Melodrama Screening and Discussion, Monday 21st January, 5-7pm, Jarman 6

All are very welcome to join us for the first of this term’s screening and discussion sessions. We’ll be showing Cast a Dark Shadow (1955, Lewis Gilbert, 82 mins) on Monday the 21st of January, 5-7pm, in Jarman 6.

The film continues our focus on Dirk Bogarde. In Cast a Dark Shadow he stars as Teddy, a man who having disposed of one wealthy wife (Mona Washbourne) is lining up Margaret Lockwood as the next Mrs Bare… Consideration of these as women in peril allows us to examine another facet of melodrama, since it returns the group to the subject of the Gothic.

Do join us if you can.

Opportunity to vote for the BFI to restore Margaret Lockwood Melodrama Bedelia (1946)

Exciting News! The British Film Institute (BFI) is giving the public the chance to vote for 1 of 3 selected films to be restored back to its former glory.

Bedelia 6145628601_d8bb8155b6_b

You have the choice of:

Bedelia (Lance Comfort, 1946, starring Margaret Lockwood)

Mr Topaze (Peter Sellers, 1961, starring Peter Sellers)

The Assam Garden (Mary McMurray, 1985, starring Deborah Kerr and Madhur Jaffrey)

All of these films look really interesting though the possibility of seeing another Lockwood melodrama made Bedelia my choice.

The poll closes on the 11th of March.

Find more information and vote here:

http://www.bfi.org.uk/news-opinion/news-bfi/features/vote-rescue-forgotten-british-film

 

Summary of Discussion on The Wicked Lady

Posted by Sarah

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

Wicked Lady costumeAfter 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 Wicked Lady firefire. 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.

Lockwood Mason

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.

Melodrama Screening and Discussion, 29th of January, Keynes Seminar Room 6, 4-7pm

Posted by Sarah

All are welcome to attend the second of this term’s screening and discussion sessions which will take place on the 29th of January in Keynes Seminar Room 6, from 4pm to 7pm.

We will be screening The Wicked Lady (1945, Leslie Arliss, 104 mins).

wicked Lady poster

 

Kat has very kindly provided the following introduction:

The Wicked Lady is a 1945 film starring Margaret Lockwood and James Mason. Known as one of the Gainsborough melodramas, it is reputed to have one of the largest audiences of its period, 18.4 million. The story itself was based on the novel, The Life and Death of the Wicked Lady Skelton by Magdalen King-Hall, which in turn, was based upon the (disputed) events surrounding the life of Lady Katherine Ferrers.

Synopsis

Margaret Lockwood stars as 17th century beauty, Barbara Worth, who steals and marries her best friend’s intended bridegroom, local magistrate Sir Ralph Skelton. At their wedding reception, Barbara meets Kit Locksby. For both, it is love at first sight, but too late as Barbara is now married. As Lady Skelton, she soon bores of rural life and seizes the opportunity to become a highwayman in order to win back her jewels from her sister-in-law, Lady Henrietta Kingsclere. Addicted to the excitement, Lady Skelton continues in her escapades and meets and joins forces (personally and professionally) with fellow highwayman, Capt Jackson. Through murder, robbery and betrayal, Lady Skelton’s double life catches her with her and she is mortally wounded by Kit Locksby. Dying, she confesses all to Kit and asks him to stay with her as she dies. However, appalled and repulsed by the truth, he withdraws, leaving her to die alone.

Lockwood Roc Wicked LadyIt is reported that due to issues with the American censors, extensive re-shooting was required before the film was released in the United States. The problems concerned the women’s dress bodices, which were considered low-cut and allowed too much cleavage to be displayed, and therefore unable to meet the requirements of the Hays Code.

 

The Gainsborough Melodramas

Despite producing a variety of genre films throughout its twenty-five year existence, the Gainsborough studio became synonymous with melodramas, in much the same way as Ealing studios did with comedies. The Gainsborough melodramas were a sequence of films produced by the British film studio Gainsborough Pictures during the 1940s. This cycle of films often touched upon similar themes and frequently starred recurring actors who played similar characters in each film, such as Stewart Granger, Phyllis Calvert, Margaret Lockwood and James Mason.

The first film of the cycle, The Man in Grey, appeared in 1943. Starring both James Mason and Margaret Lockwood, it was based upon the novel of the same name. Its success led to a number of similar films being produced, often based upon on melodramatic period novels, such as, The Wicked Lady (1945), Fanny by Gaslight (1944) and A Place of One’s Own (1945). The films dominated the British box office, grossing top Hollywood productions in the UK. It has been argued that much of their appeal was in their overt escapism at a time when the Second World War was still being fought. However, the popularity of the cycle peaked in the immediate post-war years and the production of the melodramas continued until 1950. At the height of the melodramas’ popularity, both James Mason and Margaret Lockwood were respectively voted the most popular British male and female actors.

Mason Lockwood Wicked Lady

 

Focusing on the handful of period costumes romances produced by Gainsborough at this time, Pam Cook argues that although these films were rediscovered in the 1980s by film historians, the films remain largely ‘marginalised, ignored or subsumed into the consensus in discussion of national identity in British cinema’ (Cook, 1996). Even at the time of its release, Cook notes derision in some quarters. Simon Harcourt-Smith writing in Tribune said of the film, ‘…if the future of the British film industry hangs…on the success of The Wicked Lady, then let us dispense with that future.’ (Aspinall and Murphy, 1983, p74). Cook suggests that this critical neglect is due to how the costume and visual style, the representation of history and their mobilization of national identity contravened official strictures and versions of femininity.  Furthermore, Cook argues that costume romances are at the less reputable end of the historical film genre. Where ‘heritage’ historical films would celebrate the past, costume romances such as the those produced by Gainsborough, mobilize a British past of promiscuity, injustice and inequality, ‘a locus of crisis and conflict as well as sensual pleasure’ (Cook, 1996).

Cook also extends the films’ questionable representation of the past extends to costume and mise-en-scene. Sue Harper points out that visual codes in the costume romances have their own language, which often works against the ‘moralistic trajectory of the script’, creating a tension between spectacle and narrative (Harper, 1983: 1994). For Harper, spectacle plays a positive role in costume drama as the carrier of coded meanings which express the powerful status of femininity, overriding the narrative drive to disempower transgressive female protagonists.

As Pam Cook states, ‘Audiences leaving a screening of The Wicked Lady were more likely to remember the stunning image of a fetishized Margaret Lockwood dressed in highwayman gear astride a stallion than to take on board the moral implications of her punishment by death’ (Cook, 1996).

Cook, P. (1996) Fashioning the Nation. London: BFI Publishing.

Harper, S. (1983) ‘Art Direction and Costume Design’, in S. Aspinall and R. Murphy (eds) BFI Dossier 18: Gainsborough Melodrama. London: BFI Publishing, p 40-52

Harper, S. (1994) Picturing the Past: The Rise and Fall of the British Costume Film. London: BFI Publishing.

Do join us, if you can, for some classic British melodrama.