a grim fairy tale,” it’s a black comedy that uses silent movie aesthetics to tell a tale of reanimation of the dead. It stars Marcel Marceau, the world’s most famous mime, and is directed by William Castle, the world’s most famous B-move huckster. The chances that the results of this collaboration would not be weird approach zero; it’s like nothing else out there.


Original trailer for Shanks

COMMENTS: Shanks is one of those rare movies that just wants to be what it is. Although the reanimation of the dead setup suggests a Continue reading 159. SHANKS (1974)