When I was a teen I picked up a darkly-intriguing book about the influence of Edgar Allen Poe on film: Cinema of Mystery by Rose London*. It featured the illustrations of Aubrey Beardsley and Arthur Rackham along with stills from numerous films that left their mark on my impressionable mind.
I was already familiar with the Hammer horrors but less so with Roger Corman and a whole host of others alongside a film that featured Jane Fonda, a horse and her brother Peter, in what looked like a fairly saucy tale of debauchery…
Years later I followed these images up by recording Histoires Extraordinaires (aka Spirits of the Dead) a selection of three Poe stories filmed by some of the leading European directors of the late 60’s. The Fonda story was Metzengerstein, directed by Jane’s then husband, Roger Vadim, followed by William Wilson (Louis Malle) and Toby Dammit (Federico Fellini).
Now I’ve finally watched it and the film that interested me then is not the film that interests me now.
Metzengerstein (Roger Vadim)
|In spite of her apparent wealth Countess Federica insisted on sharing the bath...|
Federica’s 24 hour non-stop party people laugh at her dignified cousin Baron Wilhelm (Peter Fonda…see what they did there?) as he stays in his manor, minding his beloved horses. But after he saves her from a wolf trap on the estate she becomes entranced by his stillness. He’s a pure being amongst all the partied out detritus of her entourage.
|When do I get the motorbike?|
|Federica realises that there's something familiar about Wilhelm|
She orders the tapestry re-woven and, a sit takes shape, gradually realises who the horse is and what she has to do to atone for all her crimes. In the closing segment she rides headlong into a bush fire near her castle…riding to her death in the flames along with her lover.
|Only Federica can tame the black horse|
William Wilson (Louis Malle)
Wilson insists on seeing a priest to confess to having murdered a man, he needs to share a secret and in is not seeking forgiveness just validation. We see his cruelty emerging early on at school as he bullies his weaker classmates.
|Only BB could smoke a cigar like this!|
Finally, Wilson, by now in the army, engages in a sado-masochistic game of cards with the Lady Giuseppina (strikingly played by Brigitte Bardot in raven-haired wig). Having cheated her he then proceeds to beat her, humiliating her in public in a gratuitous scene I could have done without. But, again, the other Wilson arrives to expose him as a cheat and save the lady.
Wilson is himself humiliated and his career is over. In a rage he flies at the other Wilson and finally succeeds in slaying him but, as one Wilson dies, he says to the other, that he cannot exist by himself… and so it proves.
Malle does very well with the card scene (apart from the violence) but, in spite of the leads’ excellence, they cannot elevate this section to “mysterious” it’s just “uncomfortable”, from the schoolyard torture, the attempted live dissection of a young blonde to the violence towards Giuseppina.
Toby Dammit ( Federico Fellini)
|Totally cool Terence|
A lot of this is down to cinematographer Giuseppe Rotunno, who captures an extraordinary consistency of light in the opening sequences in particular… it’s as if the airport was being bathed in Hellish glow and as Toby travels towards an icy cool television interview the streets reflect unsettling scene in the red light of his car window…
You have to assume that Toby is already in Hell as surely as he is already damned…
Fellini apparently asked for the most debauched actors in Britain and chose Terence Stamp ahead of Edward Fox, to play Dammit. And what a superb choice it was a Stamp agonises and twists his way through the roll… remembering that this was before the deaths of many key 60’s icons he looks set on a path of self-destruction - no one gets out of here alive.
Toby is promised a Ferrari and taken to the Italian Oscars, the “She Wolf Awards”. This is where the Lynch comparisons really kick in as various and sundry odd-balls give and receive awards. It’s surreal and unsettling echoing Toby’s inner state.
Toby gets up to deliver his guest speech but breaks down amidst the Shakespeare and runs off. Outside he encounters the Ferrari, his reward… he climbs in and speeds off through the bewildering foggy darkness… Racing on with scant consideration for his own safety, he eventually skids to a halt near a fallen bridge.
|"Old Nicola" doesn't always play ball...|
None of the other stories is as genuinely chilling as Fellini’s and it fits in enough imagery and ideas to fuel and entire film. All of this is as jarringly disconcerting as the best of Poe. The story may be further from EAP’s original but the spirit is there.
Terence Stamp plays a blinder and takes the best actor award for the triptych: it may have been close to his existence at the time but he plays the character as a man run out of ideas and time… betrayed by all of those around him including the little girl who finally claims his soul.
Dusty verdict: Buy the DVD – it’s worth it for Toby Dammit alone: Fellini on form.
*Rose London's Cinema of Mystery is still to be found on Amazon and elsewhere.
|Nuns, in sunglasses|