Posts tagged “Sergio Corbucci

Painting the Town… Update (10/11/17)


I’ve taken just over a week off from my work, now I am ready to make a return to the studio. I haven’t been idle, looking at my next possible work. Whilst also sitting down to watch The Great Silence (1968) which in all honesty is a gruesome bloody Spaghetti Western. One of the few where the bad guy wins, showing that in reality that its never as black and white as we want our myths to be. I wanted to see where the influences came from for The Hateful Eight (2015) which are quite a few. Both completely different plots, however visually Tarantino has taken some cues, politically its a bit more overt, than Sergio Corbucci outlaws against outlaws, everyone is out to get someone. Unlike the methodically written Agatha Christieesque Eight which gets the audience thinking what happened before we arrived here, who can we trust.

Another aim of watching the film was to find a scene that I could use and build another/final model miniature for this piece. I had to wait to the end, when Klaus Kinski and other bounty hunters kills defenceless outlaws in the saloon. The fact they are outlaws is even more interesting as they were only a few days away from an amnesty being passed, instead they are rounded up and killed like animals. In terms of violence, its the volume of the violence we see, not the graphic nature of it. We see so much in the snow covered landscape of Snow Hill.

I’ll be taking the final scene – the mass murder of outlaws and build the saloon, using scenes that build up to it. It’s not the biggest as I had thought, but intimate enough to make for something interesting to be made. I’ll be make a start on drawing it up as soon as I return to the studio and my tools out and make again.

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Camelot (1967)


A few months ago I caught Jackie (2016) which for a prolonged scene/montage we saw Jacqueline Kennedy beginning to grieve, preparing for her late husbands funeral. Playing throughout the scene and on the soundtrack is the stage version of Camelot as performed by Richard Burton. We learn later on that JFK saw himself as Camelot, clearly inspiration for him politically and ideology. The track – Camelot stayed with me for sometime after I came out of the cinema. I had to download it to satisfy the ear-worm that was now taking up residence in my head. It’s been about 6 months since I saw both the film and first listened again to the track. It’s been on a number of times in the car. Listening to the track out of context of the musical which I knew still nothing about. I find myself singing along to the track, picking up odd lines, still not ready to take it to karaoke yet – I will be one day. Listening to the lyrics I began to understand part of what the world that Richard Burton was trying to paint to his Guenevere, as if he was selling her his form of paradise. The climate in the kingdom of Camelot is ideal throughout the year. It’s all in decree by the king himself, making sure its all orderly, very British, allowing us to get one with the more important things – like afternoon tea.

Translating this back to the later film I have already got a better understanding of the film and the short-lived presidency of JFK, who dreamed of a utopian new America, which a large number bought into during the cold war, that’s ignoring his many critics who would rather him be out off office. Still that leads into the realm of conspiracies which I’m not going into/entertain. Anyway moving away from the more recent film connection, I first attempted to watch this musical over a year ago. It didn’t go well if I’m honest, it lasted less than 5 minutes before I gave up. The idea of Richard Harris singing it didn’t sit with me beyond the description in the listings. Then somewhere down the line I saw Paint Your Wagon (1969) where again I found actors who aren’t really suited to this world of the all singing and dancing numbers. But I stayed with it due to my curiosity for the film. Both Lee Marvin and Clint Eastwood would never have claimed to be singers. They were passable with a lot of training to put it politely, they were having a ball making the film. The much can be said for Camelot, a cast that is not really known for their singing abilities.

I think this time around with Camelot (1967), with the later film and the curiosity again I actually told myself to sit through it, plus wanting to see Camelot and sing along to the number above. It’s not really a song that on the surface is too hard to sing (not suggesting training went into the performance) however it has that William Shatner sound of talking the words which he aced with his rendition of Rocket Man. Could this be a speaking musical – if such a term exists? The main casting of this film is rather unusual yet I stuck with it. I found Harris to be a decent King Arthur without chewing up the set. Vanessa Redgrave‘s Guenevere wasn’t such as easy fit, more suited to drama’s I guess this was a finding her style role, seeing if she could, which to a certain extent she does. The musical numbers aren’t the grandest songs in musical history.

I did find myself still drawn to the Jackie connection, how did the Kennedy’s connect to the musical? For me it was the idea of uniting all the counties, each fighting among themselves. Arthur decides to unite the fighting knights to fight for right. Inviting all the knights of the realm/country to join him, lay down their arms and join him around the famous round table. One that I saw a recreation in Winchester a few years ago, hanging up and looking like a precursor to a dart board. Flyers go out across the country and before too long we see men riding in full armour towards the kingdom. Thats not before one of the flyers reaches France into the hands of Lancelot Du Lac (Franco Nero) yes a french knight played by an Italian whose not even trying to do the accent, probably because it would have sounded worse. I for one was constantly thinking about him dragging a coffin through a town in Django (1966). He just was poorly cast for a Frenchmen, probably seen as way to boost his international profile Hollywood. Better working with Sergio Corbucci, the role would have been better served by Omar Sharif in terms of accent – maybe. However Nero did bring an air of mystery, the practically unknown to everyone until Arthur remembers what Merlin Laurence Naismith predicted that he would sit with him around a table (not knowing it was round). This is naughty love interest for Guenevere that soon takes hold as she starts to pit others against him in hopes of driving him away or to prove to herself if he’s worthy of her affections, that were too quickly won by Arthur and his selling of paradise.

It’s this idea of paradise that he wants to spread across the country, the start of modern Britain, lawmakers and government not just by one monarch which is essentially a dictatorship without the advisors. Bringing all these knights likes Senators of the 50 states of America together in Washington for greater good than they’d been doing before obviously inspired. Was JFK essentially dreaming of a better world that was now entering the 2nd decade of the Cold War. He oversaw the Cuban missile crisis, encouraged the space programme among other things. Now the use of Camelot in Jackie makes a lot more sense, enriching the film in terms of the relationship that’s now being grieved for. It’s a reminder of what’s essentially a reminder, a memento of stage production, and inspiration for a man. I come away with all of this after a film that is definitely watchable, lots if a fun and songs you don’t really need to have a great voice to have fun with.