I stroll along Prospect Park West at eight, a relatively early hour…for me, that is. I decided to take my time and drink in a little nature on the way. This is how New Yorkers stay connected to trees and grass. I detour into the park as joggers, cyclists and dog walkers pass by. I meet Thom walking from the other entrance clutching a very tall cup of coffee.
“So what’s on tap for today?” I ask.
“We’re doing the dinner scene. It’s the largest scene in the film with eight actors --- all the principles and supporting.” He replies. “My brother’s house is just across the street and the parlor floor is our set.”
At that very moment as Thom is telling me the history of the house a dog walker lets his large bulldog take a hot steamer literally within yards of us. Thom has his back to the park patron and his animal and I watch in glee to see how long it takes before the stench wafts our way.
“My brother has been restoring it for over a year and now that it’s finished he has graciously let us shoot inside for a day---OOOOHHHH JEEEEEES!” His face turns white and he literally runs from the spot. I don’t blame him as I am on his heels to find refuge from the offending poo. Once inside I am amazed at the grandeur of the home. Al and Lynn Milano have a spectacular mansion. And they are extremely generous to let a film crew and large cast take over for the day. The dining table is period correct and tiger oak with clawfoot legs. The room is huge with a balcony on four sides looking down on the dining area. The walls painted a sophisticated Victorian mustard, oak parquet floors and oak staircase with hand carved banisters. Suspended over the table is a Victorian chandelier with etched glass globes. Hardly any set dressing had to be done. I ask Stephanie if the dressers were here and what had been placed. She said the only thing they added were potted palms to hide any electrical outlets in the walls and two urns. The actors begin arriving and are sent to the front room where the rack of costumes are located and Ashley and her assistant help everyone into their formal wear. I take a moment and chat with Patrick.
“I see the dolly track is laid out and you have a camera op today.” I say.
“The entire scene which is about eight minutes long is going to be covered multiple times and constantly moving.” He says.
“Sounds like an Altman film.” I reply.
“That’s exactly what the director wants. And she made us watch Gosford Park so we’d understand perfectly.” He explains.
“I Love Gosford Park. Next to M*A*S*H and Nashville it’s one of his classics.” I say.
“I like The Player myself.” Pat comments and then he’s off to give orders to the crew. As the actors file out I notice how amazing everyone looks and how perfectly orchestrated the colors on each person fit. The men are in Victorian tuxedos with the exception of the gentleman playing Prince Albert Victor, Duke of Clarence portrayed brilliantly by Dennis Davies. The character is introduced in this scene and then never seen again in the film. I ask the director about this.
“I wanted to show that these people/characters are connected with royalty and that Richard Rhys is completely out of his element. He is invited for everyone else’s sport---except Victoria, of course. There was a scene in the script where Charles actually meets with Queen Victoria herself but we had to cut it because it would have been too expensive to set and costume dress. I needed a little bit of royalty to establish their connection instead of just hearing about it through dialogue.” She explains.
“I keep hearing rumors that the Prince may have been the killer.” I say.
“Back in the 1960’s there was a theory that Prince Albert Victor might have been Jack the Ripper. It persists today as a kind of urban legend. It is documented that Prince Eddie had an art studio in the Whitechapel area at the time and that he took painting lessons from a teacher and worked from live models that were probably hookers.” She explained. “He also contracted syphilis and by 1888 was declining in mental health due to the disease.”
“What do you believe?” I ask.
“Eddie was mentally challenged. Maybe even very mildly retarded. His sexuality was in question and so there never seemed to be any interest in women whatsoever and he seemed to be a follower and not a leader. I don’t think he was capable of the kind of murders committed by the perpetrator and I think the whole Royal cover-up is just high drama and myth. The only cover-up by the monarchy was the fact that he had syphilis. They claimed he died of the flu.”
“So who do you think it might have been?” I ask.
“In fact or in the movie?” She asks.
“In fact.” I clarify.
“There are two suspects that I think certainly could have pulled it off. One was Walter Richard Sickert, a well known painter of the time. He did a series of macabre paintings called the Camden Town Murders. What makes these paintings suspicious is that according to the police records of the time the details are so accurate that the art looks like crime scene sketches. Also the only original surviving letter from Jack the Ripper ---the imfamous ‘from Hell’ note---has a weave and watermark that is identical to a batch of letters that Sickert wrote during the time of the murders. The other suspect and most likely the actual murderer was a man named James Kelly who was emotionally unstable. He was an upholsterer in London. He got upset and went into a psychotic rage killing his wife by stabbing her in the neck. He was arrested and committed to an insane asylum outside of London. However, he escaped a week before the first Ripper murders began. Ship records indicate that he fled to the U.S. in November 1888 right after Mary Kelly’s murder. John Kelly returned to the insane asylum twenty or thrity years later asking to be readmitted. He confessed to a series of murders across the United States including New York, Texas and California. The dates in his confession correspond with newspaper articles about grisly murders in those very towns and states. No one ever connected the dots since he was always on the move.” She went on. I find it fascinating. Apparently there was a horrible murder on Pearl Street in lower Manhattan in 1891 of a prostitute nicknamed Shakespeare. According to the incisions and wounds on the body they were consistent, almost identicle with the Ripper murders in London.
The actors are in place and the crew is about to shoot the first master of the entire scene.
Jerry Marsini plays Vincent Morris a business associate and close confidant of Charles. He is hosting the dinner party in honor of Charles being chosen by the Queen to head the Department of Treasury. I understad that Richard was unaware that Victoria would be at the dinner gathering and he cannot help but be infatuated with her much to Catherine’s chagrin. In order to emasculate Richard, Catherine showers her affection on her sometime lover, Sophie Newhardt played wonderfully by the talented Sandra DeLuca. Richard is captivated by Victoria as the conversation steers toward the Ripper murders. Everyone at the table takes the upper class---hands off attitude to the crime. No one would believe that a gentleman could be responsible for such grisly killings. Richard counters by suggesting that perhaps the murders are being committed to get their --- the Upper classes---attention. Perhaps it is a cry for reform. This further intrigues Victoria while revealing Richard’s humble origins. His façade removed. To which Catherine says he would know what a hooker might feel. Uncomfortable tense silence. Catherine further emasculates and humiliates Richard to the point that he can longer be the target of their inside humor. He abruptly leaves. It is an ensemble scene and all the subtle connections between each character are wonderfully revealed. We know that Charles and Vincent are having an affair without any dialogue. It’s all in body language and suggestion. The Altman style of covering the scene only enhaces the ensemble aspect. Bravo to all the actors! During the lunch break the Director makes an announcement.
“We’ve had fifteen wonderful shooting days with Rebecca Damon and this is her last day! So let’s give it up for her.” She says.
Everyone stands and claps and a few woohoos from Eddie Joe.
“You are officially shot out and can have your life back!!! And Thank you!” She adds.
Whit gives her a well deserved hug as the crew moves the dolly track to the other side of the room. I decide that I’ll spend the rest of the afternoon with Justin but the question will still linger in my mind. Whodunnit!
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