RETRO-ACTIVE: THE BEST FROM CINEMA RETRO'S ARCHIVES
(This article originally ran in October 2008)
In the wake
of Paul Newman’s death I’ve been watching a few of his movies over again, and
in some cases, watching some of his films for the first time.
For an
avowed admirer of 60s and 70s films, and thrillers especially, I was surprised
that I had never seen The Mackintosh Man
(1973) before. I was very familiar with it in the context of Newman’s canon,
and films in general, and I remember it opening, but for some reason it had
passed me by until today.
Well, truth
be told, there’s good reasons for that. It’s not a bad film per se, but you can
see why its not part of the common cultural currency of 70s movies.
The story
involves a British Intelligence spy working deep undercover and known only to
his chief – Mr Mackintosh – hence being a Mackintosh man - and attempting to
bring to book a corrupt MP. The means by
which he does this (faking a diamond robbery in order to go to jail, so as
to attract the attention of a mysterious firm who can spring him and a high
level prisoner with links to the said MP) are contrived the point of hilarity.
But the
pedigree is good, great even. Directed by John Huston, with a script co-written
by Walter Hill from a novel by Desmond Bagely one could reasonably expect a
memorable and exciting yarn. With a supporting cast to die for including James
Mason, Harry Andrews, Ian Bannen, Nigel Patrick, Peter Vaughan and Michael
Horden, its always interesting , but only from a social and culturally historic
perspective. If you ever wanted to see Paul Newman wander round early 70s London,
hopping on tube trains and round Leather Lane market (with actual market goers
trying very hard and failing to stop and gawk at the Hollywood royalty walking
amongst them), or even slopping out in Liverpool with John Bindon from Get Carter, then this is the film for
you. What 1973 audiences would have made of it is anyone’s guess. The
convoluted plot and intentionally slow pace would have left the most hardened
thriller fan napping. There are practically no markers that this is directed by
the same man that gave us The Maltese
Falcon, The Asphalt Jungle and Chinatown; its so pedestrian as to
resemble an episode of The Saint,
which apparently, according to IMDB, this film is almost a carbon-copy ofone such episode.
The Mackintosh Man is the dictionary definition of a film which
survives on star power alone. On paper this could quite easily have been filler
on the bottom half of a double bill, and had starred someone like Ian McShane
or Bradford Dillman without changing anything in the script. As it is, Newman
brings effortless professionalism to the proceedings, and even manages to
adapt, chameleon-like to his drab and everyday surroundings, a little like Sean
Connery in The Offence.
If you’ve
never seen it, the tone in the first half of the film veers between Frenzy, The Ipcress File and Porridge.
But after the jailbreak the tone shifts into almost Bondian territory, or at
the very least an episode of The Avengers
with the introduction of Jenny Runacre’s Gerda, a kind of taller version of
OHMSS’s Irma Bunt with her mute henchman (I kid ye not)Taafe played by Percy
Herbert. This scenario is almost played for laughs and culminates with perhaps
cinema's only onscreen kick in the female crotch by a male character.
Dominique
Sanda glides through the film with a single blank expression her face from
start to finish, which doesn’t help in a scene where James mason spikes her
drink. It took quite few moments to spot that she was trying to act like someone
who’ s lost most of her higher motor functions.
Ultimately,
any enjoyment one can derive from this film is in watching a mid-career Newman
in a film featuring authentic locations with a sterling, if underused cast.
It’s a sombre film in tone, with only a few flashes of action, notably a very
realistic motor chase along bleak Irish roads, and a foot chase across moors
which resembles Newman’s flight from the prison guards and dogs in Cool Hand Luke. The film reeks of
“contractural obligationâ€, but at the end of the day I’m glad I’ve finally seen
it, and will probably revisit again. Maybe.
At the
moment its only available as part of a Warner Region 1 Newman Box set, but its
worth getting as it includes Harper, The Drowning Pool, Pocket Money, The Young
Philadelphians and The Left-Handed
Gun, all under-appreciated films. - Steve Saragossi
CLICK HERE TO ORDER THE PAUL NEWMAN COLLECTION BOXED DVD SET
Hughes makes the case that the restored version of Sergio Leone's classic The Good, the Bad and the Ugly is inferior to the original theatrical release.
Cinema Retro columnist and film book author Howard Hughes vents on his blog about misconstrued extended cuts of films that failed to improve on the originals. Among those in his sites: Star Wars and The Good, the Bad and the Ugly. Click here to read
Cinema Retro is proud to present a major article by author and film historian Collin Stutz
“Contrast, Counterpoint, and Patience:The Vanishing Penultimate Moment in Film†by
Collin Stutz
In Daniel Raim’s Academy-Award nominated 2001
documentary The Man On Lincoln’s Nose,
the film’s subject, legendary film production designer Robert F. Boyle (North By Northwest, The Birds, The Thomas
Crown Affair - 1968, Fiddler On The Roof), profoundly states, “One of the
problems with a lot of films now is that we’re dealing with climaxes rather
than the penultimate moments which are more interesting.â€Boyle defines the penultimate moment as the
moment before something actually happens.It is the scene before the climax (Scene 12).In the DVD audio commentary to their 2004
Pixar film The Incredibles, director
Brad Bird and producer John Walker discuss how “movies don’t have people
sneaking around anymore.I want some
sneaking around in my movie!People are
in such a rush to get the action sequences going fast that they forget there’s
pleasure to be had in the sneaking around part, taking a look at where you
are.So I have a few sneaking around
sequences in here, and I don’t think they’re a waste of time†(Scene 9).Whether one artist refers to it as “the
penultimate moment†or another calls it “sneaking around†is irrelevant; they
are both discussing the same thing.The
penultimate moment can be one of the most rewarding experiences for a cinema
audience, and there are three elements – contrast, counterpoint, and time
investment – that go into its creation.Unfortunately, the penultimate moment and its components are becoming a
lost art in today’s world of instant gratification.
Boyle uses Michelangelo’s Renaissance sculpture
masterpiece David as an example to
further illustrate his belief in the penultimate moment.He states that the sculpture of the Biblical
hero is “a young man standing, thinking.He’s got the sling over his shoulder and he has a frown on his face and
he’s obviously concerned.He’s concerned
about the coming conflict.The stone
that hits Goliath is momentarily interesting but only for that second.What went on before David meets
Goliath…that’s what’s interestingâ€(The Man OnLincoln’s Nose, Scene 12).
As the five minute, thirty second sequence where Mr.
Incredible sneaks around the island trying to discover Syndrome’s evil plan
plays, director Bird, in his Incredibles
audio commentary, goes on to say, “The filmmakers I most admire recognize the
value of “teasing†moments and “milking†moments.You think about a good storyteller or someone
who tells good stories in a bar.They
don’t blast through a story.They stop
and they savor certain moments.And they
know which moments they can milk.And
all of my favorite filmmakers have the confidence to slow down.Versus, I won’t name names, but a lot of
successful hacks, who, by having rapid-fire editing all the way through, never
have to deal with the issue of “Is anybody paying attention?†because they keep
throwing stuff at you.To me, there’s an
edge of desperation about that.The kind
of filmmaking I most admire takes a moment to savor things, because there are
so many things a movie can offer, particularly when you have a really talented
crew that works on getting sets to look great and is putting things up
there.You want a moment to take them
in.Like a good comic pauses, I think a
good filmmaker slows downâ€(Scene 15).Incidentally, five minutes of that Incredibles sequence is nothing but
sneaking around.The final thirty
seconds is the action climax where Mr. Incredible is attacked by goo balls and
captured.John Fawell, author of Rear Window:The Well-Made Film, elaborates on Bird’s thoughts in his DVD
commentary of the film, “People sometimes ask, ‘Why do we make such a deal of
these old films?’ Part of it is the professionalism on the smallest level.Even your most unimportant moment should have
a nice composition to itâ€(Scene 12).