ATLRetro

by Melanie Crew
Managing Editor  

Ricou Browning, “The Creature”/ “The Gill-Man” extraordinaire and legendary underwater stuntman, director, actor and screenwriter will be lurking amongst the monsters at the second annual Monsterama Convention, founded by our classic monster-lovin’ fiend, friend and ATLRetro contributing writer, Anthony Taylor! Monsterama creeps into town at the Atlanta Marriott Perimeter Center this weekend, Oct. 2-4! Browning will be joined by a guest list filled to the blood-curdling brim with classic horror connoisseurs like independent filmmaker Larry Blamire (THE LOST SKELETON OF CADAVRA); horror history aficionado and documentarian, Daniel Griffith of Ballyhoo Motion Pictures [July 2014; See ATLRetro’s Kool Kat feature on Daniel here]; Shane Morton, ghost host with the most, a.k.a. Professor Morte [June 2011; see ATLRetro’s Kool Kat feature on Shane, here]; Victoria Price (daughter of the legendary Vincent Price); spooktacular actresses, Lynn Lowry (THE CRAZIES; SHIVERS) and Candy Clark (AMERICAN GRAFFITI; THE MAN WHO FELL TO EARTH); glamour ghoul Madeline Brumby [October 2011; see ATLRetro’s Kool Kat feature on Madeline, here] and so much more! So, haunt on down to Monsterama this weekend and prepare for a ghastly weekend of ghoulishly maniacal mayhem!

Browning, the last of the original Universal Monsters is best known for his portrayal of “The Gill-Man” (underwater scenes) in Jack Arnold’s monster classics, THE CREATURE FROM THE BLACK LAGOON (1954); REVENGE OF THE CREATURE (1955); and THE CREATURE WALKS AMONG US (1956). He began his cinematic career at Wakulla Springs performing in underwater sports newsreels (alligator wrestling and more!) with Grantland Rice Films, and even played a role in bringing to life, with his “hose breathing technique,” the famous Weeki Wachee Mermaids, whose shows he later produced. Browning’s cinematic career spans many decades and genres, including underwater sequence work for Richard Fleischer’s 20,000 LEAGUES UNDER THE SEA (1954); Terence Young’s THUNDERBALL (1965); Harold Ramis’ CADDYSHACK (1980); and an episode of BOARDWALK EMPIRE (2010). He is also co-creator, with Jack Cowden, of the beloved ‘60s television series (and films) FLIPPER, and so much more! In 2006, Browning was awarded Film Florida’s first Florida Legends Award, followed by his induction into the Florida Artists Hall of Fame in 2012 for his wide range of cinematic accomplishments.

ATLRetro caught up with Ricou Browning for a quick interview about the birth of and morphing into “The Gill-Man”; about his expansive experience in the land of film; and his take on special effects and monster kids of all ages! And while you’re takin’ a gander at our little Q&A with Browning, catch “The Creature” in action here!

ATLRetro: As the only actor to portray “The Creature” more than once, you will forever be known as “The Gill-Man” to monster kids worldwide. And of course, we at ATLRetro are “Creature” fanatics! Can you tell our readers a little about how Jack Arnold discovered you for the role of “The Gill-Man,” and what kept you swimming back for more?

Ricou Browning: I was attending Florida State University when I got a phone call from the general manager of the hotel at Wakulla Springs and a friend of mine, Newt Perry. He said that he had some people from California coming to the Springs to look at it as a location to make a movie. He asked me if I would pick them up at the airport and take them to the Springs and show them around since he would be out of town. I said sure. So I did. After they arrived at the Springs, they loved it: the beautiful river and the wildlife; the clear water of the spring. The cameramen Scotty

Ricou Browning and Ginger Stanley

Welbourne asked me if I would swim in front of the camera so he could get some perspective of the size of a human being compared to the fish, the grass, the logs, etc. So I did. They enjoyed the Springs and they enjoyed the river. Afterwards I took them back to the airport and they left.

About a week later I got a call from Newt Perry again, and he said that they were trying to get a hold of me from California and that he gave them my phone number. That same day I got a call from Jack Arnold, who turned out to be the director of the film. He said, “We saw the photo footage that Scotty shot. We like the way you swim. How’d you like to play the part of an underwater monster?” I said, “sure, why not?” So I went to California and spent a number of weeks building the costume, and it turned out to be a bad one. So they remade the suit, and I came back to Florida and we started shooting the underwater sequences for the film.

Any special behind the scenes experiences you’ like to share with our readers?

One experience that I had is that while filming we shot in the wintertime and even though the water temperature was 71 degrees while the air temperature was around 49 degrees, we worked from a barge down in the middle of the spring and I was in and out of the water all day. After coming out of the water, they would take the head off my suit and my hands and my feet and I would be sitting there waiting to go over the next scene. I was shivering and the crew felt sorry for me. So every now and then somebody would come back to give me a little shot of brandy. After a few shots of brandy The Creature couldn’t swim very well, so they had stop that.

You got the joy of terrifying generations of unsuspecting audiences as a classic Universal monster, which of course spawned fan-driven conventions, such as Monsterama Con. What do you think it is that keeps generation after generation returning to classic monster movies? Tell us a little about your fans over the years.

I didn’t start getting requests for photographs until about 20 years after the film was made. I only had a few at that time, so I would mail them to the fans and then I’d get more requests. I gradually built up a large number of pictures and started attending shows signing autographs.

What do you think about the advent of computerized special effects and the more hands-off approach to filmmaking?

They talk about making a remake of THE CREATURE FROM THE BLACK LAGOON. Whether they will or not, I don’t know. But I hope they make it very similar to the way we did it, with human beings and not just computer special effects, because they overdo that. I think if it were done sparingly, it would be okay.

When you were growing up, did you dream of working on films? Or did the chance just happen upon you? Can you tell our readers a little about your introduction to the industry?

The first time that I worked underwater on films, it was for Grantland Rice Sports Films. They did crazy things at the Wakulla Springs like underwater picnics, underwater prize fights, etc.  They made a bunch of different crazy things that were used as short subjects at the end of movies in a theater.

Who were your favorite monsters as a kid?

My favorite monster was “The Wolfman” Lon Chaney Junior.

You have proven over many decades to be a well-sought after jack of all trades (underwater cinematographer, stuntman, actor, producer, director, screenwriter, etc.), and you’re still at it! What project would you say is your favorite?

I think one of my favorite movies that I worked on was FLIPPER. Jack Cowden and I created the television show FLIPPER, on air for four years (’64-’67), and then we made the two features (1963; 1996).

We read that you and your team were chosen over Jacques Cousteau to provide your services for several James Bond films, including THUNDERBALL (1966). Did you enjoy working on the Bond films?

I really enjoyed working on the James Bond films, THUNDERBALL and NEVER SAY NEVER AGAIN.

ON HER MAJESTY’S SECRET SERVICE (1969); Dir. Peter Hunt; Starring George Lazenby, Diana Rigg and Telly Savalas; Plaza Theatre; Saturday, July 6 @ 7:30 p.m.; Tickets here; Trailer here.

By Aleck Bennett
Contributing Writer

Throughout the month of July, the historic Plaza Theatre is paying tribute to 50 years of James Bond. And while much will be made of the many great entries starring Sean Connery, Roger Moore, Pierce Brosnan and Daniel Craig, I’d like to focus some attention on one film you may have written off: 1969’s ON HER MAJESTY’S SECRET SERVICE (OHMSS).

The tumult of the 1960s came to a head in that decade’s final year. The optimism of the Kennedy era and multi-national political intrigue had given birth to the cinematic Bond. But as the decade progressed and global politics came to be viewed in increasingly complex shades of grey, the Bond series changed as well. The films began departing freely from Ian Fleming’s novels and relying more and more on spectacular gadgetry and hyper-stylized set design, which reflected the culture’s growing fascination with pop art. The pairing of pop art and the burgeoning psychedelic art movement came to a head with 1967’s colorful and nearly cartoonish YOU ONLY LIVE TWICE (1967, YOLT for short) [Ed. note: plays Friday July 5 at The Plaza]. And if the onset of the late ‘60s were when change really began to ramp up, this too was reflected in Bond: series stalwart Sean Connery announced during YOLT’s filming that he was retiring from the role.

Aesthetically speaking, 1968-69 was a time of pulling back. Music from The Beatles, Bob Dylan, Creedence Clearwater Revival and The Band reflected a retreat from the rococo excesses of psychedelia. Meanwhile, movies like BONNIE AND CLYDE (1967) and THE WILD BUNCH (1969) inspired a newfound emphasis on realism in film. Politically speaking, the rise of the feminist movement and its influence offered a vocal critique of the seemingly disposable nature of the neverending series of “Bond girls” presented in the series thus far. Bond—with his fantastic toys and rampant womanizing—was rapidly becoming dangerously old-fashioned.

It was time to do something different.

“This never happened to the other fellow.” — James Bond, ON HER MAJESTY’S SECRET SERVICE

Tracy (Diana Rigg) is every bit the equal of James Bond (George Lazenby) in ON HER MAJESTY'S SECRET SERVICE (1969).

After attempting to woo eventual Bond lead Roger Moore for an adaptation of THE MAN WITH THE GOLDEN GUN, development on that title stalled and Moore returned to the TV series THE SAINT. Series producers Harry Saltzman and Albert “Cubby” Broccoli, along with director Peter Hunt, then decided to revive earlier plans to adapt OHMSS. And for their new Bond, turned to a relative unknown: Australian commercial actor George Lazenby.

The pairing of Lazenby and Bond started off on a bad note. Lazenby had been offered a seven-picture deal by Broccoli, but his agent advised against signing. The times were changing, the agent reasoned, and predicted that Bond couldn’t continue into the ‘70s. To add to the problem, by all accounts Lazenby and co-star Diana Rigg didn’t get along, and the actor complained of a lack of communication and coaching (this being his first feature film) from director Hunt.

Despite the unsure footing of the new star, every effort was made to try to make this the definitive Bond picture. The creative team decided to make this film hew as closely as possible to Fleming’s original novel, to the point of having Telly Savalas’ Blofeld (who had already been introduced in YOLT) not recognize Bond upon meeting him—a result of the novel having predated the previously-adapted YOLT. The movie also stripped back Bond’s reliance on gadgetry and returned to a more realistic depiction (for Bond, anyway) of spy work. Most significantly, though, OHMSS reflected the changing sexual politics of the time and presented Bond with a “Bond girl” that was his equal; in return, Bond eschewed his promiscuity and devoted himself to her.

In an epic tale that reached from the beaches of Portugal to the Swiss Alps, Bond must join forces with Marc-Ange Draco (Gabriele Ferzetti), the head of a European crime syndicate, in order to track down Ernst Stavro Blofeld, head of the international terrorist organization SPECTRE. In doing so, he went undercover to reveal a sinister plot at Blofeld’s clinical allergy-research institute, put his position as a 007 agent with MI6 at risk, and found that he was falling deeply in love with Draco’s daughter, the Contessa Teresa “Tracy” di Vicenzo.

Telly Sevalas’ malevolence as villain Ernst "Stavro" Blofeld shines through even his most subdued scenes.

In my eyes, the filmmakers succeeded at their task. This truly is the definitive Bond film. It presents a James Bond who is both confident and vulnerable. Unlike any Bond outing before, the character is allowed to show fear and express true love while simultaneously providing a no-nonsense and strong presence. If anything, his depicted vulnerabilities strengthen his resolution and character. Though these elements are present in Fleming’s novel, to allow them in the film was a brave turn by the Bond team.

Despite Lazenby’s lack of experience and occasional lack of finesse, his performance was solid. A formidable presence, he retained some of  Connery’s suavity while still offering a more serious and sinewy take on the character. Savalas’ Blofeld was allowed to be a truly physical threat, unlike Donald Pleasence’s “evil genius” take on the role, and Savalas’ malevolence shone through even his most subdued scenes. Finally THE AVENGERS star Diana Rigg was perfect as Tracy. Displaying a complexity that matched this complex movie, she delivered a Tracy in turns melancholy, witty, intelligent and joyous. She captured the emotional arc of the character pitch-perfectly.

And for all the film’s distance from by-that-point traditional Bondian high-tech wizardry, OHMSS didn’t skimp on action in the slightest. For its length (it’s the second-longest Bond title), it plays lean and muscular. While the film wasn’t received well upon its release and still divides critics more so than probably any other Bond film, it delivers everything a Bond movie should.

That Lazenby did little to help his relationship with Saltzman and Broccoli (his appearing at the film’s premiere with shoulder-length hair and a beard was probably the last straw) probably served to hurt the film’s reputation more than anything else. Bad blood on both sides led to this film always being served up as something of the black sheep of the Bond family. It’s long been viewed as only slightly more legitimate than the 1967 parody CASINO ROYALE or the unofficial 1983 THUNDERBALL re-hash NEVER SAY NEVER AGAIN. But latter-day viewers and critics have finally started to come around and give the film its due. And it’s about time.

Are these Bond girls asking what's under George Lazenby's kilt?! Yes, while Sean Connery was a Scot, Lazenby, the stiffest Bond, was the only 007 to put that new meaning to not shaken but stirred.

Some will argue for 1965’s GOLDFINGER. Some may argue for 2006’s CASINO ROYALE. Some even will argue for Timothy Dalton’s short run as 007. But I root for the underdog. Both Lazenby and ON HER MAJESTY’S SECRET SERVICE are that underdog. GOLDFINGER is a close second, tied with last year’s SKYFALL (2012; laugh if you must, but SKYFALL is going to hold up far better than any of the Moore outings, mark my words). However, there’s nothing like MAJESTY.

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog atdoctorsardonicus.wordpress.com

CHITTY CHITTY BANG BANG (1968); Dir. Ken Hughes; Starring Dick Van Dyke, Sally Ann Howe, Gert Fröbe and Lionel Jeffries; Starts Friday, March 29 ; Plaza Atlanta; Trailer here.

By Aleck Bennett, Contributing Writer

The Plaza Theatre has a long, storied and—at times—notorious past. So leave it to them to revive one of the most frightening memories of my childhood by bringing CHITTY CHITTY BANG BANG  back to the big screen.

As a tiny tot, my family would drive across town every weekend to have lunch at my grandparents’ house. And being a movie fiend at even that young age, I’d plop down to watch whatever was playing on the Sunday Afternoon TV Movie that week while everyone talked in the kitchen and prepped the meal. There was a certain rotation to the movies they’d schedule, and it seemed like every couple of months or so they’d show either the Beatles’ YELLOW SUBMARINE or—more likely—CHITTY CHITTY BANG BANG. And I’d sit enraptured by the movie every time, even though I knew what was coming and that it would scare the pants off me.

Sure, most of the movie is harmless enough stuff. It’s set in the salad days of the 1910s, before the specter of World War I darkened the horizon. There’s Dick Van Dyke being his typical charming self as the perpetually failing inventor Caractacus Potts, but he could play charming in his sleep. There’s Sally Ann Howe in the Julie Andrews–as-Mary Poppins-eque role of Truly Scrumptious (Andrews herself was offered the role, but turned it down; it then went to Howe, who had replaced Andrews on Broadway in MY FAIR LADY). There are memorable songs from Disney’s celebrated in-house composers Richard and Robert Sherman. There are a couple of precious kids, a kindly grandfather and, best of all, a magical car named Chitty Chitty Bang Bang (after the sounds it makes while running). Despite the film’s meandering tone and frequent tangential detours, once we start seeing the car in action, it becomes something thrillingly charming.

The story has its roots in the children’s book by—strange as it may seem—Ian Fleming, creator of James Bond. He was sidelined from writing the Bond novels due to protracted lawsuits surrounding THUNDERBALL. Constantly stressed about the case, Fleming suffered two major heart attacks. During his recuperation, he set out to write a book based on a bedtime story he’d concocted for his son Caspar. Fleming, sadly, did not live to see the book published. A mere two months before its publication, on Caspar’s 12th birthday, Ian Fleming succumbed to a third and fatal heart attack.

Fleming is not the only Bond connection to the film, though. It was produced by Albert “Cubby” Broccoli, co-producer of the classic Bond films. It was directed by Ken Hughes, fresh off directing his segment of the Bond spoof CASINO ROYALE. The film co-stars Gert “Auric Goldfinger” Fröbe and Desmond “Q” Llewellyn. And, most importantly, it was adapted for the screen by the screenwriter of the previous year’s YOU ONLY LIVE TWICE: renowned children’s author and close friend of Fleming’s, Roald Dahl. And that’s where things get weird. And scary.

See, Dahl’s sensibilities were so black as to be nearly morbid. His CHARLIE AND THE CHOCOLATE FACTORY, for example, has so many kids meeting their (non-fatal) ends that it’s practically THE HUNGER GAMES set in the candy manufacturing industry. So Dahl (along with director Hughes) took great liberty with the source material and created something nearly as traumatic as the boat ride in 1971’s WILLY WONKA AND THE CHOCOLATE FACTORY or the flying monkeys in 1939’s THE WIZARD OF OZ.

During the course of the movie’s ambling narrative, we learn that Baron Bomburst, the tyrannical leader of Vulgaria, wants to steal Chitty Chitty Bang Bang. He sends two spies to kidnap Potts and force him to build a duplicate, but they kidnap Truly Scrumptious’ father and Grandpa Potts by mistake. Caractacus, Truly and the kids take off in Chitty to rescue the oldsters, and fly to the dreary country.

Why is the country so dreary, you might ask? Because there are no children on the streets of Vulgaria. And why not, you ask again? Because of…

The Child Catcher.

*shudder*

A character created entirely by Dahl for the film, Sir Robert Helpmann’s portrayal of the grotesque Child Catcher is one of the most frightening cinematic creations ever to be foisted upon unsuspecting movie-going children. The character is in the employ of the Baron and Baroness Bomburst, who hate children so much that the sight of them sends the couple into fits of fear and loathing. With his spindly legs, pasty face, black clothing, warped top hat and enormous nose (with which he can smell the very presence of the little rugrats: “This nose of mine has never failed me. And if there are children here, my friend, you will die.”), he tempts children out of hiding with promises of lollipops and treacle tarts and then takes them away in his carriage to be imprisoned.

And this is where I’d be sent into paroxysms of terror. Not even the presence of Benny Hill as a gentle toymaker could save me. No, this guy wormed his way into my consciousness and took root. He still freaks me out a little. And I’m not the only one. The character was voted in a 2005 BBC poll as “the scariest villain in books,” despite never appearing in the book. In 2009, a poll carried out by Penguin Books named him as the seventh scariest character of all time.

The Child Catcher even figures prominently as an avatar of childhood fright in the earlier, funnier work of Marilyn Manson. On the band’s debut album, PORTRAIT OF AN AMERICAN FAMILY, he is obliquely the subject of the song “Organ Grinder,” which features samples of the character calling out “Here we are children! Come and get your lollipops! Lollipops! Come along my little ones!” Manson’s second release, SMELLS LIKE CHILDREN, was even named in the character’s honor and featured Mr. Manson on the cover dressed in the Child Catcher’s garb.

So toss your cynicism aside and let the film take you back to a more innocent time. The journey may go all over the place, plot-wise, but it’s a scenic route. And the Plaza may not have a magical flying car, but taking a trip with CHITTY CHITTY BANG BANG costs you only the price of a ticket. Come along, kiddie-winkies!

Aleck Bennett is a writer, blogger, pug warden, pop culture enthusiast, raconteur and bon vivant from the greater Atlanta area. Visit his blog at doctorsardonicus.wordpress.com