THE GHOST OF ST. MICHAEL’S

Marcel Varnel, 1941

Starring: Will Hay, Claude Hulbert, Felix Aylmer, Charles Hawtrey

William Lamb, a bumbling teacher, is assigned to an English school for boys that has recently transferred to an isolated Scottish castle thanks to the destruction caused by the war. Forced to become a science lecturer, Lamb is out of his element and is tormented by his precocious class. There also seems to be a ghost at work in the castle — the headmaster complains of noises that keep him awake at night and later bagpipes mysteriously sound just before someone is found dead. Lamb soon realizes that he is next on the list of intended victims and must get to the bottom of the ghostly mystery in order to live out the school term.

The Ghost of St. Michael’s might not be the greatest British film made during WWII, but this Ealing Studios comic thriller is a solid example of genre filmmaking made during the war years. Make no mistake — this isn’t strictly a horror film — but is a mashup of comedy, mystery, and horror with plenty of pleasant genre tropes thrown into the mix. The spooky old castle is allegedly home to a bagpipe-playing ghost, which is announced by the solemn, superstitious Scottish caretaker. This small but memorable was played by John Laurie, sort of the like a British version of John Carradine who pops up in many genre films throughout the period.

Lamb mentions that thirteen is his lucky number and he is (in an ominous but also hilarious scene) almost killed by a schoolboy prank. The housekeeper mentions that she needs rat poison, which Lamb is required to mix up, as he is allegedly a scientist — something that is destined to go horribly wrong. There are plenty of mysterious noises in the castle at night and Lamb finds the students celebrating the “feast of Halloween” which they describe as an old Scottish custom. Not being supernatural themselves, they’re basically using this as an excuse to steal food and drink (including whiskey) from the kitchens, in order to party in their large dormitory room.

In terms of the film’s horror themes, the Scottish setting is particularly notable, as it seems to be an unconscious source of folk horror and supernatural for British audiences and filmmakers alike. The Isle of Skye introduced here is a fictional Scotland similar to the one found in I Know Where I’m Going (1945) — Powell and Pressburger’s classic yet quirky romance that revolves around a Scottish curse — and even films like Devil Girl from Mars (1954) and the recent Under the Skin (2013) are set in the Scottish moors, a locale that all the characters seem to know is inherently creepy (particularly in British films of the ‘40s and ‘50s). 

These supernatural undertones — as opposed to overt elements — were the general rule in the ‘40s. With the exception of The Uninvited (1944), a lone American horror film that focused on a real ghost, most genre films from this period were a mix of mystery and comedy, with simply a dash of supernatural horror (or science fiction): for example old dark house movies like The Cat and the Canary (1939) always had human perpetrators, though they generally relied on the suggestion of the the supernatural for the first half of the film. Unstable characters, particularly vulnerable, hysteria women, were especially susceptible to hints of otherworldly evil.

There are also numerous mystery tropes in The Ghost of St. Michael’s. One of the students — Charles Hawtrey, whose character becomes something of a sidekick for Lamb and is of course the most annoying person in the film — reads crime fiction and the name of the book he’s currently reading, My Aunt Lies Bleeding, is both the running gag through the film and the source of his theories about the headmaster’s death. But most of the dark themes are played for comic results, such as an effective concluding moment when Lamb and two associates are almost crushed to death in a secret chamber with collapsing walls. 

The real reason to see the film is comedian Will Hay, who is delightful as a clueless, bumbling teacher whose students wind up liking him because he’s such a buffoon. In a film that’s just over 60 minutes he wind up getting drunk with them — instead of breaking up their Halloween party, he joins in and requisitions their stolen whiskey — and getting high on laughing gas, because he’s confused about the nature of some of the chemicals in the science lab. He worked regularly with director Marcel Varnel (Chandu the Magician, The Loves of Madame Dubarry, King Arthur Was a Gentleman) and the famed director Basil Dearden served as their associate producer. In Robert Shall’s British Film Directors: A Critical Guide, he writes, “The most memorable of all Varnel’s work was done with Will Hay. His cynical, bumbling persona, usually in the form of some disreputable authority figure (teacher, policeman, stationmaster), has survived changes in audience tastes better than the other comics Varnel worked with” (207).

This boys’ only party is interrupted by one female character — SPOILERS ahead — the housekeeper who winds up being a Nazi agent in disguise and who is responsible for all the murders and misdeeds. This was a relentlessly popular trope during the war, even in genre films like a sequel to The Invisible Man, Invisible Agent (1942), and Sherlock Holmes and the Secret Weapon (1942). Will Hay himself even appeared in another anti-Nazi film alongside actor Charles Hawtrey, The Goose Steps Out (1942), where Hay’s character happens to be identical to a captured Nazi spy.

The Ghost of St. Michael’s isn’t going to appeal to everyone, but if you enjoy comedy-horror-mystery mashups, or enjoy humor that revolves around bumbling comic character, then this fast-paced romp is well worth watching. There aren’t really any great prints available, but you can find some cheap US DVD options or the UK DVD from Optimum. 

THE HAWKS AND THE SPARROWS aka UCCELLACCI E UCCELLINI

Pier Paolo Pasolini, 1966

Starring: Totò, Ninetto Davoli

Totò and his son Ninetto travel around the Roman countryside, having adventures until they meet with a wise crow. He tells them the story of two friars, Ciccillo and Ninetto, who are tasked by St. Francis to teach a message of love to the nearby hawks and sparrows. A frustrating task, they manage to communicate to the two bird species separately, but can’t convince them to love each other. After the crow is finished his story, he tags along on Totò and Ninetto’s journey through the country, where they have run ins with some violent men, a poor family, actors, and more.

Literally meaning Ugly Birds and Little Birds, this difficult comic parable was allegedly Pasolini’s own favorite among his films, but will likely divide viewers. This is essentially a tale of inherently innocent, naive characters caught up between Marxist (as represented by the crow) and Christian ideals. Nearly all of Pasolini’s early films — Accattone, Mamma Roma, La ricotta, The Gospel According to St. Matthew, and even the documentary Love Meetings — reflects this debate and contains religious themes. The Hawks and Sparrows would serve as something of a warm, humorous farewell to that as Pasolini moved on to more mythic films after this. Like those early works, this is also one of his last films where the majority of the characters are poor or working class, another theme that obsessed Pasolini’s early years.

There are a number of things that I genuinely loved about Hawks and Sparrows. For starters, there’s an excellent, whimsical score from Ennio Morricone, which includes the film’s hilarious opening song. Vocalist Domenico Modugno sings the credits — including all the names of everyone involved — as they roll across the screen. While the humor is a little difficult — in the sense that I think some of it is topical and language-based — the first half of the film is funny and endearing with some physical comedy that seems to be borrowed from Chaplin. It’s hard to even look at Totò, one of Italy’s most beloved comic actors, and not be absolutely warmed down to my toes. He has a fabulous presence in everything I’ve seen and he’s great here.

His son is played by Ninetto Davoli, a teenage non-professional actor in his first-ever role. He’s also surprisingly strong in the film and went on to be the great love of Pasolini’s life. Though they only had a sexual relationship for a few years and Davoli eventually got married, he was Pasolini’s frequent companion until the director’s death nine years later. Maybe it’s just Totò’s finesse, but they have wonderful chemistry together — and also with the stuffy, pedantic crow. The latter actually turns out to be a delightful character and I wish I saw more of that in life action films (sans the CGI, please). Totò and Ninetto also appear in the framing story and the tale of two frustrated monks, who are the film’s most charming characters.

In a strange way, it reminded me of a much more whimsical version of Alejandro Jodorowsky’s surreal Fando and Lis (1968), which concerns a couple on a series of terrifying, humorous, and erotic adventures. Both films have an episodic feel — The Hawks and Sparrows follows the father and son past encounters like a field of young men dancing, a woman giving birth, the father demanding money from a very poor woman, and through a field where they’re shot at — and both have very Dantesque references to Hell and existential torment. 

But like Salò, the film’s intellectualism is self-conscious and it sometimes gets in the way. I can’t really decide if this is something I should recommend or not — you’ll love it, hate it, or maybe have no idea what’s going on — but if a moral parable in the form of an intellectual, absurdist comedy sounds up your alley, then definitely pick up the Masters of Cinema DVD. And if you think you can resist Totò, then you haven’t seen him in action yet. Like Leonard Nimoy, he’s the pretend grandfather that everyone wishes they had.

WITHOUT A CLUE

Thom Eberhardt, 1988

Starring: Michael Caine, Ben Kingsley, Jeffrey Jones, Lysette Anthony, Paul Freeman

Sherlock Holmes spoofs are unfortunately as inevitable as they are timeless. So far there are more satirical books than films, but Without a Clue takes an honest stab at turning Holmes and Watson on their heads in this endearing if thoroughly uneven film.

Directed by Thom Eberhardt of Captain Ron fame, the premise is that Dr. Watson is a crime-solving and literary genius. He has invented a literary figure, Sherlock Holmes, who has become so popular that no one will believe Watson's genius and he is forced to hire an actor. Enter Reginald Kincaid, a drunk, gambling, womanizing idiot who cares about no one but himself. He can barely remember the lines Watson carefully scripts for him and frequently comes close to blowing a case. Despite these things, the press, police force, and government love him. When Watson fires him, fed up and jealous, he is forced to drag Kincaid back to solve a mystery that involves counterfeiting pound-notes and the Bank of England. This leads Holmes, Watson, one of the young Irregulars and the jealous, clumsy Lestrade to the countryside, where they team up with a missing bank manager's daughter. Of course, Moriarty is behind it all, but he kills Watson, forcing the blundering Holmes to work through the clues and solve the case.

The major flaw of Without a Clue is that it is based around the concept of a brilliant Watson and a bumbling Holmes -- which is admittedly excellent thanks to two great performances -- but it doesn't go much farther than this. The film starts out strong, but the jokes get old and the middle of the film drags quite a bit. When Holmes/Kincaid is forced to prove his merit, things get interesting again and there is quite an amusing second half. Over all I enjoyed it, but the real reason to see the film is for Kingsley's exasperated Watson and the ever wonderful Michael Caine as Holmes/Kincaid.

There are a lot of flaws. There aren't very strong or compelling side characters, which makes this an interesting but failed attempt. Though Jeffrey Jones (Beetlejuice) is amusing as the frustrated Lestrade, Lysette Anthony (Krull) as the bank manager's daughter is incredibly irritating and provides neither romantic intrigue or comic relief. The film involves lots of scenery chewing, though there are some lovely set pieces to do this on -- Victorian buildings, underground tunnels, abandoned theaters and so on. There is plenty of intellectual humor, witty fast-talking, slapstick and physical comedy, but I would still only recommend it for fans of spoof humor or devoted Sherlockians. There is a basic region 1 DVD available from MGM.

YOUNG FRANKENSTEIN

Mel Brooks, 1974
Starring: Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Cloris Leachman, Teri Garr, Kenneth Mars

I was going to start this review off by talking about how Young Frankenstein stars the great Gene Wilder -- and he is great -- but upon reflection, so is everyone else in this film. Arguably Mel Brooks's best work and certainly the best horror spoof ever made, this is one of those films that, if you haven't seen it, I demand you stop reading and go watch it, immediately.

Wilder stars as Dr. Frankenstein (pronounced "Frahnk-en-steen,"), a brilliant scientist who gives impassioned lectures at an undisclosed American medical school. When a strange man contacts him about his grandfather's will, he is forced to return to Europe, despite his deep disdain for his grandfather's attempts at science -- reviving the dead -- which he regards as ridiculous superstition. He sadly parts with his fiancee, the vain Elizabeth, and is soon greeted by Igor, a servant descended from his grandfather's famous hunchbacked henchman. They also meet with Ilsa, a sexy lab assistant, and Frau Blucher, caretaker of the castle. After a series of disturbing dreams, Frankenstein discovers his grandfather's hidden laboratory and notebooks and embarks on an attempt to recreate the famous Frankenstein monster. Of course this goes wrong and the monster escapes. When the townspeople get a whiff of what's happened and his fiancee arrives, all hell breaks loose. Can he find the monster and put things right before it's too late?

Co-written by Mel Brooks and Gene Wilder, this is one of the funniest films I've ever seen, though it does help to have a familiarity with the Universal Frankenstein films, as it references both Frankenstein, Bride of Frankenstein, and some of the lesser sequels -- plus it was shot on some of the same set, amazingly enough.

It's really difficult for me not to ruin any of the jokes by quoting them incessantly, so I'm going to quit while I'm ahead. Needless to say, there's a ton of brilliant humor in the film. It's widely available on DVD in a cheap region 1 from 20th Century Fox.

WITHNAIL AND I

Bruce Robinson, 1987
Starring: Richard E. Grant, Paul McGann, Richard Griffiths

The first time I saw Withnail and I was a few years ago when I began my crusade to see and own every Criterion film ever made. While that battle is still on going, I like to revisit my favorites time and again. I'm a compulsive re-reader and re-watcher and I'm not ashamed. With Withnail and I I'm happy to say that the humor, acting, and charm has held up. However, a couple of years later, as someone who does a lot of drinking and spends a lot of time around other people doing a lot of drinking, it is, if anything, a hell of a lot funnier. Or at least more relevant. And vaguely depressing.

Richard E. Grant plays the titular Withnail. Though he claims to be an actor, this hilarious, disaster of a drunk uses his considerable intelligence and wit to look for booze, drink it, and then deal with the inevitable hang overs instead of acting or going on auditions. Paul McGann costars as his unnamed roommate, a nervous, passive fellow who does much of the same and is in the same profession. While he is at least a little more responsible than Withnail, he follows along with Withnail's schemes with a kind of submissive mania. The two decide they are reaching the pinnacle of unwell and need to take a vacation. They persuade Withnail's urbane, gay Uncle Monty to let them use his country cabin for a time. When they get to the cabin, nothing is as they expected. It is cold, raining, and muddy. They have no food, firewood, or fuel, and little booze. The locals are unfriendly. The situation slowly begins to turn around, but Monty shows up and throws another kink in their plans. What will become of their accidental vacation?

If you've never seen this film, get on it immediately. There are an appalling number of instantly quotable lines and should you meet anyone out at a bar who has seen the film, you will probably make an instant friend. It richly deserves the cult status it has achieved, as well as its Criterion release, which I recommend buying as soon as possible. The documentary, "Withnail and Us" is almost as funny as the film itself.

It's amazing that this was Grant's first feature role and probably his best performance to date. Despite the fact that he is an avowed non-drinker and I believe is allergic to alcohol, he's perfect as Withnail. McGann is also quite good as his roommate, hovering constantly between paranoid, drunk, and outraged.

This is definitely a black comedy, but if you hate British humor, it doesn't really fall within the same boundaries as most films of that category. It's more drinking-because-life-is-miserable-and-I-hate-my-job-or-am-unemployed humor than anything else.

I leave you with two of my favorite scenes:

UNFAITHFULLY YOURS (1948)

Preston Sturges, 1948
Starring: Rex Harrison, Linda Darnell, Rudy Vallee, Barbara Lawrence, Kurt Krueger

Rex Harrison, how I love you, let me count the ways. Though he's wonderful in most things, Unfaithfully Yours is basically the Rex Harrison show and comes highly recommended for fans of the late, great actor, as well as for anyone who enjoys black comedies from the '40s and '50s.

Harrison plays Sir Alfred de Carter, a well-known English composer. He has recently married Daphne (the lovely Linda Darnell), a younger, beautiful American girl. Despite their social differences and age gap, they have a loving, romantic marriage. Sir Alfred, who has recently been away touring Europe, has an unfortunate meeting with his stuffy brother-in-law. When Sir Alfred casually asked him to look after his wife while he was away, his brother-in-law took this to heart quite literally and sent a private detective after her. In a rage, Sir Alfred scathingly admonishes his brother-in-law and tears up the report without reading it, though a seed of suspicion has been planted in his mind. Soon he accidentally comes across the real information. They live in a fancy hotel and his wife was in another man's room late at night, wearing lingerie. This man, as it turns out, is his private secretary, the young, handsome Anthony. Almost instantly, he is transformed from a loving husband into a jealous maniac.

During a sold out concert, while conducting pieces from Rossini, Wagner, and Tchaikovsky, Sir Alfred has a series of fantasies of how he will deal with the situation. First, he dreams up a diabolical plot where he murders Daphne and frames Anthony. Second, he imagines himself as sad, but forgiving. He writes Daphne a large check to support her and Anthony and willingly lets her go to the younger man. In the third fantasy, he forces Anthony to play Russian roulette, but takes his turn first, resulting in suicide. After the concert, the now frothing mad Sir Alfred flees home and begins to prepare for his wife's murder as he imagined it in the first scenario. Nothing goes as planned and Sir Alfred unintentionally destroys his apartment in a lengthy comedic scene. When his wife returns home will she be able to set things straight? Or will Sir Alfred succumb to his murderous rage?

Of course he won't. This is a black comedy, but it's still a comedy. And a damned enjoyable one. Though it is available streaming on Netflix right now, I'm reviewing the Criterion release, which is obviously the best available edition. It is the single disc, special edition version of Unfaithfully Yours, but is more reasonably priced than most Criterion releases. Granted, the extra features aren't really that special, other than the commentary by Sturges scholars -- but I'll take whatever Rex Harrison-Criterion combo I can get.