Transnational Cinematic Production and the Emergence of John Malkovich as a Transnational Actor Chadwick Schnee, 2005 Advised by Randall Halle, Ph.D. Department of Modern Languages and Cultures
“The Yanks have colonized our subconscious.” -Kings of the Road, Wim Wenders ith the ever-increasing ease of travel and This is one of those films where the cast seems to go through W communication, questions of national identity their paces without really inhabiting their roles and where and iconography have come to the forefront of scholarly everybody has a different accent: Spanish for Cruz, Brit for debate, especially in that of “German” films of the last Hurt and Bale and cheesy Italian organ grinder for Cage, not to mention the babel generated by an international stew of two decades.1 Through the reduction of state-sponsored supporting players.3 programming and the increased desire for profitability in world markets, state-sponsored films have broadened their In the same review, critic Robert Butler mentions the definition of what makes a film inherently “German.” Oscar-winning film Dangerous Liaisons (1988) as an In his essay “German Film Aufgehoben: Ensembles of example how a good actor (John Malkovich) should be Transnational Filmmaking,” University of Rochester malleable enough to play any part. professor Randall Halle examines the identification of Dangerous Liaisons is a film nationally produced by an House of Spirits (1993) as a German film: American company that retells a French play written in the 19th century that was later made into a movie in 1959 The director of the film, however, is Bille August, a Dane, and by French director Roger Vadim. It should be no surprise its narrative derives from the novel by Chilean author Isabel that Warner Bros. was able to bring popular and expensive Allende. Furthermore, the film features an international cast with Meryl Streep, Glenn Close, Winona Ryder (American), Hollywood stars to the film, such as Glenn Close, Michelle Antonio Banderas (Spanish/American), Vanessa Redgrave Pfeiffer, Keanu Reeves and Uma Thurman. Transnational and Jeremy Irons (British), and Maria Conchita Alonso films brought together by international production (Spanish). Significant in fulfilling FFA [German Federal companies, however, have much more limited budgets Film Board] requirements for funding was the presence of than that of Hollywood, and often have to rely on lesser eminent German actor Armin Mueller-Stahl among the cast known actors who may be more cost effective than bigger albeit in a supporting role… The presence of Mueller-Stahl Hollywood names. and the site of the premier were enough to qualify the film 2 In the midst of transnational filmmaking, Peter Falk, for FFA funding. David Hasselhoff and Udo Kier have all emerged as Despite the fact that the majority of the cast members transnational actors through their unique ability to generate were not German, the FFA still dubbed House of Spirits a ambiguous identification across international borders. In “German” film, providing it with funding. the majority of their roles, these actors have been able to The use of an international cast in transnational simultaneously encourage and deter identification with the productions is nothing unique to Germany, however, as characters they play. The American Falk, internationally the film Captain Corelli’s Mandolin (2000) demonstrates. recognized for his role as Lieutenant Columbo, has starred The French company Le Studio Canal+, the American in transnational films such as In weiter Ferne, so nah! company Miramax Films, as well as the British company (1993), which is a film by German Wim Wenders that Working Title Films produced the film, which was shot featured various German, Swedish and American actors in Greece by a British director. The film also features while being distributed by various other nationalities. Spanish actress Penélope Cruz, American actor Nicolas Before launching into his singing career in 1995, German Cage, and British actor Christian Bale. These ensembles cultural icon David Hasselhoff starred in the sci-fi film were for the large part lambasted by critics because of their Starcrash (1979), which was directed by Italian Luigi international cast: Cozzi and featured Canadians, Americans and Britons. German Kier, for example, has starred in transnational
jur.rochester.edu 13 films such as Andy Warhol’s Dracula himself admitted to his frequently Shadow of the Vampire (1974), which was produced by dark roles while traveling to his As it is with many of Malkovich’s Italian Compagnia Cinematografica farmhouse in Southern France in films, the audience only identifies Champion and French Yanne et the Bravo Profile filmed shortly after with him to a limited extent in Rassam and features an ensemble finishing production on Shadow of Shadow of the Vampire. American of German, Italian and American the Vampire (2000), quoting a famous Nicolas Cage’s Saturn Films, two actors. Through their abilities to blur Hitchcock adage — “A film is only as Luxemburg companies, and British their national identities and generate good as its villain.”7 BBC Films and Long Shot Films ambiguous identification, these actors In 1999, Malkovich played a produced the film, while Briton Eddie have emerged as transnational actors. role that had fascinated a worldwide Izzard, German Kier and American In the context of transnational audience for decades — himself. Willem Dafoe starred in it. The plot cinema the Chicago-born Malkovich Being John Malkovich (1999) is one also has its transnational leanings as it plays an interesting role. Acting in of his most successful films to date, bases its premise on the fact that actor over forty-nine films and made-for- grossing over $22 million in the U.S. Max Schreck in F.W. Murnau’s classic TV movies since 1981, Malkovich alone.8 Malkovich received praise both Nosferatu (1922) actually is the part is an international sensation whose domestically and abroad for his work he plays — a vampire. From this, the celebrity is only slightly rivaled by revolving around a person’s irrational characters of Murnau (Malkovich) Falk and Kier. As of April 2003, more obsession with becoming Malkovich and “Count Orlock” (Dafoe) have than thirty-two of Malkovich’s films by travelling through a hidden tunnel various battles over control of the film could be considered transnational on the seventh-and-a-half floor. and its production, telling a story of films — films that involved the While bizarre, the film touches upon obsession, loyalty and power. collaboration of more than two the worldwide fetish with Malkovich, Throughout the film, there are different nationalities.4 Malkovich stemming from Malkovich’s ability shots that mimic those of Nosferatu. has emerged as a transnational actor, to keep audiences identifying with These shots use the iris, are black and a status highlighted by both his him while remaining distant. This white, and feature Murnau giving filmography and his personal life. seemingly paradoxical relationship directorial voiceovers to the actors After graduating a star high school viewers have with Malkovich is the in the frame. These shots can be football player, Malkovich joined reason for his international appeal. called point of view shots, as Murnau Gary Sinise’s theater troupe, named In the films Der Unhold (1996) and stands by the camera and, along with the Steppenwolf Theatre Company, Shadow of the Vampire international the sound of the camera winding, in 1976.5 Seven years later, audiences continually experience provides the audio while remaining Malkovich won an Obie award for moments of ambiguous identification offscreen. After the titles, the film the Steppenwolf production of “True with the characters Malkovich plays. opens with an extreme close up of West.” In 1984, Malkovich appeared In his essay “Star and auteur: Murnau’s eye that begins out of focus alongside Dustin Hoffman in a films with Bergman” in Hitchcock’s and racks focus. After a shot of the revival of “Death of a Salesman,” later Films Revisited, Robin Wood outlines camera lens, the frame irises in to a winning an Emmy when it was turned six factors in the construction of medium shot of Greta Schroader into a made-for-TV movie directed identification, which work universally. dangling a ball of string in front of by German Volker Schlöndorff. In For Wood, identification with the male a cat sitting in a windowbox while his début film Places in the Heart gaze is a key factor in identification, Murnau talks offscreen. The next shot (1984), Malkovich played a blind although it should be noted that the is a close up of Murnau, who meows lodger, earning himself an Academy term “male gaze,” as Wood uses it, while wearing black goggles over Award nomination. “Though he has presumes an assumption of “maleness” his eyes. After a few similar shots in tried his hand at comedy (Making by all viewers, regardless of gender and which Murnau tries to set the mood Mr. Right 1987), Malkovich excels sexual identity. Wood also believes for the actress, there is a low angle full at limning aloof, amoral, generally that the audience identifies with the shot that shows Murnau and the rest unsympathetic characters such as victim, as it does with any character of his crew wearing white lab coats the black marketeer in Empire of the to the extent in which moviegoers are and black goggles, watching the scene Sun (1987), the Vicomte de Valmont encouraged to do so. The sharing of while the bright lights used in film in Dangerous Liaisons (1988), the consciousness, like the use of point production shine toward the camera bored intellectual in The Sheltering of view shots from a character, also (see Shot-by-Shot Description). Sky (1990), and the desperate, encourages the audience to identify In this opening sequence, the materialistic yuppie in The Object of with a character. The use of cinematic viewer is unsure of how to feel about Beauty 1991),” film critic Leonard devices such as editing, shot angles Murnau. While the audience shares Maltin wrote, while mentioning and lighting, among other examples, consciousness with Murnau in the Malkovich’s nomination for his make the viewer identify with certain point of view shots, the viewer also second Oscar in 1993 for his role as characters. His last point is that the gains identification with Murnau a psychotic would-be assassin in the viewer identifies with the star of the because Malkovich, as the main film In the Line of Fire.6 Malkovich film as well.9 character of the film, plays him. The
14 Volume 3 • Issue 1 • Fall 2004 close-up of Murnau encourages the Orlock, wearing black, leans down abused girl in the beginning of the film audience to identify with him, but and places his arm over Greta, resting in France, for example, the audience the slight low angle and the goggles his head by her neck. In a medium fails to completely identify with him, over his eyes distance moviegoers. shot, Murnau watches the action, setting up the mixed reactions to him Additionally, the sterile, white while wearing black goggles over his that follow throughout the entire film. lab coats and Murnau’s voiceover eyes (see Shot-by-Shot Description). The scene begins with Abel walking discourage identification with him, as Murnau’s actions, as well as his towards the camera in a fast-paced they portray Murnau as an uncaring attire, distance the audience from the medium close-up from a low angle, manipulator. Malkovich’s actions, character. The audience, however, which is then followed by a tight low as well as the setting around him, identifies more with Murnau angle close-up of Abel ducking and place the character in the gray area of because of Orlock’s overpowering looking down to enter the room. The ambiguous identification. bloodlust. As a result of Orlock’s girl, who is wearing a uniform with When Murnau confronts Orlock straightforwardness, the audience a bright, untarnished white collar, is after the vampire preys upon Wolf may feel that Murnau’s action is not as then shown in a high angle full shot, the cameraman, another instance bad as Orlock’s bloodlust, causing the with her weeping and curled into a of ambiguous identification occurs. audience to identify with the director ball among a dark background. Abel While the audience identifies with more. Additionally, Murnau, through then crouches down into a medium Murnau because of Malkovich’s star his calmer and more rational attitude shot and asks what is wrong, and power, it is questionable with whom in this scene, embraces these human the police then respond to the girl’s the audience connects with more qualities, making the viewer identify wailing in a deep focused full shot. — the vampire or the director. In with him in stark contrast to Orlock’s Abel is shown again in a medium shot, the scene, Murnau berates Orlock visceral desires. crouching by the girl, explaining that for killing Wolf. As Murnau directly As it is in the rest of the film, the the person who did this must still be addresses the camera in fast-moving audience fails to fully identify with close by. The police then grab Abel, shots and thrusts his finger toward Murnau in these three scenes. While dragging him away into the shadows the camera, the audience feels that he viewers identify with Murnau due to in a full shot, as the girl continues to victimizes the vampire. In the scene, his juxtaposition against a vampire sob, “He hurt me.” Abel is then shown however, Orlock makes demands and the casting, the dialogue and outside being dragged into a waiting of his own, such as not sailing and various aspects of mise-en-scène and police car in a shot that moves from suggesting other people he could camera movement all prevent the a full shot to a medium close-up (see eat. Because Murnau attempts to audience from completely identifying Shot-by-Shot Description). satisfy his demands, viewers see with Murnau. This is, however, the The audience reacts with mixed Murnau is at least practical if nothing reason why Malkovich can be dubbed feelings during this scene, as viewers else. Additionally, all of Orlock’s a transnational actor: he is able to play do not fully identify with Abel. In shots are static while Murnau’s are a character that generates ambiguous this instance, the audience does not erratic and quick moving, making identification. the audience interpret Murnau as Malkovich as Abel in Der Unhold. the perpetrator of the actions. The Der Unhold audience, however, does gain some The audience largely remains identification with Murnau as a result distanced from Malkovich in Der of repeated point of view shots in the Unhold, directed by German Volker scene. Because Orlock is a vampire, Schlöndorff. The film represents however, moviegoers continue to a different sort of transnational seek identification with Malkovich filmmaking, as there was no direct more than Orlock, placing him in a influence by Hollywood from nebulous area of identification (see American production companies. Shot-by-Shot Description). Instead German companies Studio In the final scene of the film, Babelsberg, Universum Film A.G., the audience loses a great deal of and Westdeutscher Rundfunk identification with Murnau as he worked together with French focuses completely on his film instead companies Le Studio Canal+, France of his cast and crew. After Greta, 2 Cinéma, Renn Productions and while laying on the bed wearing a British company Recorded Picture white nightgown in a medium shot, Company in making the movie. notices that Orlock does not have a In the film, Abel (Malkovich) has a reflection, Murnau, wearing a white strange preoccupation with children lab coat, sits down on the bed next and allows fate to guide his life in to Greta in a 3/4 shot and forcibly Germany during WWII after he is administers drugs to her. Murnau captured as a French prisoner of war. then begins filming again, while When Abel “discovers” the sexually
jur.rochester.edu 15 see any negative action that Abel audience feels distanced from Abel through the hybridization of classical may or may not have taken; Abel’s due to his reaction (see Shot-by-Shot- Hollywood and European Arthouse “concerned” actions preserve the Description). film styles, ambiguous identification viewer’s identification with him. In After Abel begins caring for the has led to a form of filmmaking this scene, however, the audience Hitler youth, he begins roaming seeking broad transnational appeal, identifies with the girl to a certain the countryside, looking for other often at the expense of the film itself. extent, as she is the obvious victim, children to join the movement. In a which is highlighted by the fact that full shot, for instance, Abel, wearing she is shown from a series of high a black cape with a black skullcap, Abridged Shot-by-Shot Description angle shots. The audience fails to be moves toward the camera, towed of Shadow of the Vampire. The full encouraged to identify with the darkly by his fierce black dogs who are on version can be found at jur.rochester. dressed Abel, both because viewers are leashes in front of him. In the scene, edu. uncertain about his possible sexual children run away from Abel with First Scene molestation and because he emerges expressions of fear on their faces. In a 1. (ECU) Out of focus shot, straight from dark shadows. Some viewers close up shot, viewers see the legs of a on angle. Rack focus to in focus shot may sympathize with his “concerned” child running left as the camera tracks of green eye. –cut actions, but ultimately the filmgoers with the movement. Immediately 2. (ECU) High angle of camera are uncertain of his actions. The afterwards, a similar close up is lens. The camera moves up and left, close shots of Abel, as well as what shown, except the black legs of a rotating around it. -cut could be termed point-of-view shots horse run to the left this time, chasing 3. (3/4 shot) Iris out. Black and of the girl, however, encourage the after the child. In this scene, there is white. High angle. Greta dangles ball audience to identify with Abel. From very little identification with Abel, as of string in front of kitten. Murnau Wood’s theory of identification, one he victimizes the children through does a voiceover. -cut presumes that because Malkovich pursuing them. Abel’s all-black attire 4. (CU) Slight low angle. Murnau is the most prominent actor in the and the color of the animals around looks toward camera, talking. -cut film, spectators identify with the him also cast Abel as the predator in 5. (3/4 shot) as 3. Murnau continues character he plays to a greater extent. this scene, as does Abel’s movement to talk. -cut 6. (CU) as 4. -dissolve Due to Abel’s questionable actions toward the camera. 7. (MCU) Low angle. Eddie Izzard and sympathy with the victim, the Malkovich once again generates ties his tie -dissolve audience maintains its mixed feelings ambiguous identification with the 8. (CU) as 4. -cut for Abel, as it does for the remainder audience in the film Der Unhold. 9. (Full) Low angle. Murnau stands of the film. Throughout the entire film, Malkovich next to the camera, as the rest of the In another scene in the film, the wears dark clothing and emerges from crew looks toward the camera. -cut audience initially identifies with Abel, darkness in many scenes, portraying 10. (CU) as 4. -cut but, at the end of the scene, becomes himself as a villain of the film. While 11. (3/4 shot) as 3. Iris in, shot turns distanced from the character. In the he helps support the Nazi movement to color. Camera moves up. -cut first shot, a close up of Abel entering and may have sexually abused a girl, 12. (Full) as 9. Murnau looks right, the cabin from the darkness outside, Abel does some admirable things as towards Wolf. -cut the tight frame and Abel’s action of well, such as attempting to save the 13. (CU) Straight on angle. Wolf squinting as his eyes adjust to the children’s lives when the Russians looks toward the camera, leaning on his. -cut light encourages the audience to approach and rescuing a fallen Jewish identify with him. Moviegoers also boy from certain death. The use of Second scene gain identification with Abel through point of view shots and lighting also 1. (MCU) Slight high angle. Camera the use of the point of view shots and help encourage identification with tracks right with Murnau’s movement. repeated tight close-ups during the Abel. The audience is uncertain of Murnau approaches the camera to a scene. Viewers and Abel also share a how to feel about Abel. CU while yelling at Orlock. -cut sense of consciousness as they discover In the new era of cinematic 2. (MCU) Slight low angle. Point of the fate of the birds at the same time. globalization, Malkovich has view shot. Orlock stands in the center The repeated shot/reverse shots become one of the most successful of the frame. -cut between Abel and what he is looking transnational actors to date, with 3. (MCU) Slight high angle. Murnau at also encourage identification. box office grosses and worldwide moves toward the camera. Camera While the audience also identifies fascination far beyond that of others. follows movement, tilting up, then with Abel because Malkovich plays In both Shadow of the Vampire and down and pans left. -cut 4. (MCU) as 2, but Orlock stands on him, viewers lose some identification Der Unhold, audiences fail to fully the left side. -cut with him when he attacks the captain. identify with Malkovich. This, 5. (MCU) Slight high angle. Murnau Instead of playing the victim, which however, is exactly what makes him paces left and right, and camera pans would further audience identification a successful transnational actor — his to the movement. -cut with Abel, he initiates an attack from ability to simultaneously encourage 6. (MCU) as 4. -cut which other prisoners of war have and discourage identification with 7. (MCU) as 5. Murnau turns toward to drag him away. In the end the the characters he plays. Generated the camera. -cut
16 Volume 3 • Issue 1 • Fall 2004 8. (MCU) as 4. Orlock laughs. -cut 9. (CU) Straight on angle. Murnau yells toward the camera and points his finger at it. His finger is out of focus. –cut 10. (M) Straight on angle. Orlock looks down and left as watery light reflects off his face. -cut 11. (MCU) as 7. -cut 12. (MCU) as 4, but Orlock looks right, then turns left, recoiling. -cut 13. (CU) as 9, except his finger is in focus while his face is not. -cut 14. (MCU) as 12 ended. -cut 15. (CU) Slight low angle. Profile of Murnau looking left in the right side of the frame while Orlock stands in the background, out of focus. -cut 16. (MCU) as 4. Orlock discusses ship. -cut 17. (CU) as 15. Murnau looks at Orlock, then focus changes to Orlock. -cut Malkovich as Basie in Empire of the Sun 18. (MCU) High angle. Murnau, looking shocked, questions Orlock. Golden watery light reflects on his movement. -cut imdb.com/Name?Malkovich, +John>. face. Camera pans left. –cut 41. (Full) as 36. Murnau paces across frame. -cut 5. Hirschberg, Lynn. “Being Any Number of 19. (MCU) as 16. -cut Versions of the Self He Has Invented.” The 20. (MCU) as 18 ended. Murnau 42. (MCU) as 16. -cut New York Times April 27, 2003, late edition. shouts. -cut 43. (Full) as 36. Murnau faces right in 21. (M) Slight low angle. Murnau, a profile shot. -cut 6. Maltin, Leonard. Leonard Maltin’s Movie facing away, shouts at Orlock. Orlock 44. (MCU) as 16. -cut and Video Guide 1994. Signet Book; 1993. looks down. -cut 45. (CU) Straight on angle. Slightly closer than a CU with Murnau’s face 7. Bravo Profiles: John Malkovich. Aired April 22. (MCU) as 16, looking down. - 25, 2003. cut on the left side. -cut 23. (CU) as 9. -cut 46. (MCU) as 16, Orlock facing left. 8. The Numbers. Nash, Bruce. jur.rochester.edu 17