Charlotte Rampling – Blood and Porridge

June 30, 2024June 30, 2024

One Donald I’m sad to see go

© Avala Film / Metro-Goldwyn-Mayer

It’s often said you don’t appreciate the value of something until after it’s gone. I felt like that last week on hearing of the death of the great Canadian actor Donald Sutherland. If someone had asked me to list my all-time favourite actors, I wouldn’t have thought of including Sutherland. Yet when he passed away at the age of 88 – having kept working in film and TV until last year – it suddenly struck me how much I was going to miss him.

Sutherland was an actor who could inhabit a range of personalities and project many different moods and emotions, yet whom you always recognised as, basically, himself. His characters might be heroic, dignified, fatherly, tragic, eccentric, sinister, venal, slow-witted, juvenile, gormless or demented – yet you always knew you were watching Donald Sutherland. Whoever he played, he retained that unique quality of Donald Sutherland-ness.

Born in St John, New Brunswick, Sutherland graduated from Victoria University with an interesting-sounding degree in Engineering and Drama, then relocated to Britain in 1957 and studied at the London Academy of Music and Dramatic Art. A few years later, he found his way into Europe’s then-flourishing horror-movie industry. He appeared in the monochrome Italian-French chiller Castle of the Living Dead (1964), starring Christopher Lee, directed by Warren Kiefer, and with a 20-year-old Michael Reeves, who four years later would make 1968’s masterly Witchfinder General, working as assistant director. No doubt for budgetary reasons, Sutherland was cast in three roles, most amusingly in drag, as a witch. He played a good-natured simpleton in Hammer Films’ Fanatic (1965), a blend of the low-key psychological thrillers the studio made when it wasn’t cranking out full-blooded gothic-horror melodramas and the fashionable 1960s sub-genre of ‘hagsploitation’ – the hag here being a dangerous religious nutcase played by Tallulah Bankhead. If the cast wasn’t interesting enough with Sutherland and Bankhead, it also included Stephanie Powers, Yootha Joyce and Peter Vaughan, future stars of TV shows Hart to Hart (1979-84), George and Mildred (1976-79) and Porridge (1974-77) respectively.

© Amicus Productions / Paramount Pictures

The best remembered of Sutherland’s early horror films is Dr Terror’s House of Horrors (1965), directed by Freddie Francis and produced by Milton Subotsky and Max J. Rosenberg – the first of seven anthology horror movies that Subotsky and Rosenberg’s British-based Amicus Productions would specialise in. To be honest, I don’t think the film’s five stories are up to much, but the framing device, wherein five night-time travellers find themselves sharing a train compartment with the mysterious Dr Shreck (Peter Cushing), who uses Tarot cards to foretell each man’s future, is wonderfully atmospheric. Dr Terror also has a fascinating cast. In addition to Sutherland and Cushing, there’s Christopher Lee (again) and another horror-movie veteran, Michael Gough; trumpeter, tap-dancer and TV presenter Roy Castle; disc jockey Alan ‘Fluff’ Freeman; and the original M from the James Bond films, Bernard Lee. Sutherland’s segment even has a fleeting appearance by his fellow Canadian Al Mulock, who along with Woody Strode and Jack Elam was memorably gunned down by Charles Bronson in the astonishing opening sequence of Sergio Leone’s masterpiece Once Upon a Time in the West (1968).

Sutherland also featured in 1960s British TV, most memorably in 1967 when he played a villain in an episode of the surreal and stylish espionage series The Avengers (1961-69) called The Superlative Seven. This has Patrick Macnee’s debonair John Steed being invited to a bizarre fancy-dress party on board a private jet plane, which, after it takes off, is discovered to be remote-controlled. Eventually, the plane lands Steed and the other, equally-baffled guests on a seemingly deserted island. There, the party start to be murdered one by one. As well as riffing on Agatha Christie’s And Then There Were None (1939), the episode has a science-fictional sub-plot where Sutherland attempts to create a race of super-soldiers. And the guest cast includes Charlotte Rampling and Brian Blessed before they became famous too.

That same year, Sutherland turned up in Robert Aldrich’s loud, raucous and violent war movie The Dirty Dozen, about 12 convicts trained by the US Army and sent to France on a suicide mission against the Wehrmacht prior to the D-Day Landings The movie contained so many famous actors playing characters who weren’t among the 12 convicts – Lee Marvin, Ernest Borgnine, Richard Jaeckel, George Kennedy, Ralph Meeker and Robert Ryan – that, over the years, folk have become confused about who actually played the Dirty Dozen. I’ve even heard a few people declare that, with Sutherland dead, that’s all the Dozen gone. Well, no – because actors Stuart Cooper and Colin Maitland, who played two more of the Dozen, are still on the go.

© Kenneth Hyman Productions / Metro-Goldwyn-Mayer

The Dirty Dozen’s success led to Sutherland being cast in more World War II movies. Most notable of these was 1970’s Kelly’s Heroes, in which Clint Eastwood’s Private Kelly, a soldier in an American platoon in 1944 France, learns there’s a fortune in Nazi gold stashed in a bank behind enemy lines and persuades his fellow soldiers, including Sutherland and Telly Savalas, to help him steal it. Sutherland’s character is a loopy tank commander called Oddball who, with a blatant disregard for historical authenticity, was added to the script to satirise the then-ubiquitous hippy movement. He says spaced-out things like, “Don’t hit me with those negative waves so early in the morning!” or, “Woof, woof, woof! That’s my other dog imitation.” I suspect that for people my age – well, males my age – in the UK, Oddball is the character we’ll remember Sutherland best as, because British TV seemed to show Kelly’s Heroes every other week when we were kids.

Sutherland was also in 1976’s The Eagle Has Landed, playing an IRA man who aids some German commandoes, headed by that well-known German, Michael Caine, on a mission in England to assassinate Winston Churchill. Of Sutherland’s performance, the best that can said is that there are non-Irish actors who’ve played Irishmen with worse Irish accents.

Another war movie was M*A*S*H (1970), Robert Altman’s scabrous black comedy set during the 1950s conflict in Korea, in which Sutherland played insolent and rebellious US Army surgeon Hawkeye Pierce. The film won the Palme d’Or at the Cannes Film Festival, was the third-most popular movie of its year and gave Sutherland iconic status. I have to say that, though I like Robert Altman’s movies generally, M*A*S*H has not aged well. Today, much of its humour feels juvenile and mean-spirited, especially when directed towards Sally Kellerman’s Major Houlihan character, rather than ‘anti-establishment’, which it was hailed as at the time. Altman famously loathed the M*A*S*H TV show that was spun off from his movie and ran from 1972 to 1983, but I suspect time has been kinder to its gentler brand of humour.

© Casey Productions / Eldorado Productions / British Lion Films

Afterwards, Sutherland was in prestigious films like Alan J. Pakula’s Klute (1971), Fellini’s Casanova (1975) and Bernard Bertolucci’s 1900 (1975) – none of which I’ve seen. But it’s in Nicolas Roeg’s masterly horror film Don’t Look Now (1973) that, of his movies I have seen, I believe he does his best work. Don’t Look Now is an adaptation of a Daphne du Maurier story in which a grief-stricken couple try to get over the death of their daughter by immersing themselves in a restoration project in Venice – only to be haunted by sightings of a small figure in a red coat who at least resembles their deceased daughter. The film has two set-pieces at its beginning and end whose emotional impact has rarely been matched in the horror genre – Sutherland features heavily in both. Films about the supernatural, despite focusing on death, memories of the departed and the possibility of an afterlife, don’t usually capture the feeling of grief that well. But the pained, brittle performances by Sutherland and his co-star Julie Christie convey it with extreme poignancy. With their performances augmented by Nicolas Roeg’s camerawork, visual imagery and memorably-elliptical approach to storytelling, Don’t Look Now is a film for the ages.

Though for me Don’t Look Now gives Sutherland his best role, it’s Philip Kaufman’s Invasion of the Body Snatchers (1978) that gives him his best image. This is Hollywood’s second adaptation of Jack Finney’s novel The Body Snatchers (1955), wherein a low-key invasion of earth is staged by alien pod-people who gradually replace all the real people. The image in question, now a popular meme, comes in the final moments when Sutherland, the film’s hero, reacts to another character by pointing at her, adopting a grotesque, gawking expression and emitting an inhuman squeal. This tells us the pod-people have now replaced him too. The original Body Snatchers movie, made by Don Siegel in 1956, was set in small-town America, but Kaufman’s version audaciously shifts the action to San Francisco, and the result is just as good. Actually, I was going to say filmmakers have treated Finney’s novel well, for in 1993 Abel Ferrara directed another version that was decent too. But then I remembered there was a fourth version made in 2007 with Nicole Kidman and Daniel Craig, and it was rubbish.

© Solofilm / United Artists

As he grew older, Sutherland’s work in films and television inevitably saw him shift from being a leading man to being a grizzled character actor and then an esteemed ‘elder-statesman’ guest-star. His movies included star-laden Oscar-bait (1980’s Ordinary People), daft Alistair Maclean adaptations (1979’s Bear Island), slightly less daft Ken Follett adaptations (1981’s Eye of the Needle), overripe John Grisham adaptations (1996’s A Time to Kill), overstuffed British flops (1985’s Revolution), Sylvester Stallone movies (1989’s Lock Up), Clint Eastwood movies (2000’s Space Cowboys), paranoid Oliver Stone conspiracy thrillers (1991’s JFK), preposterous Roland Emmerich disaster movies (2022’s Moonfall) and Emma Thompson-scripted Jane Austen costume-dramas (2005’s Pride and Prejudice).

He made three films with his son Kiefer – who, when I first saw him onscreen in the 1980s, made me think, “Wow, he looks just like his dad!” – the afore-mentioned A Time to Kill, plus 1983’s Max Dugan Returns and 2015’s Forsaken. And he featured in four Hunger Games movies (2012-15), playing Snow, the despot running the future North American territory of Panem. I haven’t seen any of the Hunger Games series, but a future dystopian America ruled by a president called Donald sounds terrifyingly prescient.

Ironically, in the 1990s, Sutherland returned to his 1960s roots and started making horror movies again. He was in Buffy the Vampire Slayer (1992), a clodhopping film that a few years later led to a sublime TV show; 1994’s The Puppet Masters, based on a short story by Robert Heinlein, which was a low-budget but not unenjoyable retread of Invasion of the Body Snatchers; 1998’s police-occult thriller Fallen, in which he rubbed shoulders with Denzel Washington and John Goodman; and 1999’s Virus, an Alien rip-off set on board a ship, in which Sutherland’s over-the-top villain is one of the few redeeming features – his old seadog is so sea-doggish he only lacks a pegleg and a parrot on his shoulder. Horror-adjacent is his role as Ronald Bartel in Ron Howard’s Backdraft (1991). He’s an incarcerated pyromaniac whom William Baldwin and Robert De Niro’s firemen-investigators turn to for help when they’re trying to catch the person responsible for a series of deadly, fiery arson attacks. Thus, he’s the Hannibal Lector of the fire-raising world.

However, while I write this, the Donald Sutherland performance that keeps coming to mind – accompanied by the lovely, plaintive song that accompanies it – is the one he essayed in the video for Kate Bush’s single Cloudbusting (1985). He’s a kindly inventor who creates a rainmaking machine, only to be taken away by some sinister men in suits, who obviously believe there are things man was not meant to know. This rather vitiates the song’s optimistic lyric, “Ooh, I just know that something good is gonna happen…” It’s left for Sutherland’s son, played by Bush, to complete his work. I visited the video on YouTube the other day and was touched to discover how the comments below were packed with people paying tribute to Sutherland.

© EMI

March 27, 2024March 29, 2024

It’s Timmy time

© Warner Bros. Pictures / Legendary Pictures

Denis Villeneuve’s Dune Part Two, sequel to his 2021 sci-fi blockbuster Dune and an adaptation of the second half of Frank Herbert’s 1965 novel of the same name, has been on release for a few weeks now. Though we’ve been busy recently moving apartment, my partner and I found time to watch it yesterday afternoon in our new neighbourhood’s cinema.

The film’s opening 20 minutes weren’t a happy experience for us. Villeneuve immediately plunged us into the action, with Paul Atreides (Timothée Chalamet), his mother Jessica (Rebecca Ferguson), and their Fremen escorts Chani (Zendaya) and Stilgar (Javier Bardem) pinned down on the surface of the desert planet Arrakis by a squad of heavily-armed, black-clad goons from the villainous House of Harkonnen. The tension mounted as the two parties, hunting each other, snuck across the planet’s scorched landscapes of sand and rock… The soundtrack was unnervingly silent… And from right behind us came an incessant cacophony of rustling paper, crackling wrappers, slurpy masticating and greedy chomping. We were attending a 1.30 pm screening of Dune 2 and the couple sitting behind us had decided to guzzle a takeaway lunch while watching the film. I wished a giant Arrakis sandworm would surface directly under their seats and guzzle them.

Finally, the couple managed to finish their meal, their unwelcome sound effects abated and we were able to focus fully on Villeneuve’s movie. So, what did I think of it? Before I give my verdict, here’s a warning. In the entry ahead, there will be spoilers galore for Dune 2.

Well, to be honest, I didn’t enjoy it as much as its predecessor. Mind you, I expected that three years ago as I walked out of Dune 1. As I wrote at the time: “One thing I suspect makes this version of Dune so good is that, in telling only the book’s first half, it’s a story of tragedy. And tragedy, as any student of Shakespeare will confirm, is one of the most powerful forms of narrative. I suspect Villeneuve will find it harder to make the next instalment of Dune, dealing with how Paul marshals his forces and finally restores order on Arrakis, as gripping. For me, at least, downbeat endings last longer in the imagination than happy ones.”

To be fair to Villeneuve and his co-writer John Spaihts, the ending they come up with here is less happy than the one I remember in Herbert’s novel, which I read as a teenager. But the plot, wherein Paul Atreides joins forces with the Fremen, Arrakis’s Bedouin-like natives, and they take on the scumbag Harkonnens, still feels emotionally less complex than that of the original film.

The first film saw Paul’s honourable, though imperialistic father Duke Leto (Oscar Isaac), head of the House of Atreides, get tricked into taking stewardship of Arrakis. There, the House is destroyed by the brutal and grudgeful Harkonnens, with the connivance of the galactic Emperor (the ever-whispery Christopher Walken) and the Bene Gesserit, a female sect with Jedi-like powers who’re secretly manipulating events. Paul and Jessica are among the few survivors and the Fremen reluctantly take them under their wing.

I had some problems with Dune 2’s pacing. Much of the film takes place in the Arrakis desert, where Paul and his mum are gradually initiated into the ways of the natives. Some Fremen are particularly interested in Paul because he seems to fulfil a long-held prophecy about a messiah who’ll come from another world and not only lead them to freedom but make their sandy world green again. While I respect Villeneuve’s efforts at ‘world-building’ here, I feel this section goes on too long. He ladles on the Fremen’s rituals and lore, especially things involving hallucinogenic substances like the spice – the prized commodity, necessary for enabling space travel in the Dune universe, which makes Arrakis such a big political deal in the first place – and the Water of Life, a blue fluid extracted from baby sandworms, the planet’s main non-human lifeform. Though as any Scotsman will tell you, the Water of Life is actually whisky.

Also, the scenes where Paul argues with the Messiah-believing faction of the Freeman (headed by Bardem) that he isn’t really the Messiah put me in mind of the 1979 movie Monty Python’s Life of Brian. While Chalamet tried to convince them that he wasn’t the Chosen One, I kept expecting to hear Terry Jones call out in his raspy old-lady voice: “He’s not the Messiah, he’s a very naughty boy!”

Conversely, towards the end, things feel rushed. As Paul and the Fremen escalate their attacks on the Harkonnens, who’ve taken over Arrakis and are trying to supervise its spice production, and the planet slips out of control, the Emperor and his daughter (Florence Pugh) are compelled to make an intervention. They head for Arrakis… And after their spaceship lands at the Harkonnens’ base, Paul and the forces of the Fremen simply turn up, unobserved and unannounced. Until then, we’ve been led to believe that they’re confined to the inhospitable, storm-ridden south of the planet, outside the Harkonnens’ control. How they arrive so quickly and easily, with legions of troops, a cavalry of sandworms and an arsenal of missiles, in the Harkonnens’ backyard is a mystery. It’s as if the planet of Arrakis has suddenly shrunk to being the size of the Isle of Wight.

Meanwhile, certain sub-plots from Herbert’s book don’t quite enrich the movie in the way they could have – or are cut altogether. The return of Paul’s faithful warrior-mentor Gurney Halleck (Josh Brolin) happens abruptly. He just pops up all-of-a-sudden. I’d have liked to know how he survived the massacre in the previous film, especially as we last saw him about to engage the Harkonnens in desperate battle. Gurney brings with him an unexpected revelation about some ‘House Atomics’, nuclear missiles belonging to the Atreides that Duke Leto quietly stashed away on Arrakis. These become a handy bargaining chip for Paul when he points them at the all-important spice fields and are a deus ex machina if ever there was one. I can’t recall if these were in the book – if they were, I assume they were introduced less jarringly.

I do recall the book having an interesting twist whereby Gurney believes Jessica is the one who betrayed the Atreides to the Harkonnens. But there’s zero interaction between the two of them in Dune 2. Rebecca Ferguson, incidentally, deserves praise for her portrayal of Jessica, who grows into a sinister, if not chilling figure as she exerts more and more influence over the Fremen. Gurney would be right to distrust her.

Elsewhere, I was perplexed by the absence of Thufir Harat (Stephen McKinley Henderson in Dune 1). Thufir is a mentat, beings in the Dune universe who do the work of computers. Employed by Paul’s late father, he has a reasonable supporting role in the first film and it’s noticeable that he’s not around in Dune 2. In the novel, the Harkonnens enslave him after their bloody takeover, but then he secretly tries to undermine his new bosses whilst working in their headquarters. In Dune 2, his presence might have solved the problem of how Paul moves his forces to the proximity of the Harkonnens and the Emperor without anyone noticing – Thufir could have deactivated the monitoring systems. Anyway, the film leaves us to surmise that Thufir perished during the slaughter of the Atreides, though Villeneuve thanks McKinley Henderson in the credits, presumably for accepting the dropping of his character with good grace.

Ironically, in the first adaptation of Dune, the 1984 movie directed by David Lynch, which tried to shoehorn the entire novel into two hours and 17 minutes of running time and was derided for leaving so much out, Thufir is shown surviving the Atreides’ massacre and becoming the Harkonnens’ slave. In that version, he was played by Freddie Jones, father of Toby Jones, with big, spidery eyebrows.

All that said, I did enjoy Dune 2. The film was generally impressive and there were moments where I went, “Wow!” Following on from Arrival (2016) and Blade Runner 2049 (2017), it’s good to see Villeneuve again treat a science- fiction story with high seriousness. And I like how, for all that the male characters hog the screen and flaunt their testosterone, it’s implied that the female characters, as portrayed by Ferguson, Charlotte Rampling, Florence Pugh and Lea Seydoux, are the ones really running the show.

Also great is Villeneuve’s depiction of the Harkonnens. The scenes set on their home planet truly capture their fascistic, creepy, sado-masochistic awfulness, resembling black-and-white footage of rallies in Nazi Germany but populated by the bald-headed Cenobites from Clive Barker’s Hellraiser franchise. Even their fireworks look dark and perverted. And as Feyd-Rautha Harkonnen, the psychopathic nephew of arch-villain Baron Harkonnen (Stellan Skarsgard) who’s drafted in to quell the Fremen’s resistance and restore order on Arrakis, Austin Butler gives possibly the best performance in the film. (In the old David Lynch movie, Feyd-Rautha was the character played by the reggae-loving Geordie, Sting.)

Though Butler just about manages to steal the show, it is one of those films that’s helped immeasurably by its ensemble cast. That includes Timothée Chalamet who, as Paul, has the hardest acting task – he could have ended up a dull goody two shoes or, as he agonises over whether or not he should proclaim himself the Messiah, a whiny pain in the neck. But Chalamet avoids both pitfalls.

Lastly, watching Dune 2, I realised it featured no fewer than three James Bond villains – Walken (Max Zorin in 1986’s A View to a Kill), Bardem (Raoul Silva in 2012’s Skyfall) and Dave Bautista (Mr Hinx in 2016’s Spectre). For good measure, you get a Bond lady too, Lea Seydoux who played Madeline Swann in Spectre and 2021’s No Time to Die. Yes, I know. It’s sad that I notice these things.