The Orphanage showing at The Gulbenkian Cinema on the 4th of March

Posted on March 1, 2014 by melodramaresearchgroup

Posted by Sarah

The fifth film in the Gulbenkian Cinema’s Gothic Season – J.A. Bayona’s The Orphanage (2007) – screens on Tuesday 4th of March at 9.30pm. It will be preceded by a panel discussion which will include contributions from the Melodrama Research Group’s Dr Tamar Jeffers McDonald, as well as Dr Cecilia Sayad and Professor Nuria Triana-Toribio.

The Gulbenkian Cinema’s description of the film:

J. A. Bayona | Spain | 2007 | 106mins | Belén Rueda, Fernando Cayo, Roger Príncep

This terrific Spanish horror film, the debut of J. A. Bayona and produced by Guillermo del Toro, director of Pan’s Labyrinth, received great acclaim on its release in 2007.

After thirty years, Laura returns to orphanage where she grew up, accompanied by her husband Carlos and their 7-year-old son Simón, with a dream of restoring and reopening the long-abandoned mansion as a home for disabled children. The place awakens Simón’s imagination, and he soon begins playing not-so-innocent games.

As events take a sinister turn, Laura slowly becomes convinced that something long-hidden and terrible is lurking in the old house, something waiting to emerge and inflict appalling damage on her family, in this cleverly made, utterly terrifying film.

“A shiver of fear runs right through Juan Antonio Bayona’s pungent and scary film” Peter Bradshaw, The Guardian, 4 stars

“A good old-fashioned horror in the best possible way, this is a beautifully told, terrifying ghost story that lingers with you long after the shivers have stopped” Olly Richards, Empire Magazine

Spanish w/Eng ST

For more information and to book your ticket please go to: http://www.thegulbenkian.co.uk/events/cinema/2014/March/2014-03-the-orphanage.html

Melodrama Screening and Discussion, 5th of March, Keynes Seminar Room 6, 4-7pm

Posted on March 1, 2014 by melodramaresearchgroup

Posted by Sarah

All are welcome to attend the fifth of this term’s screening and discussion sessions which will take place on the 5th of March in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening Black Swan (2010, Darren Aronofsky, 108 mins).

Ann-Marie has very kindly provided the following introduction:

The film is said to be inspired by Fyodor Dostoyevsky’s 1846 novel The Double. In the book a man goes mad when he encounters his double, and, like Black Swan, the double in Dostoyevsky’s novel is the polar opposite of the original self.

The film revolves around Tchaikovsky’s brilliant ballet, Swan Lake. Natalie Portman plays both the White and the Black Swan. Her performance, (for which she won a Best Actress Oscar) focuses on the slow spiral into madness caused by an over-protective mother, the intense pressure of her work, confusion of her sexual orientation, and perhaps, the acknowledgment of the short-lived career of her predecessor (Winona Ryder). In fact, it is not hard to see the All About Eve (1950) links throughout the film, particularly if we consider the fear and paranoia of the younger/prettier/talented performers. Show business has a shelf-life, something the women in this film are more than acutely aware of.

The film was chosen for multiple reasons, but none more so than the idea of the doppelganger. The doppelganger is the paranormal double of a living person. The doppelganger is seen to be sinister and bad luck, often regarded as an omen of death. Perhaps most fascinating about the use of the double in this film is the idea of identity, both hidden and the eventual loss of it, and it is this that could be further expanded in our meeting.

Potential discussion points:

The use of music, particularly in reference to Portman’s character, Nina.

Hidden identity and its connection to melodrama.

The extension of a fictional self and/or the dissolution of self.

The double in terms of polar opposites and its importance to narratives as a whole, but particularly melodrama.

Lastly, dance and movement as an expression of character. This brings to mind the sweeping cape of the Victorian melodramas. Plainly, what type of movement do we identify with a type of character? How does this alter our perception and add to the melodramatic mode? Are the villains prone to excessive movement, and how do we interpret that in our culture?

Do join us if you can.

A link to Dostoyevsky’s novella: http://fiction.eserver.org/novels/the_double.html

Summary of Discussion on The Awakening

Posted on March 1, 2014 by melodramaresearchgroup

Posted by Sarah

Frances has very kindly provided the following summary of our discussion on The Awakening (2011):

Warning! The following discussion contains spoilers for those who have not seen the film yet…

On Wednesday 19^th February we watched and discussed The Awakening. I did not want to say too much about the film in my opening remarks and so most of the group present were experiencing the film for the first time and without much previous knowledge. This was an important component for our discussion after the film as quite a lot of time was spent discussing the film’s ending and its twist (or twists). We agreed that the film remained ambiguous about whether Florence is alive or not at the end. We mentioned that, logically, it is probably likely that she survived (the manner in which she interacts with other characters and is about to leave the house points to this) but it is interesting that the film still works to evoke the question of her mortality and does not complete resolve the ambiguity. Costume and performance are important parts to this uncertainty. Florence’s costume has changed and so this suggests she has survived. However we noted how the white coat she wears could make Florence seem ghostly and this is an interpretation reinforced by the way her presence is ignored by the school’s headmaster. In either case, we felt the possibility for different interpretations was a fitting ending to a ghost story where frequently our expectations are continually subverted.

The group commented how, in many ways, The Awakening is a conventional story of a haunted house where the spirits interact with the living in order to resolve unfinished business. The music contributes considerably in establishing this uneasy mood and the film contains some good, unexpected scares. A comparison was made between The Awakening and Turn of the Screw and the relationship between the ghost story in cinema and that in literature. But that is not to say that the film does not contain some very striking moments which we agreed worked especially well. We talked about how the uncanny is evoked by the film, especially in the scene where Florence keeps returning to the same room depicting her mother’s death, despite her attempts to run away. The rabbit toy is also particularly uncanny and signals a rare instance of the use of vivid colour in the film. We discussed how it is possible to extend the Freudian reading of the film further, as the dollhouse functions as another double: it is the double of the house but also metaphorically represents Florence’s mind (it is her ‘mind palace’). Florence’s interaction with the dollhouse – which moves from confusion to trepidation and fear – parallels our protagonist’s increasing understanding of the haunting. The dollhouse allows Florence to observe the whole house, at once, and yet she is still unable to ‘see’ the larger picture for the majority of the film. This radically changes of course when Florence remembers her traumatic childhood and the memories of those disturbing events are ‘re-lived’ before her eyes.

In this respect the film can be interpreted as a representation of the psychoanalytical process, as a kind of ‘talking cure’. Florence’s experience of the haunted house in the film functions to provide a series of shocks for the heroine so that she may remember the traumatic truth of her childhood. Tom’s presence in the film represents a form of the return of the repressed. The rabbit toy also functions as an important marker and another double. The song which the toy sings remarks that all the children ‘are gone except one’. This creates another double because at first the viewer believes this to be the ghost child (revealed later to be Tom) but this ‘child’ is also Florence herself, as she survived her father’s brutal attack. Only by remembering – or rediscovering – her true ‘self’ can Florence come to terms with this true identity. We discussed how it is interesting that this journey of self-discovery is framed by Florence’s movement from spiritual sceptic to dedicated believer in ghosts. This somewhat undermines Florence’s characterisation at the beginning of the film as an independent, successful author and career woman in the early 20^th Century, and so the ultimate ‘message’ of the film is obtuse.

We also discussed the film’s setting and agreed that the post-WWI era is particularly suited to this type of horror story. We said how the film thus taps into a British cultural memory in addition to performing as a conventional ghostly tale. It was commented that The Awakening also correlates to the wider tradition of British horror which emphasises the paganism and spiritualism of the countryside against the supposed rational and sceptical urban city. Additionally, the manor house setting in The Awakening brings in the question of class, particularly through the character of Maud, and how the haunting of the house is caused – in part – by the oppression of the aristocracy. We commented how this trait in horror extends beyond British films albeit in a slightly different guise: The Skeleton Key is a good comparison point with the manor house now replaced by a plantation house.

Many thanks to Frances for choosing the film, introducing it and providing the above excellent summary of our discussion.

Do, as ever, log in to comment or email me on sp458@kent.ac.uk to add your thoughts.

Alien (1979) Showing at the Gulbenkian Cinema on the 24th of Feb

Posted on February 15, 2014 by melodramaresearchgroup

Posted by Sarah

The fourth film in the Gulbenkian Cinema’s Gothic Season – Ridley Scott’s Alien (1979) – screens on Monday 24th of February at 9.15 pm. It will be introduced by Melodrama Research Group member Frances Kamm.

The Gulbenkian Cinema’s description of the film:

Ridley Scott | US | 1979 | 113mins | Sigourney Weaver, Tom Skerritt, Harry Dean Stanton, John Hurt, Veronica Cartwright, Ian Holm

“In space, no one can hear you scream.” Ridley Scott’s (Bladerunner) 1979 modern classic stars a never-better Sigourney Weaver (Gorillas in the Mist) as Ripley, one of several scientists on board the spaceship Nostromo, on the return leg of a routine mission when they detect a mysterious transmission from a nearby planet. Investigating the source, they find the remains of an alien creature and crew member Kane (John Hurt) is attacked by the creature in one of its eggs. Back on board, he has seemingly recovered when an uninvited guest arrives, in gloriously gory fashion, in one of sci-fi’s most memorable sequences.

The undisputed best of the Alien films, with a cerebral slant alongside the thrills and gore, and an iconic feminist heroine in Weaver’s preternaturally cool, tough Ripley, it’s a shocking, seamless ride.

“It remains a benchmark of extra-terrestrial horror, and gave us a bona fide A-list star in the shape of Sigourney Weaver” Film4.com

“One of the greatest sci-fi movies ever made” Jamie Russell, BBC

For more information and to book your ticket please go to: http://www.thegulbenkian.co.uk/events/cinema/2014/February/2014-02-alien.html

Melodrama Screening and Discussion, 19th of February, Keynes Seminar Room 6, 4-7pm

Posted on February 15, 2014 by melodramaresearchgroup

Posted by Sarah

All are welcome to attend the fourth of this term’s screening and discussion sessions which will take place on the 19th of February in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening The Awakening (2011, Nick Murphy, 107 mins).

Frances has very kindly provided the following introduction:

Following on from Kat’s screening of Black Christmas last week, this week’s film The Awakening is another example of the intersection between horror and melodrama in the
Gothic tradition. The Awakening picks up many of the Gothic tropes present in Black Christmas, such as the woman-in-peril and dark house motifs, but uses these elements for a very different effect.

The Awakening is a 2011 British horror film starring Rebecca Hall, Dominic West and Imelda Staunton and directed by Nick Murphy. In many ways the film contributes to the popularity of the haunted house and ghost story narratives which have been featured and revived in many recent horror films, such as the Paranormal Activity series (2009-present) and, in particular, The Woman in Black (2012 and another British horror film). The Awakening also shares many similarities with The Orphanage (2007), as it seeks to combine a classic chilling story of a house haunted by a supernatural presence with the aftermath of traumatic historic events: in The Awakening’s case, Britain in 1921 after World War One. The Awakening tells the story of writer Florence Cathcart who has made her name as a paranormal sceptic and now helps the police in exposing and arresting charlatans who host spiritualism meetings and séances which promise to reunite paying customers with family members and the soldiers who did not return from the war. A war veteran and teacher, Robert Mallory, meets Florence and requests she return with him to his boarding school in the countryside, where he believes a real ghost of a former schoolboy is haunting the premises. Although initially reluctant at first, Florence agrees to return with Robert and prove the ghost a fraud, and thereby restore order to the school and the boys who believe the recent death of their school friend to be caused by a malicious spirit. With the help of her scientific equipment, Florence quickly believes the mystery to be solved and the ‘ghost’ exposed as a childish prank, until further paranormal occurrences begin to take place and Florence is forced to question her beliefs…

The film incorporates many of the major themes and tropes of the Gothic, as established by the Gothic literature of the 18^th century and the Bluebeard tale, which in turn inspired the Gothic cycle of films in Hollywood in the 1940s beginning with Rebecca (1940). Florence is the Gothic heroine of the film who is compelled to investigate the mystery of an old, dark house: in this case, the boarding school. In unlocking the secrets of the house, Florence becomes the woman-in-jeopardy conventionally at the heart of these stories: Florence is imperilled by the supernatural presence in the house; by the threats posed by the shady groundskeeper Edward Judd; and by her own stubbornness to question her rationalist convictions. In keeping with the traditions of the Gothic, the film’s narrative hinges on the revelation of a hidden secret which comes to light through Florence’s investigation. In The Awakening this secret is not contained within a single secret, locked room (as conventionally seen in such Bluebeard-inspired tales) but rather the house itself is the mystery to Florence, which must be discovered and understood in order to reveal the building’s – and her own – troubled past. As such we explore the house and experience the supernatural sightings with Florence and this identification with the female protagonist shows the film’s correlation to the conventions of horror established by films like Black Christmas, as discussed last week. The film adheres to other horror generic conventions, particularly in respect to low key lighting and the threat conveyed through effective editing and camera movement, but The Awakening is not just concerned with shocks and jumps. In his 2011 review of the film, Guardian critic Peter Bradshaw describes the film as a ‘supernatural melodrama’ and this description becomes very apt. The film’s horror elements work to illuminate and frame the personal (and often private) melodramas which affect each character. The teachers of the school fail to conceal these tragedies as these secrets are also revealed within the course of Florence’s investigation. Central topics include shell-shock, child abuse and death.

The film extends the Gothic trope of the house revealing secrets to include Florence herself, as The Awakening ultimately performs an in-depth analysis of the heroine and her psyche as well. This commingling of the paranormal or the mysterious with scientific and rational reasoning is a reoccurring trend in the narrative and becomes key to unlocking the secret of Florence and her past. This is evident from the film’s very first frames, when we see a quotation from Florence’s popular book about the debunking of spirits informing us of the high death rate in Britain recently and concluding: ‘This is a time for ghosts’. This sentiment is supported by the opening scene which sees Florence attend a séance. Yet this first ghostly encounter is quickly revealed to be a fraud by Florence, who has the proponents of the meeting arrested. Florence maintains her sceptical, rationalist ideals through the use of advanced technological devices to prove the boarding school’s sightings of ghosts to be a hoax, only to have this same scientific equipment ‘prove’ the opposite is true. The narrative’s vacillation between incredulity and belief highlights the importance of the film’s setting in post-war Britain. The years following the First World War – a conflict which would radically re-define modern warfare and the devastating impact of technology – saw an increase in the popularity of spiritualism and belief in the paranormal. It is important to note that Freud’s essay on the uncanny was also published at this time, in 1919. The uncanny has a long history, which is interwoven with the Gothic tradition and literature of the 18^th century, but the fact that Freud should choose to publish his work on the uncanny at this time is significant. Just as the world was recovering from the shock and trauma of the ‘modern’ – in this case, modern warfare – Freud muses upon the affect a displacement from the world, like an experience of the uncanny, has upon the mind. Like Florence, Freud hopes to offer a scientific explanation for these occurrences although, by his own admission, he ultimately fails. It is therefore important to view the film in terms of the uncanny as well, because the concept helps contextualise the historical setting for the film and The Awakening effectively incorporates many of the motifs which Freud identifies as ripe for an uncanny experience. These include representations of the double; the slippage between what is known to be alive or dead; and the unheimlich or the unhomely nature of the house. In testament to Freud’s work, The Awakening reveals that the secret behind the melodrama, the cause of the horror and ‘the uncanny is that species of the frightening that goes back to what was once well known and has long been familiar.’

When watching the film we can think about:

– How The Awakening fits into this Gothic tradition

– Why the film has this historical setting

– Florence’s characterisation

– The ending: what does it all mean?

Do join us if you can for this chilling screening!

Summary of Discussion on Black Christmas

Posted on February 15, 2014 by melodramaresearchgroup

Posted by Sarah

Kat has very kindly provided the following summary of our discussion on Black Christmas (1974):

Discussion began with acknowledgement of how the film could be interpreted as the forerunner to the Slasher subgenre. The traits of lone stalker and aspects of cinematography are recognisable when one considers Halloween (1978), especially the opening of Halloween with the POV camera work associating the killer with the viewpoint. There was general agreement on how underrated Black Christmas appears to be, as it is a superior horror film. Focusing on the nihilistic ending, some of the group were surprised and disappointed in how little academic focus there is on this film. Considering writers such as Robin Wood who focus on the nihilistic aspects of 1970s horror, yet fail to mention or reference Black Christmas. Many wondered whether this was because the horror films that define the 1970s were directed by individuals that are now considered ‘horror auteurs’, unlike Bob Clark who went on to direct Porky’s and concentrated on TV work.

There was further discussion on the ending to Black Christmas. We were all slightly incredulous that Jess was left alone in the house (especially as Mr Harrison had only fainted and he was taken to hospital!). However, we were generally in favour of the nihilistic ending as it seemed quite fitting to the rest of the film.

Attention turned to the voice on the phone and consideration was given to whether it was more than one voice, or whether the stalker was meant to be schizophrenic. Sarah brought up two points. Firstly, whether Billy was related to the Sorority mother, as in the attic were photos of her and her sister. Secondly, whether there was a vaudeville connection (and related to the multiple voices) as the photos (as well as the comments made by Mrs Mac) indicated to a life on stage.

All commented on how well constructed the film was and some admired the linking between scenes – how sound and images were utilised to build continuity between scenes, build suspense and lay suspicion around the different characters, especially the male characters. Some of us mentioned how at different points in the film, our suspicions turned on different characters and this was due to the structure of the film. It was generally agreed that Black Christmas is a genuinely creepy film, especially the image of Clare suffocated in plastic, rocking in the rocking chair while the cat licks her face.

Many thanks to Kat for choosing the film, introducing it and providing the above excellent summary of our discussion.

Do, as ever, log in to comment or email me on sp458@kent.ac.uk to add your thoughts.

Melodrama Screening and Discussion, 12th of February, Keynes Seminar Room 6, 4-7pm

Posted on February 3, 2014 by melodramaresearchgroup

Posted by Sarah

All are welcome to attend the third of this term’s screening and discussion sessions which will take place on the 12th of February in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening Black Christmas (1974, Bob Clark, 98 mins).

Kat has very kindly provided the following introduction:

Black Christmas (also released under the titles Silent Night, Evil Night, and Stranger in the House) is a 1974 Canadian independent horror film directed by Bob Clark and written by Roy Moore. It stars Olivia Hussey, Keir Dullea, Margot Kidder, Andrea Martin, Marian Waldman and John Saxon.

The reason for choosing this film is that it bears the hallmarks of the ‘woman in peril’ Gothic melodrama, only in this film, it is somewhat multiplied to numerous women. There is also an uneasy ambiguity surrounding the men, most notably the character of Peter, as well as the house containing a ‘secret’ within its walls and history.

There has always been speculation as to what the film is based on, and there are two strands of thought. Firstly, that the narrative takes its cue from the urban legend of ‘The Babysitter and the Man Upstairs’, that dates back to the 1960s and involves a babysitter who begins to receive crank calls from a mysterious man who asks her to continually ‘check on the children’. The second strain of thought is that the source of the film is sorority murders that took place in Quebec around Christmas time in the years prior to the film. However, there is little evidence to establish this claim and Moore died without ever being interviewed on the subject. However, it is interesting to note that sorority killings occur in the second episode of American Horror Story: Murder House, and these took place within the 1960s and are meant to be based on actual events (although I am not suggesting a link between American Horror Story and Black Christmas).

The Story

Originally written by Roy Moore (and re-written by Clark himself), Black Christmas takes place just before Christmas break at a large college, where a group of sorority sisters are making plans for one last party before they all head off on holiday. Jessica (Olivia Hussey), the serious-minded beauty of the group, isn’t in such a celebratory mood. She’s just found out that she’s pregnant and she’s struggling with whether or not she wants to keep the baby while also dealing with near constant badgering from her temperamental boyfriend, Peter (Keir Dullea), who wants her to keep the baby and commit to marriage. As Jessica contemplates her future, her friends plan their party oblivious to her plight and to the fact that the night is about to take a very ugly turn. The house begins to get a rash of obscene phone calls, that at first seem like a harmless prank but quickly turn serious as the caller starts to delve into each girl’s personal life and one of the sorority sisters goes missing. When it becomes clear that Jessica is the caller’s primary target, the police place a wire tap in the house only to find out that the real culprit is closer than anyone ever imagined!

The Significance

Over the years, the phrase ” the calls are coming from inside the house!” may have become somewhat of a punch line thanks to urban legends about babysitter stalkers and campy movies like When a Stranger Calls (1979), but back in 1974, Black Christmas established this now seemingly normal horror convention in a way that hasn’t been used quite as effectively since. There’s still some speculation about whether Roy Moore actually based the initial idea for the Black Christmas screenplay on those old babysitter stories, but what is clear is that whatever formula he used proved influential to many classic horror films that followed. Billy, the film’s main menacing force, roams through the sorority house at will and the audience sees everything through his point of view, a technique that hadn’t been used so effectively in mainstream cinema up to that point. On the Canadian DVD extras, it’s revealed that although the steadicam wasn’t introduced to filmmakers until 1976, camera operator Bert Dunk created the fluidly roaming “Billy” camera shots by designing a rig that attached to his head – this is especially impressive considering the shot where Billy climbs the trellis outside the house all the way up to the attic. That killer-POV shot went on to become standard in soon-to-be-classic slasher films that followed like John Carpenter’s Halloween (1978) and Friday the 13th (1980) . In fact, many of the elements present in Black Christmas – including its holiday-themed setting and feminist subtext – may seem like a cliché when viewed through a present day horror fan lens, but Black Christmas arguably influenced the slasher cycle that began with Halloween and dominated the horror genre in the 1980s and beyond.

Do join us, if you can (and dare!)

Gaslight (1940) Showing at the Gulbenkian Cinema on 9th of Feb

Posted on February 3, 2014 by melodramaresearchgroup

Posted by Sarah

The third film in the Gulbenkian Cinema’s Gothic Season – Thorold Dickinson’s Gaslight (1940) – will screen on Sunday the 9th of Feb at 3pm.

The Gulbenkian Cinema’s description of the film:

Thorold Dickinson | UK | 1940 | 82mins | Anton Walbrook, Diana Wynyard, Frank Pettingell, Robert Newton

A powerful Gothic melodrama of domestic sadism and psychological suspense, now presented in a sparkling digital restoration. Not to be confused with George Cukor’s film of the same name – the second adaptation of novelist/dramatist Patrick Hamilton’s play, and more well-known until now, as MGM famously tried to suppress the competition – this suspenseful, stylish classic from Thorold Dickinson (The Queen of Spades) is an absolute treat.

Diana Wynyard and Anton Walbrook are Bella and Paul, the young couple settling into a new house when Bella begins to lose things and becomes fearful when the gaslights go dim in the middle of the night and she hears footsteps above her head. Fer husband begins to question her judgement, and Bella herself begins to feel that her sanity is slipping away. But there is a deception in play – and the key is in the history of the house itself.

“Walbrook [gives] a brilliant, seething performance” David Thomson, The Guardian

“Sadism propels Thorold Dickinson’s exquisite Victorian thriller of 1940” Graham Fuller, Artsdesk.com

For more information and to book your ticket please go to:

http://www.thegulbenkian.co.uk/events/cinema/2014/February/2014-02-gaslight.html

Posts on the Melodrama Research Group’s discussion on this film and the Hollywood remake:

http://blogs.kent.ac.uk/melodramaresearchgroup/2013/03/14/melodrama-screening-20th-march-jarman-7-5-7-pm/

http://blogs.kent.ac.uk/melodramaresearchgroup/2013/03/26/melodrama-screening-and-discussion-3rd-april-jarman-7-5-7pm/

http://blogs.kent.ac.uk/melodramaresearchgroup/2013/04/05/summary-of-discussion-on-gaslight/

http://blogs.kent.ac.uk/melodramaresearchgroup/2013/04/05/gaslight-links/

Summary of Discussion on The Wicked Lady

Posted on February 3, 2014 by melodramaresearchgroup

Posted by Sarah

Kat has very kindly provided the following summary of our discussion on The Wicked Lady:

After much expressed delight at this Gainsborough romp, the discussion began with reticence over the time period that the film was representing. Many of us thought the costume, especially the wigs represented differing time periods. Internet searches confirmed the film was set in the Jacobean period. Indeed, it was agreed that the film was not overly concerned with accuracy on period costume. There was a suggestion that Hollywood had requested certain scenes be redone as the line of costumes on the women were too low and showing too much flesh for the Hays Code to approve. As was pointed out in the introduction, both Pam Cook and Sue Thornhill have written extensively on costume, identity and nationality in Gainsborough melodramas. These topics were carried over to the discussion afterwards. Apart from noting the possibility of historical accuracy concerning costume, there was some focus on Margaret Lockwood. Thornhill speaks of how Lockwood’s hair is styled into a vulva shape, and that some of her costumes compliment this phallic design.

Following from observations of Lockwood’s costume, further discussion focused on Margaret Lockwood’s acting and her character. Lockwood’s haughtiness was decidedly apt and appeared to add to audience identification. There was general agreement between us we would prefer to be Lockwood’s character than Patricia Roc’s. There was vitality to Lockwood’s character which the group found appealing. There was a mention too of a possible reference to war time women, when Lockwood declares she deserves to “do things” as she’s attractive, capable and intelligent. The camera also, rather clumsily at times, focused on Lockwood’s expression whenever an opportunity to kill someone, or undertake an evil deed was presented to her. These shots did appear somewhat heavy handed and caused much laughter in the group. However, one extreme close up of her eyes was a compelling shot. This reference led to further talk two interesting scenes due to their camera work. The first discussed was the scene where Lockwood is kneeling in front of Hogarth seeking forgiveness, by a roaring fire. The camera switches to behind the flames, as if in the fireplace. The framing gives the impression of Lockwood already in hell, surrounded by flames. The other unusual shot was when Lockwood’s character is dying and the camera travels backwards, away from Lockwood and out through the window, focusing on the smaller and smaller body of Lockwood. These two shots were the most distinctive in the film.

There was much (delighted) surprise at the bawdiness of the film and many felt that you could sense how The Carry On films came about, that there was a sense of a distinctive Britishness in this film. Many commented on the excessive use of innuendo in the dialogue and how this added to the viewing experience. Innuendo was prevalent in the exchanges between Lockwood and Mason, who were electric together onscreen and oozed unbuttoned sexuality. All in all, it was universally agreed that this period romp was an excellent screening choice for the group.

Many thanks to Kat for choosing to show this wonderful film, and for the great introduction and summary of discussion.

Do, as ever, log in to comment or email me on sp458@kent.ac.uk to add your thoughts.

Hitchcock’s Dial M For Murder (1954) Showing at Gulbenkian Cinema on 1st of Feb

Posted on January 30, 2014 by melodramaresearchgroup

Posted by Sarah

The second film in the Gulbenkian Cinema’s Gothic Season – Alfred Hitchcock’s Dial M For Murder (1954) – will screen on Saturday the 1st of Feb at 2.30 pm.

The Gulbenkian Cinema description of the film:

Alfred Hitchcock | US | 1954 | 105mins | Ray Milland, Grace Kelly, Robert Cummings

Originally shot in 3D and newly remastered and restored, Alfred Hitchcock’s screen version of Frederick Knott’s stage hit Dial M for Murder is a tasty blend of elegance and suspense casting Grace Kelly, Ray Milland and Robert Cummings as the points of a romantic triangle.

Kelly won the New York Film Critics and National Board of Review Best Actress Awards for this and two other acclaimed 1954 performances. She loves Cummings; her husband Milland plots her murder. But when he dials a Mayfair exchange to set the plot in motion, his right number gets the wrong answer – and gleaming scissors become a deadly weapon. Dial “M” for the Master of Suspense at his most stylish.

“Alfred Hitchcock’s 1954 thriller is a precision-engineered delight” – The Telegraph

For more information and to book your ticket please go to:

http://www.thegulbenkian.co.uk/events/cinema/2014/February/2014-02-dial-m-for-murder.html