May 2015 – Page 5 – { feuilleton }

The Reflected Faun

Another one to add to the stock of fauns, satyrs and Pan figures that proliferate from the 1890s to the 1920s, Laurence Housman’s The Reflected Faun appeared in The Yellow Book in 1894. The magazine’s publisher, John Lane, also published Arthur Machen’s The Great God Pan in the same year although an early version of Machen’s story had appeared a few years before. What’s notable about Housman’s drawing is the way he combines in a single image several distinct themes: Faunus/Pan, the reflected Narcissus, and all those tales of beguiling spirits lurking in water. The nature of the spirit in this picture is distinctly androgynous, a detail that wouldn’t have impressed those critics who considered The Yellow Book to be an unwholesome publication. The androgyny may be taken as deliberate: Housman was one of London’s “Uranian” artists, and a few years later joined George Cecil Ives’ Order of Chaeronea, a secret society for gay men and lesbians. In the light of this, the drawing might be interpreted as a symbol for a clandestine existence where true desires remain buried or submerged.

Elsewhere on { feuilleton }
• The illustrators archive

Previously on { feuilleton }
• Aubrey Beardsley’s Keynotes
• In the Key of Yellow
• Ads for The Yellow Book
• The Piper at the Gates of Dawn
• The Great God Pan
• Peake’s Pan

Weekend links 258

Simon Stålenhag‘s SF artwork will be published in book form if funding is secured. In the future everything will be crowdfunded for 15 minutes.

• Mixes of the week: FACT Mix 494 is a fantastic dub selection by Colleen; Secret Thirteen Mix 151 is by Sally Dige; Stephen Mallinder‘s return to the doom-laden Industrial music of the 1980s suits the post-election mood. Mallinder’s mix is helping promote Industrial Soundtrack for the Urban Decay, a documentary by Amélie Ravalec.

• “…it felt more like real life to me than the average hour-long television show.” Sopranos creator David Chase on what he enjoyed about Twin Peaks. Related: Twin Peaks Tarot cards.

• Sound & Song in the Natural World edited by Tobias Fischer & Lara Cory. A book about animal music and communication with a 60-minute CD of field recordings.

• “The psychedelic renaissance has already begun, and for the most part I welcome it,” says Erik Davis in a wide-ranging interview with Sean Matharoo.

• It rumbles on: Brown Pundits on “An Embarrassment at PEN”. A useful collection of stories, reactions and polemic from the past two weeks.

• Fanny and Stella: The Shocking True Story, a play by Glenn Chandler about Victorian London’s scandalous pair of cross-dressing men.

• Artist Charles Ray causes a problem for the Whitney Museum of American Art with his sculpture of a naked Jim and Huckleberry Finn.

• “Don’t believe Orson Welles,” says his biographer Simon Callow, “especially when he calls himself a failure.”

• A return to Adolph Sutro’s Cliff House features several photos I’d not seen before.

• More Tarot: Arcana: The Tarot Poetry Anthology is looking for funding.

• At Dangerous Minds: The ancient magic of the record label.

• Foreign Movie Posters

• Tarot (Ace of Wands theme, 1970) by Andy Bown | Distant Dreams (Part Two) (1980) by Throbbing Gristle | The Devil In Me (1982) by Stephen Mallinder

The Marty Feldman Comedy Machine

A final Orson Welles post for this week of Wellsiana. Welles was a familiar face on UK television in the early 70s, mostly for the notorious sherry adverts but he was also popular on chat shows. For Anglia Television he presented a number of short story adaptations in Orson Welles’ Great Mysteries, but had nothing else to do with the series. His appearance on The Marty Feldman Comedy Machine (1971) is unusual for being an acting role in a sketch series, with Welles presenting and narrating a film about the preservation of endangered British aristocrats. There’s some crossover here with the London sketches Welles had filmed a couple of years before (see yesterday’s post): Welles played an English Lord in one of those sequences, and one of his co-actors was Tim Brooke-Taylor, a writer on Comedy Machine.

I’d hope that Marty Feldman needs no introduction. Most people know him as Igor in Mel Brooks’ Young Frankenstein but in the late 60s and early 70s he was almost another member of the Monty Python team, writing and performing in the pre-Python At Last the 1948 Show (the origin of the Four Yorkshiremen sketch). The Marty Feldman Comedy Machine, which ran for 14 episodes, is very Pythonesque—there’s even a Terry Gilliam title sequence—but the format is much more traditional. Besides Orson Welles, a highlight of this episode is Spike Milligan reading some of his nonsense poetry, and performing in a sketch about competing undertakers. Watch it here:

• The Marty Feldman Comedy Machine Part 1 | Part 2

Previously on { feuilleton }
• Orson Welles: The One-Man Band
• The Immortal Story, a film by Orson Welles
• Welles at 100
• The Fountain of Youth
• The Complete Citizen Kane
• Return to Glennascaul, a film by Hilton Edwards
• Screening Kafka
• The Panic Broadcast

Orson Welles: The One-Man Band

Vassili Silovic’s 90-minute documentary about the uncompleted films of Orson Welles’ later years was a revelation when it appeared in 1995. Orson Welles: The One-Man Band was shown on UK TV as The Lost Films of Orson Welles but “one-man band” is more appropriate, not only because of the bizarre song-and-dance sequence he filmed in London, but also because it’s an apt description of Welles’ approach to filmmaking. Directors who also write and produce are rare but not too uncommon; directors who write, produce and also act in major roles are in a minority. Welles did all those things and often much more, including editing, set decoration and providing voices for minor characters. The latter habit can be distracting in some of the films, especially Mr Arkadin where it often seems he was doing the voices for everyone who wasn’t already a known actor.

The One-Man Band is a compendium of clips from footage bequeathed to his partner, Oja Kodar, together with interviews, TV appearances, a witty and duplicitous trailer for F for Fake, and other odds and ends. This was the first public airing of scenes from The Deep, an unfinished feature based on a thriller, Dead Calm (1963) by Charles Williams (later filmed by Philip Noyce as Dead Calm in 1989.) There’s also a sequence from The Other Side of the Wind, another feature that was closer to completion, and which may yet receive a proper release. The sequence showing Welles discussing The Trial with an audience is now available in full on YouTube. The London clips were intended for US TV, part of an unfinished special entitled Orson’s Bag. These were filmed in the late 60s, and the song-and-dance sequence is probably the strangest thing he directed. I’m more taken with the Tailors sketch which has Jonathan Lynn and the wonderful Charles Gray as a pair of disrespectful outfitters.

Previously on { feuilleton }
• The Immortal Story, a film by Orson Welles
• Welles at 100
• The Fountain of Youth
• The Complete Citizen Kane
• Return to Glennascaul, a film by Hilton Edwards
• Screening Kafka
• The Panic Broadcast

The Immortal Story, a film by Orson Welles

The Immortal Story (1969) is an oddity in the Welles oeuvre, an hour-long adaptation of an Isak Dinesen short story originally made for French TV but subsequently released as a feature. Plans to film two more Dinesen stories foundered when the promised funds disappeared. This was the first of Welles’ films in colour—he always preferred black-and-white—and the last dramatic film to be successfully completed and released during his lifetime. After this there was the “film essay” F for Fake (1973), and many years of unfinished projects.

Welles wrote and directed The Immortal Story, and also plays the manipulative Mr Clay, an aged businessman who wants to see a story he was once told enacted in real life. Jeanne Moreau is Virginie, a woman paid a large sum of money to spend a night with a penniless sailor (Norman Eshley in a blond wig); Roger Coggio is Clay’s assistant, Levinsky. Jeanne Moreau had earlier played Miss Burstner in Welles’ The Trial, Doll Tearsheet in Chimes at Midnight, and would have been in The Deep if Welles had completed it. She’s the liveliest presence in a film that’s rather slow and sombre by Welles’ standards. The Immortal Story is set in Macau but was shot in Spain; Satie’s Gymnopédies and Gnossiennes contribute to the somnolent atmosphere. Watch out for an uncredited (and dubbed) Fernando Rey in the opening scenes.

Previously on { feuilleton }
• Welles at 100
• The Fountain of Youth
• The Complete Citizen Kane
• Return to Glennascaul, a film by Hilton Edwards
• Screening Kafka
• The Panic Broadcast