Today's Noise is Tomorrow's Hootenany

posted June 19, 2008 7:10 AM

You'll pardon me if I'm a little woozy this morning; I made the mistake of staying up late last night to catch my favorite entry in Turner Classic Movie's month-long Sophia Loren film festival. Specifically, I murdered sleep to see Stanley Kramer's meshugennah 1957 epic The Pride and the Passion, co-starring Cary Grant, Frank Sinatra and the biggest (and obviously not symbolic) goddamn gun in the world.

What's it about? Well, as Wikipedia succinctly puts it: "Set in the Napoleonic era, it is the story of a British officer who leads a force of Spanish guerrillas hauling a huge cannon across Spain to help in the capture of Ã?vila from the French, while evading the occupying French forces as well." It's worth noting that Mad Magazine's famous parody of the film was titled simply Pull the Cannon!, which manages to reduce the above synopsis to a pithy, and absolutely accurate, three words.

pride and the passion.jpg




Basically, it's an extremely silly film, although its production history is quite a lot more interesting than you might think. From Wiki, again:

Shot on location in Spain, rumors persist that Sinatra only took a part in the film to be near his wife Ava Gardner, during a time when they were having marital problems and she was shooting The Sun Also Rises in various locales around Europe, including Spain. When there was to be no reconciliation, Sinatra hurriedly left the production, asking director Kramer to condense all of his scenes for as brief as possible shooting schedule for his part. Kramer obliged. Conversely, Grant was happy to get away from his failing marriage to Betsy Drake when he met his young Italian co-star Loren. Although romantically involved with producer Carlo Ponti, who had refused to marry her, Loren found herself working with the actor who had been the subject of her schoolgirl fantasies. Despite about a 30-year age difference, they were soon having an affair, but it was Grant who fell madly in love with Loren. He decided that he would marry her after filming ended and as soon as he could divorce. To further complicate matters, Ponti chose that moment to tell Loren that he loved her and would finally agree to marry her. After some soul-searching, the actress finally chose Ponti. Grant was lovesick and heartbroken and barely made it through the filming of their next movie together "Houseboat", which ironically depicted their characters' wedding ceremony.

Actually, the most interesting thing about the movie is the composer credit: the score for this humongous bag of gas was written by none other than the once notorious George Antheil, a/k/a The Bad Boy of Modern Music. Back in the 20s, Antheil's Ballet Mecanique -- originally scored for player pianos, airplane propellers, and electric bells -- was probably as big and controversial a sensation as Igor Stravinsky's Rite of Spring had been a few years earlier. Here's an excerpt of the score along with the epater le bourgeois avant-garde film by Fernand Léger it was designed to accompany.

By today's standards, of course, it sounds roughly as threatening as an average Spike Jones record, and you may not be surprised to learn that by the 30s the former enfant terrible was comfortably ensconced in Hollywood, where he spent the rest of his life composing various comforting accompaniments for all sorts of Tinseltown product, perhaps most memorably the theme music for the long-running Walter Cronkite-hosted CBS TV documentary series The 20th Century. Antheil's music for TPATP, in that context, is particularly hilarious; it's overripe echt-Spanish Romanticism to the point of almost being a parody of overripe echt-Spanish Romanticism. Basically, if the score was a person, it would come with castanets in both hands and speak in an accent reminiscent of Antonio Banderas as the bee in those Nasonex commercials.

Like I said, I'm a little woozy this morning, so I think I'll take a nap. While I'm gone, if you're interested in any of the above, you can get a very handsome widescreen DVD of the film here. You can also get the Ballet Mecanique music, in first-rate modern sound, here, while this excellent fan website is your one-stop destination for All Things Antheil.

11 Comments

Brooklyn Girl said:

Back in the 20s, Antheil's Ballet Mecanique -- originally scored for player pianos, airplane propellers, and electric bells -- was probably as big and controversial a sensation as Igor Stravinsky's Rite of Spring had been a few years earlier. Here's an excerpt of the score along with the epater le bourgeois avant-garde film by Fernand Léger it was designed to accompany.

I don't know what to say ...

By today's standards, it looks like a student film scored by a John Cage wannabe flying on the infamous brown acid. It reminds me of the silly films done by The Residents. But back then?

The swinging femme fatale (in a Poiret gown, perhaps?) seems almost out of place. Except she obviously isn't. It's very easy to get arrogant about our own period's inventiveness.

I always find it hard to put modern art in his historical context ... the first time I saw a Braque painting with a woman wearing 30's clothes, it threw me.

But then, "Demoiselles d'Avignon" is 101 years old. Hard to believe.

June 19, 2008 9:14 AM

Mufungo said:

Antheil's IMDB listing has some curious listings of interest to trash movie buffs...I knew that he composed the score for Dementia, but had no idea that stock music of his was used in The Giant Claw and Zombies of Mora Tau.

June 19, 2008 11:17 AM

The Kenosha Kid said:

I believe your new banner can best be described as "overripe echt-Retro Hip to the point of almost being a parody of overripe echt-Retro Hip."
You can borrow that, if you like.

June 19, 2008 11:33 AM

Phila said:

Antheil also did "In a Lonely Place," if memory serves...also pretty romantic. But even within his own work, "Ballet Mechanique" was something of an aberration.

It's true, though, that a lot of this stuff sounds quaint nowadays. When I deal, as I frequently do, with "cutting-edge" noise fans, I point out that the genre has been around almost as long as ragtime (cf. Russolo). Kind of puts Sha Na Ha in perspective, I think.

June 19, 2008 11:35 AM

emma said:

Wow. Not just in color, but colorful color.

It took the threat of Cary Grant putting the moves on Sophia Loren for Carlo Ponti to propose marriage??? I did not know that. Oh well, Cary's predilection for "junior mints" would lead him to marry Dyan Cannon.... and that didn't work out so well.

June 19, 2008 2:11 PM

philthy Phil said:

Steve, love the new banner, but it's begging for a sponsor............could it be sponsored by Steve Simels?
:-)

June 19, 2008 4:52 PM

l'atalante said:

As someone who spends an awful lot of time listening to old Jean Shepherd broadcasts, I've heard Ballet Mechanique used in a variety of contexts. Shep loved the atmosphere of that piece and used it as a backdrop to his rants every chance he got.

June 19, 2008 6:12 PM

l'atalante said:

Also, I don't think Mad Magazine ever parodied The Pride and the Passion, though it would be easy to think it did. The guiding lights of the original Mad, Harvey Kurtzman and Will Elder, did a hilarious spoof of the movie for their self-published follow-up Humbug, which is about to be receive a long-overdue full reprinting.

June 19, 2008 6:48 PM

Steve Simels said:

L'atlante:

You are correct about Humbug. Got those mixed up...darn!!!!

Hey -- does that mean the reprints will have "The Adventures of Goodman Beaver"?

June 19, 2008 8:48 PM

l'atalante said:

Oh, the tangled career of those two geniuses, particularly the recently-missed Elder... Goodman Beaver ran in their NEXT Quixotic venture... the Bill Warren patchwork Help! Gilbert Shelton and Robert Crumb made early appearances in that enterprise.

Given his career of financial woes and commercial compromise, I think Kurtzman is eligible for the title of Comic Books' Orson Welles.

I have a copy of his "Fun and Games" paperback, art-directed by his Help-mate Terry Gilliam. Ian Ballantine published it as part of an ongoing relationship that included the first five Mad Paperbacks (drawn almost entirely from the comic book) and Kurtzman's solo "Jungle Book."

To link with my previous Jean Shepherd post, Ballantine was also the iconoclast who brought life to Shepherd's famous "I, Libertine" hoax with a quickie book co-written between Shep and Theodore Sturgeon, the cover by Mad's cover artist Kelly Freas.

June 19, 2008 9:38 PM

l'atalante said:

Now I'm the one mixed up.... I yanked my copy of "Fun and Games" off the shelf and saw it was published by Gold Medal, thus meaning Kurtzman and John D. MacDonald once had the same editor.... that's how easy it is to confuse these things.

June 19, 2008 9:47 PM

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