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Subject: Hatter's Castle, hams, Susan's site, etc.


Author:
Cinephilia
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Date Posted: 05:32:19 02/02/06 Thu

I must watch Hatter's Castle again. The first time, I
didn't notice Emlyn Williams was playing the rake like a
screaming queen! He was elegant and foppish, a bit effeminate to modern eyes possibly, the typical rake in Victorian melodramas.

I think William's character was a charming sociopath. He
used people like pawns for his own sake and drew all
the advantages he could out of circumstances. He had no
moral sense whatsoever and was a complete hedonist. Emlyn did infuse him with dark humor but I don't think he was campy, whether in the American or British meaning of the word.

Emlyn may not have been Charles Atlas, but it was
obvious that poor Deborah was dealing with conflicting
feelings during the seduction scene. James Mason was
almost an impossible love at that point of the story
and the poor girl was famished for any kind of
affection. She was very naive, obviously, and didn't
know anything about sex and couldn't understand the
sensations stirring within her body. And she was
nearly paralysed with the fear of her father's
returning home early.

Even though her best instincts told her to know better
about Emlyn, she kind of liked him and hoped for the
best.

I'd say it's a fair melodrama. Very old fashioned. Bob
and Emlyn took their cues from Victorian stock
characters, but were both able to give compelling
performances anyway.

I wouldn't say Brodie was Newton's finest hour
onscreen. The best performance belonged to Deborah Kerr. As the typical Victorian virginal heroine, she gave a multi-layered, sensitive performance.

As for Newton often being a ham... All British actors
love hamming it up from time to time. Laurence Oliver
could be a glutton when it came to scenery chewing.

I love ham in a movie. It's colorful, it's
entertaining. The greatest French actors are admired
as much for their hammy performances as for their
more subtle acting. A case in the point is Benoit
Poelvoorde who won the French Oscar for Best Actor (Podium)
with the most outré and outrageous comical
performance in years.

When ham is done by a talented actor, it's almost
always fun to watch. Not so when it's done by a hack
formerly from the Saturday Night Live cast. ;-)

I do find some of Newton's performance obnoxious. All
that eye rolling gets boring after a while. But he was
one of the masters and being a succulent ham was only
one of his many assets as an actor. He could also be very subtle and natural.

Actually, I thought Newton could be too hammy until I
saw hammier actors in Hollywood pictures from the 30s
and 40s. Supporting roles were often played like
colorful caricatures back then. What was comic relief
to Depression audiences is often only obnoxious and boring
to me.

A case in the point is Lowell Sherman's performance in the classic "What Price
Hollywood" (1932). His performance was very much admired back in 1932 but it doesn't look very convincing to modern eyes. The movie is wonderful but
Sherman's foppish hamming almost ruined it for me the
first time I watched it. During the first part of the
movie, his acting is on the emotional and comical
level of a six year old Little Rascal. And he can't
seem to decide whether he's in a talkie or a silent.
His dainty pantomime is ludicrous. And his eye
popping, gawd!!! However, when his character's career is destroyed
by alcohol abuse, Sherman becomes natural and touching.

All of the actors I've studied for my websites can or
could ham it up entertainingly. But they're (were) not always
successful at it. David Warner, John Hurt, Robert Newton, Pierre Brasseur, Pauline Garon and Lowell Sherman all love(d) to go over the top. Someone who saw Pauline in "The Phantom Broadcast" said
that she looked as if she wanted to jump out of the
screen and into the arms of the audience. Lowell was
delightful as the womanizing boulevardier in "Bachelor
Apartment". Ultimately, a good piece of ham depends on the actor's talent and charisma, the role and a good director.

As for Susan's site putting the spotlight on Bobbie
the pirate, visitors ought to remember that Newton
is mostly remembered today for his pirate roles. Susan
"baits" prospective visitors with Bobbie the pirate but she also gives them a chance to discover that Bobbie wasn't just
a pirate in his acting career. It's thanks to people
like Susan that Robert Newton will be remembered as much more than
a pirate.

<a rel=nofollow target=_blank href="http://www.geocities.com/cinephilia2/">http://www.geocities.com/cinephilia2/</a>

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Replies:
[> Subject: Re: Hatter's Castle, hams, Susan's site, etc.


Author:
Tim
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Date Posted: 09:19:21 02/02/06 Thu

That was very well put and great to read, ham acting really is enjoyable to watch if not too sustained and over the top and I guess most of it goes back to before the arrival of The Method.

Tim

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[> [> Subject: Re: Hatter's Castle, hams, Susan's site, etc.


Author:
Cinephilia
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Date Posted: 15:00:25 02/02/06 Thu

I think it goes back to Ancient Greece! I'm sure actors would ham it up when they were acting in a comedy by Aristophanes. And often in tragedies too!

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[> [> [> Subject: "Ham" by any other name


Author:
Susan
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Date Posted: 02:16:59 02/13/06 Mon

The tradition of conscious artificiality in an actor's performance (whatever term you give it--"ham," "style," or ... see below) definitely goes back at least to Shakespeare's day. According to "The Bedford Companion to Shakespeare" by Russ McDonald, the "convention of doubling [actors in smaller parts taking on more than one role], combined with the absence of scenery, the lack of artificial lighting in the amphitheaters, and the proximity of the audience, fostered what is known as the _presentational_, as opposed to the _representational_, style of performance. In presentational theater, the illusion of a fictional narrative is maintained at the same time that the audience is reminded that a fiction is being performed. In other words, there is no strict pretense that this is Hamlet striding the battlements at Elsinore; rather, the audience is conscious that they are watching Burbage playing Hamlet on the stage of the Globe. [This] can augment the spectators' pleasure ... by increasing the sense of virtuosity that any good actor brings to any single part."

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[> [> [> [> Subject: Where have I seen that character before ... ?


Author:
Susan
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Date Posted: 03:24:59 04/10/06 Mon

I think I've finally found a clue as to why Dennis's character was changed so drastically from the book to the movie: I recently saw Emlyn in a 1940 film based on another A. J. Cronin novel, "The Stars Look Down," this one directed by Carol Reed (foreshadowing all that striking camera work in "Odd Man Out"). In it, Emlyn plays another sociopathic, manipulative, two-faced, social-climbing cad who sets a major catastrophe in motion, then disappears from the story. And I know where he went after that: Levenford, where he changed his name to Dennis. (Notice the character has no surname? Seems pretty suspicious to me.) It's as if Emlyn played the character so well in "The Stars Look Down," the screenwriters for "Hatter's Castle" wanted an encore and decided to replace the novel's Dennis with Joe Gowlan from the previous movie. (Now I wonder how closely the screen version of "The Stars Look Down" stuck to *that* novel!)

And please no comments about its being due to Emlyn's limited range! (Not that he didn't relish playing dastardly villains.) Anybody who doesn't think he has range should see his brilliant but brief performance in "The Wreck of the Mary Deare" or especially his Emile Zola in "I Accuse!" It's another small role, but his reading of the letter that made the titular headline just blows me away every time I hear it. And how about the amiable veterinarian/amateur sleuth, Dr. Henderson, in "Another Man's Poison"? He also gave a staid and touchingly tragic performance in "Eye of the Devil"--in which, BTW, he played opposite Deborah Kerr for the third time. The other time being, of course, in Major Barbara. They do have scenes together, but the only time you see them onscreen at the same time is at a distance, during the scene where Bob hits her in the face. But in the interior Salvation Army scene, there are a couple of long close-ups of Emlyn giving her an oh-so-dreamy-eyed look from across the room. Anyway, that's just the tip of the iceberg, I'm sure, because I've barely seen half his movies. Yet!

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