Company of Wolves

The Company of Wolves was a slightly belated addition to a mini-revival of one of the more neglected of the repertory of gothic monsters, the werewolf. Even Hammer, who had done so much to revive the fortunes of Dracula, Frankenstein’s monster and the mummy, only managed one outing for their shape-shifting cousin. Perhaps its power has been diminished as the untamed wilderness of which it was an embodiment has been swallowed up by the spread of urban civilisation. Like so many other species, it is a victim of habitat destruction. The lycanthropic surge at the turn of the 80s saw the release of John Landis’ An American Werewolf in London and Michael Wadleigh’s The Wolfen, both of which stranded the creatures in the modern city, and Joe Dante’s The Howling, in which a new age forest retreat made for a perfect sanctuary and hunting ground of tamed wilderness. The Company of Wolves was released a couple of years after these films, and draws out the werewolf theme from the gothic primer of the fairy tale. In something of a triumph for independent producers Palace Pictures, who operated out of offices above the Scala Cinema in Kings Cross, this modestly budgeted British film received its premiere at the Odeon Leicester Square on September 21st 1984.

Keeping to the path

The film was adapted from her own short stories by Angela Carter, in collaboration with the director Neil Jordan, himself an author turned director. Her collection The Bloody Chamber had explored the thinly concealed substrata of the fairy tale, that relic of the oral tradition of storytelling long since defanged and consigned to the nursery. Carter had also edited and introduced two volumes of fairy stories published by the Virago press, the first of which was retitled The Old Wives’ Fairy Tale Book for its US edition, highlighting the female provenance of the tradition. These children’s tales bore a wealth of secret knowledge, allowing a feminine perspective on life to be voiced, and it is those voices which gives the structure to the film, through a series of nested stories which respond to and unfold from each other. Carter also knew her Freud, and the film is soaked with imagery drawn from his theories on the interpretation of dreams and the nature of the uncanny. But the feminist writer and anarchist spirit begged to differ with the bearded Viennese figure of authority, whose theories didn’t, of course, apply to himself (a cigar is sometimes just a cigar, after all). This story is one in which an adolescent girl interprets her own dreams and finds her own path through the woods, learning to become the author of her own self. She refuses to be subsumed by the stories told by others and the version of the world which they would impose upon her. As such, the film argues for the vital importance of the fairy story and the fiction of the fantastic in general, of the need to re-imagine the limits of the possible. It also challenges the role of fearful victim commonly ascribed to the female characters of gothic fictions, as represented on the cover of the magazine we see lying on the young girl’s bed at the start of the film. Stray from the path, Angela tells us, in contradiction to granny’s aphoristic commands, and explore the dark spaces beyond the village’s safe boundaries. The tales of terror you’ve been fed may well prove illusory when fearlessly faced.

Dream Window

The film opens in the world of external reality, but it already seems at some remove from the everyday. A Volvo drives through an autumnal oak wood, paced by a racing Alsatian, until it reaches the drive of an old Georgian country house and the plunder of a trip to Sainsburys is unloaded. The camera glides into the house and up the staircase, the walls becoming increasingly grimy and dilapidated as we ascend, until finally we discover a young girl locked in the disarrayed sanctuary of her room. This is the place where the mad woman in the attic of gothic fiction would be hidden away, but the girl has exiled herself, locking the door from the inside. Her bedroom mixes the standard paraphernalia of teenage bedrooms with relics of a childhood soon to be left behind. Posters of New Romantic pop stars abut Beatrix Potter and Ladybird fairy tale books, the latter perhaps giving a hint as to how these stories have become neutered over time. The antique toys which perch on the shelves give a glimpse of older childhoods where such expurgations may have originated, staring down with glassy Victorian eyes. The screenplay specifies a poster of Lon Chaney as the Wolfman being on the wall, declaring a direct link with gothic cinematic antecedents, but this is absent from the final film. There are only so many symbols and meaningful objects you can pack into a small span of space and time. On the door, a white, bridal-looking dress hangs and sways back and forth in the breeze blowing through the open window, as if animated with its own inner life, struggling to unhook itself from the clothes hanger and fly free. This may be a homage to a similar symbolic image at the beginning of Powell and Pressburger’s film I Know Where I’m Going, another tale of a woman who decides to stray from the path set out before her, in this case the road which leads to the highlands and islands of Scotland and an opportunistic marriage into wealth and society. In Angela Carter’s published screenplay, the girl in the room is named as Alice, bringing to mind another young adventurer into dreamworlds. She is thus separated from her dream double, Rosaleen. It is Alice rather than her sister who meets her end in the borderlands of dream during the first exploration of the forest’s edge, a graphic enactment of the death of childhood. But in the film, she remains anonymous, unnamed other than by her sister’s hissed ‘pest’, and thus more closely linked with the Rosaleen of her inner world. The womblike inner sanctum of her room is the atrium of the dreamworld, and the camera leads us weightlessly though the window towards the dark forest, the Grimm heart of the primal stories.

The borderlands of dream

This forest is the central gothic locale of the film, and one which indicates a journey into an inner landscape. The village huts, the church and even the gravestones have an amorphous, rounded shapelessness which suggests this interior nature. Insofar as the overarching clusters of soaring columns and the stone-carved foliage of medieval cathedrals seek to emulate the forms and the hushed ambience of the forest, it could indeed be said to be the birthplace of the gothic spirit, the wildwood constantly threatening to encroach upon the narrow compass of civilisation. The borderlands to which the real Rosaleen consigns her sister are still filled with the transformed objects of her room, the personal materials from which her dreamworld will be fashioned. Freud’s theories of the uncanny are realised as the inanimate comes to life, those Victorian toys, creepy enough in themselves, taking on the oversized menace of nightmare avengers. Semi-organic organ pipes blast out gothic chords and enormous mushrooms emphasize the dank darkness of the forest. The tree trunks seem to have the striated, reddish consistency of muscle tissue, an inner world literally built from fleshy matter. But this is only the edge, a territory still connected with the waking world. As with Robert Holdstock’s Mythago Wood stories, which excavate the strata of the mythical matter of Britain, the heart of the story lies deeper within, and we must venture towards more immaterial, symbolic realms.

Samuel Palmer sets

The forest was built on a couple of sound stages at Shepperton Studios, and it never loses the feel of a stage set, an enclosed environment. This is entirely to its advantage, and in keeping with the notion of an inner landscape. The mixture of props and painted backdrops and the freedom to play with lighting effects creates an artificiality perfect for the telling of a fairy tale. It enhances the enchantment, the feeling of being told a story, of being led through a series of book-plate illustrations in an old Edwardian tome. It is similar to the mood created in The Wizard of Oz, where we are entranced by the painted backdrops of a landscape which takes off where the studio set ends, the yellow brick road winding through fields and up over the hills to the distant horizon. Powell and Pressburger’s recreation of the Himalayas at Shepperton for Black Narcissus exerts a similar spell, with its beautiful glass paintings of lush distant valleys and pastel blue mountains visible beyond the set of the nuns’ missionary school. The forest set of the Woman of the Snow episode of Masaki Kobayashi’s 1964 anthology of Japanese ghost stories Kwaidan also bears a strong resemblance, and similarly creates a self-enclosed atmosphere of the uncanny through lighting and the striking non-naturalistic use of colour. These are atmospheres, relying as they do on the creation of a painterly look by the cinematographer, which the virtual palette of CGI, for all its manifold marvels, cannot hope to recreate. Indeed, the work of artists have a strong influence on the look of designer Anton Furst’s sets. Samuel Palmer, in particular, is a primary source, as a look at paintings such as Coming From An Evening Church and The Magic Apple Tree will affirm.

Samuel Palmer - Coming from an Evening Church

The film is peopled with a solid cast of dependable British character actors. Principle amongst these is Angela Lansbury, who plays Rosaleen’s grandmother, the source of the old wives’ wolves tales of she is told. Lansbury portrays the grandmother as an outwardly comforting figure who betrays steely hints of malevolence in the glints of light which reflect from the lenses of her wire-rimmed glasses. Her stories encourage a fearful and conformist view of the world in which the other, that which is different, is to be shunned. The poisonous core of these tales is like the maggot found wriggling inside the seemingly perfect apple which Rosaleen picks up from the ground of her garden. When Rosaleen starts to formulate her own stories, they are essentially ripostes to her granny’s tales. It is something of a story duel. Rosaleen reshapes the matter of her granny’s stories and uses them to work out her own burgeoning feelings. Tentatively testing her tales on her mother, she challenges the view of the world offered by the received wisdom of the older generation. This is evident in her final story through the inclusion of the vicar, for whom her granny has nothing but open contempt, as a figure with compassion for and acceptance of the other, the wild wolf-child who comes into the village naked and lost. Rosaleen’s empathy for this scorned outsider turns her granny’s stories inside out, and exorcises the fear at their heart. The wounds are now inflicted by the supposedly righteous, driving the despised innocent back into her underground retreat of alienated introversion. The wounds of the wolf-girl will never wholly heal, and her tears will flow forever, filling the well from which she emerged and to which she now returns.

Suave devil - Terry wears his wages well

The vicar is played by the redoubtable Graham Crowden, who reads his passages from the bible with much the same quizzical cadences he used to read passages from history as the eccentric bicycle riding teacher in If… Also on hand are Brian Glover, who plays Brian Glover to a tee, and Terence Stamp as the immaculately tailored devil, holding what apparently is a pygmy skull before him, as if he’s working himself up to a soliloquy. This was Stamp’s first film in some while, having retreated into self-imposed exile for reasons unveiled in his evocatively elegiac autobiography Double Feature. The suit was the price of his appearance, and excellent value it was too. Remarkably, Neil Jordan wanted Andy Warhol for the part, and Andy was indeed interested, but circumstances conspired against the fulfilment of such a startling cameo (gee, what a shame). The gaily attired huntsman who Rosaleen meets towards the end of the film was played by the dancer and choreographer Micha Bergese, who was later to be the artistic director of the Millenium Dome show, for his sins. His performance is archly mannered, every movement carefully considered and balanced, as befits a dancer. He brings a muscular physicality to his transformation scene that lends it an intense immediacy that elaborate effects couldn’t have captured. With his blue brocaded frock coat, tricorne hat and high riding boots, he could be the original model for some of the New Romantic pop stars that deck the real Rosaleen’s walls. Could this in fact be ‘the dandy highwayman who you’re too scared to mention’? Post-punk goth singer Danielle Dax makes an effective silent appearance as the protagonist of Rosaleen’s final story. She plays the pitiful wild child, rejected by the world into which she tentatively emerges, sheltered for a short span by the vicar before crawling back into realms below. Sarah Patterson in the central role of Rosaleen bears much of the weight of the film, and she does so admirably, portraying the innocence and freshness of her character, but also the fortitude and questioning nature which leads her to forge her own path. Patterson didn’t follow up on this initial foray into acting, but has recently appeared in two films by English director Lisa Gornick, ‘Do I Love You’ and ‘Tick Tock Lullaby’. Mention should also be made of the fine score by George Fenton, which incorporates elements of Irish folk music and the impressionism of Ravel and Debussy, the latter rising to lush heights as Rosaleen climbs the largest tree in the forest. Fenton has gone on to be a prolific composer for film and TV, as he already was at the time, and has scored many of Ken Loach’s films as well as providing the sweeping orchestrations which accompany the awe-inspiring photography of the BBC’s Planet Earth series.

Rosaleen and the dandy highwayman

The film is visually ravishing and full of beautiful poetic images. The sensual red of experience mixes with the pure white of innocence as blood in milk, blood on snow and tears staining a white rose red. The latter image brings to mind the drop of menstrual blood staining the white daisy petal in the 1968 Czechoslovakian fairy tale fantasia Valerie and Her Week of Wonders, which could be considered something of a sister film to The Company of Wolves. Both represent, through the forms of the fantastic, the breaching of a young girl’s innocence and the encroachment of the cares and experiences of adulthood, but both show their young protagonists taking control of the symbolic landscapes in which their fables unfold and ultimately embracing the change which has come upon them. The moon occluded by the blinking of a superimposed eye is an image which also appears in the Woman of the Snow episode of Kwaidan mentioned above, and could be seen as representing the ever-watchful gaze of the omniscient overseer of the subconscious. Freudian protuberances are ubiquitous, whether they be the tumescent pump of the well at the centre of the village, rising above the wet, shadowy darkness of the shaft like a westernised Shiva Lingam, or the suggestively gnarled and knobby knot at the base of the tree which Rosaleen climbs. The bright red of Rosaleen’s riding hood shawl makes her stand out vividly against the drab, earthy colours with which the village peasantry are clothed. We also briefly see carts filled with glittering gemstones being pulled along rails emerging from mine shafts, suggesting a new, neighbouring locale for further fairy tales, extending perhaps to a whole continent of contiguous storybook worlds. There is a whole menagerie of symbolic beasts scattered throughout the film. Crows, toads, rats, owls, hedgehogs, storks, lizards, snakes and spiders; All the creatures of fear and magic, looking on with disinterest from branches and rocks, just as they do during the night-river journey in Charles Laughton’s film of Southern fairy tale gothic, Night of the Hunter.

Innocence tames the wolf

The film ends back at the Georgian house, back in Rosaleen’s bedroom. As the magazine cover had foretold, her dream is indeed shattered. Things will never be the same again. For once you have strayed from the path, the complex kaleidoscope of the imagination is shaken from its static pattern and can unfold into an infinite array of possibilities. The only boundaries are those of the mind. And they can be very wide indeed.

Beyond the forest canopy - exploring the boundaries

Reposted from From Out of the Shadows

Graham Crowden

If - the history master

I remember Graham Crowden best for his roles in Lindsay Andersen’s loose trilogy of state of the nation films If…, O Lucky Man!, and Britannia Hospital. In If…, he is the only school master who makes an attempt to engage the boys’ minds and encourage a flicker of individual thought. He makes a memorable entrance on his old-fashioned wicker-basketted bicycle, sailing through the corridor and straight into the classroom, where he glides to a halt, one leg balletically raised for touchdown, lustily singing To Be A Pilgrim all the while. It is a scene which perfectly embodies the kind of eccentrics which Crowden invariably portrayed. He was the kind of distinctive character actor who Anderson loved to use. You find them throughout his films. Arthur Lowe is in every one (Whales of August excepted), from This Sporting Life, through the short The White Bus to the Travis trilogy. Peter Jeffrey is also in all the trilogy films, and the likes of Leonard Rossiter and Dandy Nichols also turn up. Crowden tosses essays to with no great accuracy to his pupils, with curt summations of the merits of each, before coming to Malcolm McDowell’s rebellious Travis. His essay, Crowden is forced to admit, was lost ‘somewhere in the Mont Blanc tunnel’, although he adds ‘I’m sure it was good’. Travis evidently has some feel for history.

Mad scientist - O Lucky Man!

From this relatively benign beginning, Crowden’s characters in the trilogy get ever more sinister and ideologically obsessive. His Professor Millar in O Lucky Man is a scientist who takes the vagrant Travis in to use as a volunteer guinea pig for his experiments. Travis soon flees when he discovers that these involve creating grotesque hybrids of man and pig. Human beings treated as farm animals. Professor Millar returns in the scabrous finale to the trilogy (no-one was about to let Anderson make another film in the series after this one) Britannia Hospital. Here he begins as a Frankenstein figure, creating a messy creature fashioned from body parts procured from the hospital, including the head of Travis’ snooping journalist. When this inevitably goes bloodily awry, he switches to full mad scientist mode, unveiling his ‘Genesis’ computer before a captive audience which he addresses as ‘fellow members of the human race’. Genesis is the project with which Millar fully takes on the megalomaniacal mantle of a technocratic god, and with which he intends to usher in a post-human age. He It lifelessly intones Mark Anthony’s ‘what a piece of work is man’ speech from Shakespeare’s Julius Caesar before breaking down and repeating the line ‘how like a god’ over and over.

Madder scientist - Britannia Hospital

Crowden also appeared in a number of films within the fantastic genre, where his effortless eccentricity and distinctive Scottish diction fitted in well with some of the more stylised fantasies. He played a mad doctor once more in The Final Programme, a highly stylised and rather loose adaptation of Michael Moorcock’s first Jerry Cornelius novel. He also appeared in a Doctor Who from the rather ignoble latter years of the Tom Baker era. He’s probably one of the few compensatory pleasures in The Horns of Nimon, generally considered to be the nadir of the series from that time. He could in fact have played the Doctor, but turned down the offer, making way for Jon Pertwee to take up the role. I imagine he would have been marvellous in the part.

Pruning in the garden of God

He is excellent in The Company of Wolves as the rather distracted vicar. He is not as daft as he seems, however. He delights in lopping off branches of the evergreen tree in the churchyard, which he deliberately aims to fall on the head of Angela Landsbury’s grandmother, who is making relating mildly malicious gossip about him to her granddaughter Rosaleen beneath its boughs, firm in her belief that he is deaf. He loudly declares the ‘someone’s got to cut away the old wood’ as he gives another vigorous clack of the shears. He climbs up to the pulpit to read from Isaiah chapter 11, verses 6-8 (‘the wolf also shall dwell with the lamb’) and takes particular relish in cheerfully intoning the lines ‘the wee child shall put his hand on the cockatryx’s den’. Crowden’s reading of the words of the funeral service, ‘man that is born of woman hat but a short time to live and is full of misery’, is delivered with his wonderful way of bending the latter clause of a sentence upwards and leaving it hanging in the air in a quizzical fashion. You can also hear this in his postulated theory of the origins of the first world war in If… ‘In studying the nineteenth century, one thing will be clear, that the growth of technology, telegraph, cheap newspapers, railways, transport is matched by a failure of imagination, a fatal inability to understand the meaning and consequences of all these levers and wires and railways. Climaxing in 1914 when the German Kaiser is told by his generals that he cannot stop the war he has started because it would spoil the railway timetables upon which victory depended’. The last is given that Crowden upward rise, leaving the sentence hanging, making it seem to hover half way between question and statement, and also expressing a slightly distanced astonishment at what he is saying. It’s a rhetorical device that can be both affecting and also naturally amusing. And it’s that voice more than anything which comes to mind when you think of Graham Crowden.

Reading from Isaiah

Gothic Pastorale

Essentially in order to direct your attention to the Gothic cinema season at Bath beginning this week and the accompanying notes at From Out of the Shadows, here are a couple of pictures by Samuel Palmer which have always reminded me of the woodland setting of The Company of Wolves. I watched the dvd with the accompanying Neil Jordan commentary recently and was happy to discover that he cited various artists as being a particular influence on the look of the film, but singled out Samuel Palmer as being the primary source of the film's painterly look. See if you agree.