CAT OF THE DAY 053: CHACUN CHERCHE SON CHAT

chacuncherche09CAT OF THE DAY 053: CHACUN CHERCHE SON CHAT (aka WHEN THE CAT’S AWAY) (1996)

A major cat movie. Cédric Klapisch‘s slice of Parisian life stars Garance Clavel as Chloë, a lonely make-up artist who goes on holiday, leaving her cat, Gris Gris, with the neighbourhood cat-minder, only to find when she gets back that Gris Gris has gone missing.

During the subsequent search she forges new alliances and friendships with neighbours, artisans and the dotty old ladies in the quartier. The story’s neither here nor there, though, because as the French title suggests (and the English one doesn’t) we’re each of us looking for our own cat. Yes, this film is one big CATAPHOR!

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But it’s a cataphor coupled with a fascinating portrait of Paris’s Bastille neighbourhood in the 1990s, and how its status as le dernier cri in boho branchitude was altering its character by squeezing out older, long-established residents who were unwilling or unable to pay silly money for a cup of coffee in hip places like the Pause Café.

The branchitude had faded somewhat by the time I ended up living there seven years later, my own arrival no doubt putting the final nail in the coffin. I was spoilt for cinemas, bars, Japanese restaurants and public transport, and held out for four years before moving away, finally driven to distraction by the yelling of drunken tourists, the stench of urine rising off the trottoirs in the morning, and neighbourhood kids using my narrow street as a football pitch all evening, every evening, all year round.

BIG SPOILER after the picture of Gris Gris!

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BIG SPOILER!

For those of you who worry about this sort of thing (I know I do) you might like to know there’s a happy ending. Gris Gris is found alive and well. And Garance is no longer lonely.

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CAT OF THE DAY 052: FALLEN

fallen07CAT OF THE DAY 052: FALLEN (1998)

Denzel Washington plays a cop who helps send a serial-killer to the gas chamber, only to find that someone – or something – is committing copycat crimes in the dead murderer’s style. It’s not long before our increasingly beleaguered hero is inquiring of a passing nun, “Apocalypse… does that mean anything to you?” And awww, look at adorable Ginger Tom, going about his business at a brisk trot on the streets of Philadelphia…

Ha ha! Because, unbeknownst to Denzel, Ginger Tom is possessed by the demon Azazel, a tag-wrestling entity who makes his human possessees sing songs by The Rolling Stones. Ginger Tom doesn’t sing, but is looking to pass the demon on to someone who can, and has already targeted that bloke going up the steps in the background. Gregory Hoblit‘s supernatural thriller draws heavily on Seven and a 1987 sci-fi movie called The Hidden, not to mention Stephen Gallagher‘s terrific (and terrifically undervalued) novel Valley of Lights, which also came out in 1987. Read it, it’s great. (And here’s what the author has to say about it.)

Other highlights of the film include muttered messages in 2000-year-old Aramaic, contorted yellowish demon-o-vision, and a running gag about the murderer liking cornflakes. Because, you know, he’s a cereal killer.

HUGE SPOILERS after the next cat picture!

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HUGE SPOILERS START HERE!

Ginger Tom isn’t the only significant cat in the film. Handsome Tabby plays a small but important role later on in the picture. Basically, everyone else winds up hors de combat, so Azazel possesses Handsome Tabby, who just happens to be in the vicinity. Cats rule! And they’re possessed by demons!

But we already knew that.

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CAT OF THE DAY 051: STUART LITTLE

stuartlittle04CAT OF THE DAY 051: STUART LITTLE (1999)

“You spit Stuart out this instant, Snowbell! Spit him right out!”

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“Stuart is one of the family now. We do not eat family members.”

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CAT OF THE DAY 050: THE CAT

thecat10CAT OF THE DAY 050: THE CAT (고양이: 죽음을보는 두개의눈) (2011)

A major cat movie. A cute white cat called Silky turns out to be haunted by the ghost of a little girl. And Silky is not the only cat in this Korean ghost story. There’s a pet-grooming parlour full of cats and dogs. There are also a couple of sad scenes at an animal shelter where the cats are neglected, and sometimes have to be put down.

The heroine, So-yeun, works at the pet-grooming parlour, where it’s apparently the fashion to tint cats’ facial fur with coloured dye, though So-yeun, to her credit, doesn’t approve of this. When Silky’s owner dies in mysterious circumstances, So-yeun ends up having to look after the white cat. Can she solve the mystery of the little girl ghost? And overcome her claustrophobia? And come to terms with her father’s mental illness? The poor girl has quite a lot on her plate.

At least three other characters die in mysterious circumstances, but none of them are nice to cats, so it’s hard to feel sorry for them.

It’s not hard to frighten me, so I’m normally a bit nervous about watching ghost stories on my own after dark. But this one didn’t scare me at all.

The cats were entertaining, though. Cats always are.

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The very first frame of the end credits (see below) assures us “No cats were harmed during the making of this film.” Which is a relief, since there were several that appeared to be mistreated, neglected or dead.

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CAT OF THE DAY 049: LET THE RIGHT ONE IN

 

CAT OF THE DAY 049: LÅT DEN RÄTTE KOMMA IN (aka LET THE RIGHT ONE IN) (2008)

Edited extracts from Devil’s Advocates: Let the Right One In by Anne Billson (Auteur Publishing, 2011)

That evening, Oskar buys candy at a sweet-shop while Eli waits outside; it’s the first time we’ve seen them together away from the jungle gym. This is progress in their relationship – even something vaguely resembling a date. The shop’s cat hisses violently at Eli through the window – an early sign that cats don’t like vampires, and a foreshadowing of the cat attack on Virginia later on…

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The cats’ violent reaction to the vampires suggests a sensitivity to another animal or predator in the vicinity; they react with hissing and flattened ears, the way they might react to a dog or another, more powerful cat. And indeed Eli makes an animal noise as she launches her attacks, and, while she lies in wait up a tree, makes a strange noise which might almost be a sort of purring. The way she laps up blood from the floor is also reminiscent of the actions of a cat.

The cat attack on Virginia is not the first film in which animals are shown as being sensitive to the presence of monsters. The shapeshifters in Sleepwalkers (1992), from a screenplay by Stephen King, are opposed by neighbourhood cats, which besiege the house where the shapeshifters are staying… In Near Dark, Caleb’s horse reacts to Mae, who says, “Horses don’t like me”. In The Lost Boys, the young hero’s Alaskan Malamute, Nanook, attacks the vampire intruders, while in Bram Stoker’s Dracula, the animals in the zoo react with wild noises and panicked behaviour to Dracula’s approach.

The animals are reacting, one imagines, to the presence of a creature they sense contravenes the laws of nature. Animals often predict natural disasters, such as earthquakes; they seem to know when the world is out of joint or when the natural order is disturbed. And vampires, the walking dead, are not natural but supernatural.

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CAT OF THE DAY 048: DECEPTION

deception12CAT OF THE DAY 048: DECEPTION (1946)

Claude Rains plays brilliant composer Alexander Hollenius, who is madly jealous when Bette Davis, his musical “protégée” (and we’re left in no doubt what that really means – the floosie has a wardrobe simply stuffed with fur coats) marries a cellist (Paul Henreid).

Hollenius has a very well-behaved Siamese cat, who figures in a couple of scenes, snoozing on a cushion or bed. Rains, in character, imposes his will on it by petting it quite maniacally, but it seems to enjoy this, and even holds its position without messing up continuity during several complicated exchanges of dialogue punctuated by camera dollies and zooms.

But for once, it’s hard to concentrate on the cat, since Rains – a riot of wild hair, untrammelled piano-playing and outrageous lounging around in dressing-gowns – is giving one of the most deliciously fruity performances in the history of cinema and it’s hard to tear your eyes away from him. He makes even Bette Davis look as though she’s underplaying.

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CAT OF THE DAY 047: BATMAN RETURNS

CAT OF THE DAY 047: BATMAN RETURNS (1992)

A major cat movie. Downtrodden secretary Selina Kyle has a cat (a black one, called Miss Kitty), a common signifier of the single woman living alone. When Selina gets pushed out of a high window, cats lick her back to consciousness – and, it must be said, look ready to eat her, the single woman’s nightmare fate. You can’t help wondering if the tuna they smeared on Michelle Pfeiffer (and her dummy stand-in) was laced with catnip.

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The cats are witnesses to Selina’s transformation into a deadly kickboxing feminist in a skin-tight black PVC catsuit. Miss Kitty is present at her Mexican Standoff with the Penguin, who menaces her pussy with a deadly umbrella while Catwoman is threatening to eat his caged bird. (In this scene, reportedly, Pfeiffer really did put a live bird in her mouth; in a nice realistic touch that no-one would ever dream of reproducing in CGI, the stunt leaves her lipstick just a little smeared.)

And Miss Kitty is back again at the end of the film, when Bruce Wayne picks her up from an alleyway and holds her on his lap in the limousine, knowing instinctively that Miss Kitty’s presence is a hint Selina/Catwoman is still alive.

And there’s, you know, Catwoman herself, a classic example of CATPERSON.

“I don’t know about you, Miss Kitty, but I feel so much yummier.”

Batman bears the Mark of the Cat

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CAT OF THE DAY 046: NIGHT MOVES

nightmoves02CAT OF THE DAY 046: NIGHT MOVES (1975)

Nervous lover: “I think Harry would like me to leave.”

Harry’s wife: “I don’t think that’s necessary.”

Nervous lover: “I think Harry thinks it is.”

Harry: “Harry thinks if you call him Harry one more time he’s going to make you eat that cat.”

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CAT OF THE DAY 045: LOGAN’S RUN

CAT OF THE DAY 045: LOGAN’S RUN (1976)

Logan: “Are you alone here?”

Old Man: “Oh hardly. I’ve got all these cats.”

Logan: “Is that what they are called? Cats?”

Old Man: “Yeah, and they’ve each got their own name. Cats, of course. What else would they be called? CATS! You know they’ve each got three names? Yes! The naming of cats is a difficult matter…”

Peter Ustinov, for it is he, goes on to quote extensively from TS Eliot‘s Old Possum’s Book of Practical Cats (let us hope MGM squared the rights with Faber & Faber in advance), offers to trade a calico cat for the jewel embedded in Logan’s palm, and lets Jessica touch the cracks in his face. But these bits of business will only be at the periphery of the average cat lover’s attention, which by now will be fully engaged in trying to check out all the cats that are milling around and mewing the ruins of the Capitol in Washington DC.

Soon afterwards, Logan’s old Sandman colleague Francis turns up and the two men have an argy-bargy to the death in the cat room, during the course of which Richard Jordan throws Michael York on to a desk where one of the cats is lounging, minding its own business. It’s a close-run thing, but it manages to scoot out of  the way just in time. A bit anxious-making, though.

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CAT OF THE DAY 044: A BUCKET OF BLOOD

CAT OF THE DAY 044: A BUCKET OF BLOOD (1959)

Landlady: “Say Walter, did you see anything of Frankie tonight when you went out?”

Walter Paisley: “I didn’t see him at all.”

Landlady: “Well if you do, tell him I got a nice fresh piece of halibut for him.”

Walter Paisley: “Tell him that? I mean, do you think he’ll understand? He’s only a cat!”

Famously shot in only five days, Roger Corman‘s horror-comedy is the story of the rise and fall of Walter Paisley (played by Dick Miller), a gauche busboy at the Yellow Door café, hip hang-out for beatnik bards.

Walter, who’s a few sandwiches short of a picnic, is desperate to be an artist so he can impress the regulars, and especially Carla (Barboura Morris). He hears Frankie miaowing, apparently trapped behind the wall of his apartment and, trying to set the cat free, accidentally sticks a knife into it.

But instead of disposing of the corpse, he covers it in clay and is fêted as a brilliant sculptor at the Yellow Door. And that’s just the start of Walter’s artistic career…

The production was so cheap they couldn’t even afford and/or didn’t have time to deal with a live cat. All we see is the dead one, and Walter’s sculpture – still impaled by the knife.

But there is quite a bit of miaowing.

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