Archive for the 'Animation' Category
The Adventures of Prince Achmed.
Kristin (with some help from David) here:
I approached 1926 with the assumption that it would present a crowded field of masterpieces; surely it would be difficult to choose ten best films. Instead it turned out that some of the greatest directors of the era somehow managed to skip this year or turn in lesser films. Eisenstein had two masterpieces in 1925 but no film in 1926. Dreyer made a film that is a candidate for his least interesting silent feature, The Bride of Gromdal. Chaplin did not release a film, and Keaton’s Battling Butler, while a charming comedy, is not a plausible ten-best entry. The production of Lang’s Metropolis went over schedule, and it will appear on next year’s list, for certain.
Still, the Soviet directors were going full-tilt by this time and contribute three of the ten films on this year’s list. French directors on the margins of filmmaking created two avant-garde masterpieces. Two comic geniuses of Hollywood already represented on past lists made wonderful films in 1926. A female German animator made her most famous work early in a long career. I was pleased to reevaluate a German classic thanks to a sparkling new print. Finally, Japan figures for the first time on our year-end list, thanks to a daring experimental work that still has the power to dazzle.
The Russians are coming
Vsevolod Pudovkin’s Mother was a full-fledged contribution to the new Montage movement in the Soviet Union. By the 1930s, that movement would be criticized for being too “formalist,” too complex and obscure for peasants and workers to understand. Nevertheless, being based upon a revered 1906 novel of the same name by Maksim Gorky, Mother was among the most officially lauded of all Montage films. It tells the story of a young man who is gradually drawn into the Russian revolutionary movement of 1905. His mother, the protagonist of the novel, initially resists his participation but eventually herself joins the rebellion.
Along with Potemkin, Mother was one of the key founding films of the Montage movement. Its daring style is no less impressive now than it must have been at the time. One brief scene demonstrates why. Fifteen years before Mother, D. W. Griffith was experimenting in films like Enoch Arden (1911) with cutting between two characters widely separated in space, hinting that they were thinking of each other. By 1926, Pudovkin could suggest thoughts through editing that challenged the viewer with a flurry of quick mental impressions.
As the Mother sits beside her husband’s dead body, her son, a participant in the 1905 failed revolution, comes in. He is about to bend down and open a trap-door in the floor (73 frames). A cut-in shows her horrified reaction (12 frames), and there follows a brief close shot of some guns she had seen him hide under the floor in an earlier scene (11 frames). Even shorter views of a man clutching his chest (8 frames), two jump-cut views of the dead husband (3 frames and 2 frames), and a tight framing of the son being shot follow (8 frames). We return to her face, registering even greater horror (15 frames). A return to the initial long shot shows her leaping up to try and stop her son from taking the guns out to participate in a seditious act (31 frames).
The series of five shots goes by in a few seconds, and we are challenged to grasp that the guns are a real memory, while the shots of the man’s chest and her son’s anguished face are visions of what might happen. The shots of her husband’s body suggest that she could soon end up sitting by her son’s corpse as well. The jumble of recollection, imagination, and reality are remarkably bold for this relatively early era.
Mother also contains two of Pudovkin’s most memorable scenes, the breaking up of ice in the spring as a symbol of the Revolution and the final violent attack on the demonstrators, including the heroine.
Mother was released on DVD by Image Entertainment in 1999, but it seems to be very rare. An Asian disc, perhaps a pirated edition of the Image version, is sold on eBay. I’ve never seen the film on DVD and can’t opine on these. The time is ripe for a new edition.
Pudovkin was one of the filmmakers who had studied with Lev Kuleshov during the early 1920s, when Kuleshov made the famous experiments that bear his name. Pudovkin played the head of the gang of thieves in The Adventures of Mr. West in the Land of the Bolsheviks, which I included in the ten-best list of 1924.
Kuleshov had moved on as well to direct his most famous film and probably his best silent, By the Law, based on Jack London’s story “The Unexpected.” Set in the Yukon during the gold rush, it involves five people who are cooperatively working a small claim and discover gold. Taking advantage of a warm autumn, they stay too long and are trapped for the winter. One of the men kills two of the others, and the heroine, Edith and her husband Hans are left to determine the fate of the killer, Dennin. Edith insists on treating him strictly according to the law. After enduring the harsh winter and a spring flood, the couple finally act as judge, jury, witnesses, and, after finding Dennin guilty, executioners.
The great literary critic and theorist Viktor Shklovsky (one of the key figures of the Russian Formalist school) adapted the short story, condensing it by eliminating the opening section of Edith’s backstory and a few scenes in which a group of Indians appear occasionally to help the prospectors. The result is a concentration on the tense drama of a three people trapped together in a tiny cabin.
In the 1924 entry, I mentioned that Kuleshov’s team emphasized biomechanical acting and that Alexandra Kokhlova was adept at eccentric acting. She delivers a bravura performance here, as Edith moves closer to a breakdown as the months go by.
Kuleshov also puts into practice the experiments in imaginary geography that his classes had made. Although in this film he didn’t unite shots made in widely separate spaces, he did favor scenes built up of a considerable number of detail shots before finally revealing the entire space in an establishing shot. Edith, for example, though glimpsed briefly asleep early on, is introduced in a later scene by a shot of her boots and Bible, followed by a shot of her head as she read the Bible. The scene also contains close shots of the other characters before a general view of the cabin interior shows where each of them is.
The scene of the execution includes one of the most famous images of the Monage movement, a framing with the horizon line at the bottom edge of the frame and the sky dominated by trees (see bottom). Any number of framings of tall features such as trees and telephone poles against a huge sky appeared in Montage and non-Montage films, and this device became so common as to be a trait of the Soviet cinema of the late 1920s and early 1930s.
The desire to hide the actual hanging led Kuleshov to stage is behind the larger of the two trees, as Edith and Hans struggle to carry out their sentence on Dennin. This leads to some eccentric framings, such as our view only of Edith’s legs as she teeters on the box where Dennin stands, presumably adjusting the noose (see top of this section).
A beautiful print of By the Law is available on DVD from Edition-Filmmuseum.
Grigori Kozintzev and co-director Leonid Trauberg did not study with Kuleshov, but they shared a passion for eccentricity. Having started out in the theater, in 1921 both contributed to the “Manifesto for an Eccentric Theater,” a dramatic approach based on popular forms like circus and music-hall. In 1922 they founded the “Factory of the Eccentric Actor” group and two years later transformed it into FEKS, devoted to making films.
The Overcoat (also known in English as The Coat), their second feature, was based on a combination of two short stories by Gogol, an author whose grotesque creations were very much in tune with their own tastes. It tells the story of a poor, middle-aged low-level government clerk, Akaky Akakievich, who is bullied over his shabbiness, particularly his worn-out overcoat. Scrimping to buy a new one, he finally purchases a magnificent new coat and finds his status suddenly raised–until the coat is stolen.
Andrei Kostrichkin was a mere twenty-five years old when he played the fiftyish clerk, but he was highly effective and provided another model of the eccentric actor. As Akakievich he stands with bent legs and twisted torso, as if flinching away from a blow, and walks in tiny steps along perfectly straight lines through the hallways in his office building. When he applies to a Person of Consequence for help in recovering his stolen coat, the official leans over his desk to look downward, with a high-angle point-of-view framing of Akakievich appearing dwarfed by the other’s superiority.
The script of The Overcoat was adapted by another Russian Formalist critic and theorist, Yuri Tynjanov.
Unfortunately The Overcoat does not seem to be available on any form of home video.
Petit mais grand
The IMDb lists 23 directing credits for Dimitri Kirsanoff from 1923 to the year of his death, 1957. He is largely remembered, however, for one film, the 37-minute Ménilmontant, a melodrama about the travails of two sisters orphaned as children by a violent crime. Each is later seduced by a callous young man who leaves the heroine a single mother and her sister reduced to prostitution. It belongs to the French Impressionist moment. (We deal with Impressionist films in other entries: La roue, L’inhumaine, L’affiche, Coeur fidèle, The Smiling Madame Beudet, Le brasier ardent, Crainquebille, and El Dorado, as well as DVD sets of Impressionist films by the Albatros company and by director Jean Epstein.)
The story itself is simple and indeed might be thought clichéd were it not for two factors. First, there’s the performance of the delicately beautiful Nadia Sibirskaïa as the protagonist. There’s also the lyrical, melancholy use of the settings, initially in the countryside and later in the desolate working-class Parisian district whose name gives the film its title. The simplicity of the narrative also makes it one of the most successful of the attempts to tell a story visually, eschewing intertitles.
The film’s most famous scene is its abrupt, shocking opening. With no establishing shot, there is a series of rapid shots of details of faces, hands, a window, and an ax, during which we can barely discern that a man has committed a double murder. The spectator cannot possibly know who these people are and why the murders occur.
Instead of offering an explanation, the action then shifts to two little girls playing in the woods. As they return home, the camera begins to concentrate on one of them, apparently the younger, as she arrives at the murder scene and reacts in horror. Kirsanoff presents her expression in a series of five shots, linked by what David has termed axial cuts, from medium shot to extreme close-up as she gradually realizes what has happened.
There had certainly been axial cuts before this, including in Potemkin, but Kirsanoff probably went further than anyone of the era by including so many shots, by making each so short, and by moving his camera forward in such small increments. It is difficult to notice every cut, particularly the one from the third to the fourth shot, and the effect adds an unsettling quality to an already intense moment.
After this opening, a funeral scene reveals through labels on the grave that the murdered man and woman are the children’s parents. We might have suspected that the killer was a jealous husband discovering his wife with her lover. As it is, we never learn whether the crime was the result of a love triangle or the random act of a madman.
The rest of the film establishes the sisters now grown up, working in a workshop making artificial flowers and sharing a small flat in Menilmontant. The heroine’s brief romance leads to a baby, and superimpositions and other Impressionist techniques depict her despair and contemplation of suicide. Beautifully melancholy atmospheric shots of the streets of the neighborhood punctuate the action and underscore the dreariness and hopelessness that the heroine faces. The ending, though an improvement in the heroine’s lot, does little to dispel the overall grimness of the story.
Menilmontant is included in the out-of-print set “Avant-garde – Experimental cinema of the 1920s & 1930s.” It has been posted twice on YouTube in a low-rez format.
Even shorter is Anémic cinéma, the only venture into film directing by the great French Dadaist, Marcel Duchamp. It’s hard to compare a roughly seven-minute abstract film with narrative features, but this short is so innovative and influential that it’s also hard to leave it off the list.
Duchamp went through a phase of spinning artworks, including some “Rotoreliefs” that he attempted to sell as toys. These were similar to some Victorian optical toys, such as the Phenakistopscope and the bottom disks of Zoetropes. See Richard Balzer’s website for a collection of such devices, as well as “The Richard Balzer Collection” on tumblr, which contains gifs that animate some of the disks, done by Brian Duffy. Some of these resemble the spinning spirals and embedded circles that Duchamp used for his short. (See the top of this section.)
These spinning abstract circular images alternate with slowly spinning disks with sentences laid out as spirals. These involve either alliteration or puns or both. Unfortunately the English subtitles cannot render these in a way that conveys the original intent. For example, “Esquivons les ecchymoses des esquimaux aux mots exquis” becomes “Let us dodge the bruises of Eskimos in exquisite words.” The meaning is the same, and even the echo of the first syllables of “Eskimos” and “exquisite” is retained. Nevertheless, the similar syllables in two other words in the original are lost, as are the echoes of “moses,” “maux,” and “mots.” It is rather as though someone attempted to render “Peter Piper picked a peck of pickled peppers” into another language quite literally. (The Wikipedia entry includes a complete list of the sentences in French.)
Duchamp’s purpose was presumably to create an artwork with minimal means, including quasi-found objects, the disks he had made for another purpose. His idea is clearly reflected in the title, Anémic cinéma, which suggests a weakness or thinness of means. “Anémic” is also an anagram for “cinéma.”
Anémic cinéma is available in the same collection as Menilmontant, linked above. it is also available in the similarly out-of-print set, “Unseen Cinema.” There are numerous versions on YouTube, varying in quality. Some of these have been manipulated by other artists.
Lloyd and Lubitsch
Though Chaplin and Keaton might have had off-years in 1926, Harold Lloyd did not. Over the past several years, Lloyd has gradually been gaining the admiration he deserves. He used to be known largely for Safety Last (1923) and The Freshman (1925), two excellent films which, however, are not his finest. Girl Shy (1924) and The Kid Brother (1927) are better known now for the masterpieces they are. For Heaven’s Sake (directed by Sam Taylor), which clocks in at a mere 58 minutes, is just as good.
Lloyd plays a breezy millionaire, J. Harold Manners, who unintentionally helps Brother Paul found a mission in the downtown slums of Manhattan. He falls in love with Hope, the missionary’s daughter, and decides to help out around the place. By this time Lloyd was known for his spectacular chase scenes, and there are two here. Initially he puts a twist on the chase, luring a growing crowd of criminals into racing after him, ending in the mission. Gaining their respect, Harold makes the mission a happy social center.
The romance provides one of my favorite comic intertitles, leading into a love scene: “During the days that passed, just what the man with a mansion told the miss with a mission–is nobody’s business.” The love scene in turn includes a visual joke that emphasizes the rich boy – poor girl contrast.
Harold’s rich friends hear that the pair are to be married and determine to kidnap him to prevent the inappropriate match. The result is a lengthy chase through the streets of Manhattan, with the drunken thugs rescuing Harold and using a variety of means to get him back to the mission in time for the wedding–as when the drunken leader of the group demonstrates his tightrope-walking abilities on the upper railing of a double-decker bus (see above).
Two years ago, when I put Girl Shy on my list, the New Line Cinema boxed set of Lloyd films was out of print and hard to find, and the separate volumes appeared to be going out of print as well, with Volume 1 not being available at the time. The situation has changed, and the boxed set, though apparently still out of print, is now available at reasonable prices from various third-party sellers on Amazon and Barnes & Noble. The set contains a “bonus disc” with extras, including interviews and home movies. The same is true for the three individual volumes (here, here, and here). For Heaven’s Sake is in Volume 3.
Inevitably, coming directly after Lady Windermere’s Fan, probably Ernst Lubitsch’s greatest silent film, So This Is Paris does not quite live up to its predecessor. Still, it’s a very fine, clever, and funny film, and it marks Lubitsch’s last appearance in these lists until sound arrives.
The opening scene, running nearly twenty-five minutes, is as good as anything Lubitsch did in this era. Set in Paris, it’s a slow build-up of misunderstandings and deceptions involving two affluent couples in apartments across the street from each other. One couple, Maurice and Georgette Lalle, are practicing a melodramatic dance in Arabian costumes. Their marriage seems to be a rocky one. Across the street, Suzanne Giraud is reading one of the lurid “Sheik” novels that were popular at the time, involving “burning kisses” in its final scene. Put into a romantic mood by this, she looks out her window and sees the head of a man in a turban at the window opposite–Maurice relaxing after his strenuous rehearsal.
Her husband Paul arrives home, and she kisses him passionately. Apparently not used to such affectionate greetings, he is puzzled until he, too, looks out the window. By now Maurice has doffed his turban and necklaces and appears to be not only naked but also examining a piece of his anatomy.
Paul jumps to the conclusion that this sight is what caused Suzanne’s unaccustomed display of passion. He calls her to the window, and we see Maurice in depth through the two windows.
Suzanne then asks if Paul is going to stand for such a thing, and he goes to the other apartment to confront Maurice. Instead he finds Georgette, who turns out to be an ex-lover of his. She introduces him to Maurice, who is very friendly and charms Paul. The latter who returns home and claims that he has beaten Maurice and even broken his cane on him, though in fact he had simply forgotten it. Shortly thereafter Maurice visits Suzanne to return the undamaged cane and takes the occasion to flirt with her. It’s a beautifully plotted and developed farcical scene. The film is based on a French play and could easily have become stagey in its adapted form. Yet the byplay between the two apartments via the windows allows Lubitsch to avoid any such impression; the misunderstandings based on optical POV recall the racetrack scene of Lady Windermere.
The rest of the film develops the two potentially adulterous affairs, primarily with Paul secretly taking Georgette to the Artists’ Ball. Here Lubitsch uses an elaborate montage sequence to convey the wild party, with superimpositions and shots taken through prismatic lenses.
Such sequences were primarily developed in German films and were still fairly rare in American ones in 1926. Similar techniques convey Paul getting drunk on the champagne he and Georgette are awarded when they win a dance contest–the announcement of which on the radio broadcast of the ball alerts Suzanne to her husband’s presence there with another woman.
So This Is Paris is less famous than Lubitsch’s earlier American comedies primarily because it has never appeared on DVD. Marilyn Ferdinand, in a blog entry that gives a detailed description of the film, writes that Warner Bros. claims not to own the rights to the film anymore and therefore has made no effort to bring it out on home video. On the other hand, a four-minute excerpt of the dance montage sequence was included in the Unseen Cinema set (disc 3, number 18), and the credit there is “Courtesy: Warner Bros., Turner Entertainment Company.” Whatever the rights situation is, a home-video version of this film is in order. A beautiful 35mm print is owned by the Library of Congress, so there is hope.
Two German flights of fancy
I must confess that I was disappointed the first time I saw F. W. Murnau’s Faust, and I have never warmed up to it in later viewings. I am delighted at having occasion to look at it again for this 1926 list, since a recently discovered and restored print reveals that the main problem before was the poor visual quality of the print formerly in circulation.
Different local release prints survived in a number of countries, but there were basically two original versions made: the domestic negative for German release and the export negative. These were shot using two camera side-by-side on the set, as was the standard practice in much of the silent era, given the lack of an acceptable negative-duplicating stock. The primary camera contributed most of the shots to the domestic negative, though in some cases where the second camera yielded a superior take, that was used in the domestic negative. Conversely, inferior takes from the primary camera sometimes made their way into the export negative. The result, as we now know, was that both the visual quality and in many cases the editing of the scenes was markedly different in the two negatives.
The version familiar for decades originated from the export negative. Recently the domestic negative was rediscovered, and the Friedrich Wilhelm Murnau Stiftung restored the that version using the that negative, supplemented with material from a variety of other prints. The result closely approaches the original German release version, including the original decorated intertitles. The contrast in quality between this restoration and the old, familiar Faust is remarkable.
Given how dark the film is, details in the backgrounds could easily be lost. The scene in which Faust is called to help a woman dying of the plague is revealed to have dramatic staging in depth against a very dark room contrasted with the stark foreground underlighting of the woman’s haggard face. Faust enters from behind the daughter and comes forward to her, after which his movement is balanced by the daughter retreating into that same dark background.
The famous aerial journey of Mephisto and Faust from Germany to Italy (below left) always looked rather hokey, but the detail revealed in the extraordinarily extensive model makes it far more impressive. Similarly, when one can actually see the sets, visual echoes become apparent. For example, Faust first encounters Gretchen and follows her into the church, where he finds himself barred from entering by his pact with Mephisto. Later, when Gretchen has been abandoned, she laments when not permitted to enter there.
No doubt some motifs of this sort were visible in the earlier print, but their clarity here enhances both the beauty and the craft of Murnau’s film.
Faust is available in several editions on DVD and Blu-ray. DVDBeaver ran a detailed comparison among seven of these, including a selection of frame grabs. To my eye, the 2006 DVD “Masters of Cinema” version of the domestic print, released by Eureka!, looked the best. (The two-disc set also includes the export version.) The Blu-ray from the same source, released in 2014, looked slightly darker. The box for the Blu-ray also includes the DVD, however. These releases are Region 2. The film is available on Blu-ray in the USA from Kino.
Both Eureka! releases’ supplements include a booklet, a commentary track, a Tony Rayns interview, and a lengthy comparison of the domestic and export versions. One particularly striking example is drawn from the scene in which Mephisto talks with Gretchen’s brother in a beer hall, with the domestic version on the left.
While watching Faust, I kept grabbing frames, far too many to be used in this entry. They were simply too beautiful or impressive to be passed over, and they made my final selection of illustrations difficult. The only other film for which this was true this year is Lotte Reiniger’s silhouette-animated feature, The Adventures of Prince Achmed. The restored, tinted print that is currently available is even lovelier than the older black-and-white version.
Reiniger seems to have invented the use of jointed silhouette puppets, and she still is the first artist one thinks of in relation to this form of animation. She continued to practice it until the 1970s. (See the link below to a collection of many of her short films.) Her one feature film remains her most famous and is probably her masterpiece.
It involves far more than simple black figures moving against a light background. As the frame at the top of this entry shows, her characters, furnishings, and locations, all rendered in paper with scissors, were often elaborate indeed. Characters wore feathers, jewelry, fancy wigs, and other decorative elements. The hanging platform has many little tassels, and the lamps are rendered in delicate filigree. The backgrounds are not blank but have varying layers of saturation that suggest a depth effect, the equivalent of atmospheric perspective. At the left in the top image, a series of identical curtains start out a dusky orange and in three stages lighten until there is a bright, solid glow at the center.
In the frame at the left below, the same sort of shading creates the depth of a cavern, setting off the tracery of the foliage and the kiosk in which the hero finds the magic lamp. On the right, very simple shading suggests a vast and elaborate palace in the background, while Reiniger fills the foreground with many small figures, all marching out to surround the procession of the caliph.
By choosing a classical fantastic tale, Reiniger found the perfect subject matter to fit the technique that she invented. Both the subject matter and the sophistication of the animation give her films a timeless look. Her reputation remains high today as a result. One scene in Harry Potter and the Deathly Hallows Part 1, “The Tale of the Three Brothers,” was made in a style inspired by Reiniger’s work. (I discuss it here.)
A restored, tinted version of The Adventures of Princes Achmed is available from Milestone. A combination Blu-ray/DVD release of the film is available from the BFI. (I have not seen this version.) Note that these have somewhat different content. The BFI version has five Reiniger shorts from across her career along with a booklet. The Milestone version has only one of the shorts, but it includes a documentary about Reiniger. (This documentary was on the 2001 BFI release of the film on DVD but is not listed among the extras on its Blu-ray.) See also the BFI’s collection of many of her shorts, “Lotte Reiniger: The Fairy Tale Films,” which I discussed here.
[Dec 27: Thanks to Paul Taberham for pointing out that Prince Achmed also has no intertitles and gets along without them very well.]
Into the asylum
Few western viewers of 1926 saw any Japanese films, but Japanese audiences had been watching imported films for a long time. Hollywood films could easily be seen in the big cities, and The Cabinet of Dr. Caligari (released in 1922), La Roue (released in early 1926), and other films from Europe had made a strong impression on local filmmakers. One fruit of this influence was the wild Page of Madness (Kurutta ichipeiji, aka “A Crazy Page”).
Directed by Kinugasa Teinosuke and based on a story by the renowned experimental writer Kawabata Yasunari, the film bore the influence of German Expressionist and particularly French Impressionist cinema. Page of Madness set out to be a bold exercise in subjective filmmaking. But it wasn’t widely seen at the time, and wasn’t revived until 1971, when Kinugasa discovered a print in his house (reportedly, among cans of rice). Apparently the version we have is slightly edited.
A woman has been confined to a madhouse, and her husband has taken a job as a janitor there to stay in touch with her. Many of the scenes are presented as the hallucinations of the wife and other inmates, while abrupt flashbacks attached to the husband fill in the past. But this story is terribly difficult to grasp. There are no intertitles (perhaps an influence of The Last Laugh, shown in Japan earlier in 1926), and the film is a blizzard of images, choppily cut or dissolving away almost subliminally.
Viewers of the period had the advantage of a synopsis printed in the program, and there was a benshi commentator accompanying the screening to explain the action. Because we lack those aids, the film seems more cryptic than it did at the time. Even when you know the story, though, Page of Madness often surpasses its foreign counterparts in its free, unsignalled jumps from mind to mind and time to time. It remains a powerful example of narrative and stylistic experiment, from its canted framings and single-frame cutting to its frenzied camera movements and abstract planes of depth (thanks to scrims à la Foolish Wives, 1922).
For nearly fifty years it has remained a milestone, a grab-bag of advanced techniques and likely the closest Japan came to a silent avant-garde film.
Page of Madness is not commercially available on home video. It is occasionally shown on TCM, and a reasonably good print is on YouTube. Aaron Gerow’s A Page of Madness: Cinema and Modernity in 1920s Japan is an indispensable guide to Kinugasa’s eccentric masterpiece.
By the Law.
The Red Turtle (2016).
Recently this blog passed its tenth anniversary. Our first modest entry, on Christine Vachon’s book A Killer Life, was posted on September 26, 2006. The second was “A film festival for all seasons,” the first of David’s five reports on that year’s Vancouver International Film Festival, where he was a judge in the Dragons and Tigers competition for young Asian directors. Since then we both have come to VIFF nearly every year. Its organizers and staff are always welcoming and we can see lots of films in a relatively relaxed atmosphere free from the red carpets, the markets, and the celebrities that make some of the bigger festivals difficult to navigate. We’re delighted to be back in Vancouver now, reporting on its rich array of offerings for a tenth time.
Canadian-born, New Zealand-bred, New York-dwelling director Alison Maclean gives us The Rehearsal (2016), her first feature since her best-known film, Jesus’ Son (1998). In between she has been primarily working in television, including episodes of Sex and the City and The Tudors.
The film begins with an image of an Asian woman in a blonde wig and ultra-high-heel shoes facing directly into the camera and miming a tennis game (see bottom). Such an arresting opening is a wise move, since the film’s early portions are mostly expository. The opening introduces Stanley, a young Maori man who gains acceptance to a high-pressure, prestigious drama school, despite his apparent lack of the necessary talent and drive. Overcoming his initial listlessness, Stanley gradually bonds with his classmates. He also blossoms somewhat under the tough-love approach, sometimes verging on cruelty, that is the policy of Hannah, the demanding head of the school (Kerry Fox, above, best known for playing Janet Frame in An Angel at My Table).
The opening image turns out to be a flashforward to a rehearsal of an original playlet that Stanley and a group of teammates must put on at the end of the school year. For their story they seize upon a current local scandal in which a tennis coach has had an affair with an underage pupil. Stanley has begun dating the girl’s sister Isolde, which gives him knowledge about the situation that the group incorporate into their play. The main suspense arises from Stanley’s failure to tell Isolde what his team is up to, despite the fact that inevitably she will find out. More drama arises from the effects of Hannah’s harsh methods on the students, particularly Stanley’s vulnerable roommate.
The Rehearsal currently has no American distributor but will play on October 5 at the New York Film Festival.
The Confessions (Le Confessioni)
Early in The Confessions a spectacular drone shot follows a moving car from above the treetops. Eventually the car arrives at a driveway crowded with news photographers, and the camera leaves it to reveal a huge modern hotel and then move beyond it over ta body of water. Though not as flashy, the rest of the film has the sort of lush cinematography (above) and rich musical score that are familiar from such other recent prestigious Italian productions as The Great Beauty.
The plot involves a sort of bitter parody of a G8 meeting, with eight representatives of major countries meeting under the guidance of the head of the International Monetary Fund. They are preparing to execute some sinister plan, under the guise of “creative destruction,” that will solve a current international financial crisis in a way that will benefit rich countries at the expense of the poorest ones. Daniel Roché, the head of the IMF, has also invited an Italian monk, Roberto Salus (played by Tony Servillo, so memorable in The Great Beauty and especially Il Divo), to attend.
The reason for Salus’ presence is not clear, though Roché requests him to hear his first confession in twenty years. Roché is soon found dead. It’s apparently a suicide, but some of the finance ministers attending the meeting seemingly try to eliminate Salus by casting him under suspicion of murder. The film turns into a cat-and-mouse game, with each seeking out Salus for devious conversations, punctuated with tantalizing flashbacks that gradually reveal what Roché had revealed during the confession scene.
Although on the surface the film seems to be developing into a thriller, it is too playful to be taken entirely seriously, and the wise, reserved Salus always delivers the final sardonic comic topper in his exchanges with each of the villains. There is even a suggestion of a sort of magical realism at a few points. Ultimately The Confessions is a somewhat uneasy mixture of genres but a highly entertaining one.
The Red Turtle
In the early days of the blog (December 10, 2006), I wrote an entry claiming that in contemporary cinema, animated films are on average more likely to be stylistically superior to live-action ones. Animated films have to be intensively pre-planned, including recording soundtracks in advance. Such careful preparation, which eliminates the easy reliance on “coverage” and limits changes in post-production, imparts a rigor and care that are too often missing in live-action features. Two experiences with animated films here at Vancouver reinforce my point.
David and I agree that The Red Turtle is a standout among the films we’ve seen so far. It’s an animated feature by Michael Dudok de Wit, the Dutch animator who won the animated-short-film Oscar in 2000 for Father and Daughter. The Red Turtle won a Special Jury Prize at Cannes this year. It also has Studio Ghibli’s name attached, which might lead to some raised eyebrows.
Studio Ghibli’s three legendary animators all retired in recent years: Hayao Miyazaki, after The Wind Rises (2013); Isao Takahata, after The Tale of the Princess Kaguya (2013); and Hiromasa Yonebayashi, after When Marnie Was There (2014). Rumors that the studio would shut down fortunately proved false, despite the fact that its crew of animators was disbanded. The Red Turtle is the first film to bear the Studio Ghibli name since Marnie. The studio, not Dudok de Wit, initiated the project, and perhaps it will henceforth support occasional hand-picked productions like this one.
Though The Red Turtle uses traditional cell animation, it does not particularly imitate the studio’s familiar style Nevertheless, the film is far from being a radical departure from its previous output. For one thing, The Red Turtle is vitally concerned with the depiction of nature. It opens with a storm that drives a single survivor from a shipwreck onto the beach of a small island, uninhabited by humans. His first contact with living things there comes when a curious sand-crab crawls up his pant-leg, and a group of these crabs provides touches of comic relief throughout.
Three times the unnamed man tries to escape aboard bamboo rafts (above), but each time a large red sea turtle destroys his craft (see top) and forces him back to the island. In the story’s first fantastical event, the turtle transforms into a woman, and the two soon fall in love, Adam and Eve in a sparse Garden of Eden. They gain a son, a tsunami introduces a note of threat into the idyllic depiction of nature, and ultimately they face mortality. The simplicity and fantastical elements of the story would be perfectly convincing as a rendition of an existing myth, but the story is completely Dudok de Wit’s invention.
The three human figures are drawn very simply and look like they were rotoscoped, though I can find no confirmation of that online. The depiction of the natural landscape and the creatures that inhabit it are, however, stunningly beautiful. Without attempting a photorealistic look, Dudok de Wit’s team have captured the look and movement of sunlit seawater, the rhythmic rustling of leaves, and even the differences in color between the exposed and the submerged surfaces of woolsack blocks of granite at the ocean’s edge. It is almost as if they have managed to rotoscope all of nature.
The classic films by the main directors at Studio Ghibli are more elaborate and complex than The Red Turtle, but the new film suggests that the studio will maintain its high standards in its future productions.
The Red Turtle was bought by Sony Pictures Classics and is scheduled for a mid-December American release.
Window Horses (The Poetic Persian Epiphany of Rosie Ming)
While The Red Turtle is a high-profile animated film, Window Horses originated as an Indiegogo project. Its success in that campaign led Sandra Oh to back the film, signing signed on as a producer and providing the voice of the film’s heroine. The project gained additional support, including by the National Film Board of Canada. Still, it is likely to remain largely a festival item (it premiered at the Annecy International Animation Film Festival), with only a limited theatrical release in Canada early next year. (Information on that release is not yet available online, but news will presumably be posted on the film’s website.) It exhibits a lively imagination and stylistic sophistication that deserve a wider audience, which with luck it will achieve via streaming.
The story centers on Rosie Ming. With her Chinese mother dead and her father having apparently abandoned his family to return to Iran, she lives in Vancouver with her maternal grandparents. A self-published book of her verses leads to an invitation to a poetry festival in Shiraz. Donning a full chador in the hopes of fitting in, she finds herself surrounded by women wearing simple scarves and vibrant clothing.
The animation itself is colorful, with stylized faces that are vaguely reminiscent of Picasso (as in the tour-bus scene, above). Rosie stands out in her utter simplicity, rendered as a black-clothed stick figure with a round, white face sketched in only by eyes and, when she speaks, a mouth. Recitations of poems are accompanied by scenes of animation is a variety of styles, contributed by such animators as Kevin Langdale, Janet Perlman, Bahram Javaheri, and Jody Kramer.
Overall, it is an engaging and entertaining film, showing how much an independent filmmaker can do with limited means. In that it reminds me of Nina Paley’s Sita Sings the Blues.
Films that have particularly impressed us so far include Pablo Larrain’s Neruda (playing again on October 9), Cristian Mungui’s Graduation (playing again October 5 and 11), and above all Terence Davies’ A Quiet Passion (playing again on October 9). We’ll be blogging about these and others over the next several days.
The Rehearsal (2016).
Carl Barks, Ghost of the Grotto (1947).
We never need an excuse to write about comic strips or comic books. We’re fans and, just as important, we think of them as having important connections to film. We’re particularly fond of classic funny-animal comics, from Krazy Kat (the greatest) onward. So I got a double dose of pleasure reading Mike Barrier’s Funnybooks: The Improbable Glories of the Best American Comic Books. It taught me a lot about the history of some favorites, and it set me thinking about some overlaps and divergences between film and graphic art.
No Girls Allowed
Like Mike’s Disney book The Animated Man, Funnybooks is at one level a scrupulously researched business history. It explains how publisher Western Printing and Lithography (of Racine, WI) became the center of a thriving industry. Before the mid-1930s the company’s juvenile line came out chiefly under the Whitman imprint. Its illustrated storybooks licensed characters from Disney and comic strips like Dick Tracy and Little Orphan Annie. But Hal Horne and Oskar Lebeck pushed toward creating comic books proper, those inviting items that could compete with the superhero titles that were emerging. Their instincts were sound: Western’s comics, distributed by the Dell company, sold hundreds of thousands of copies.
After several tries at compiling daily comic strips into a single volume, Lebeck turned to original content. In the early 1940s he hired Walt Kelly, Carl Barks, and John Stanley. All had worked in film animation (Kelly and Barks for Disney, Stanley for Max Fleischer), but they adjusted to the demands of more static cartoon art. Into the rise and fall of Western and Dell, Barrier weaves the personal stories of the three creators and their less famous peers. Funnybooks is at once industrial history and a collective biography.
John Stanley, the least known of the trio, was brought on to do stories of Little Lulu, the stolid, crisply-curled girl created by Marjorie Buell. Stanley wrote and drew the entirety of the first book in 1945. The cover presents a heroine as blank as Hello Kitty and a background grid as febrile as a Chris Ware design. Afterward, Stanley chiefly served as writer on the Lulu stories, providing other artists with detailed scenarios and sketches. The panels might be somewhat stiff, but the plots were admirable. Often turning on mean childhood pranks, they were steeped in spite and petty revenge.
I remember enjoying Lulu’s stories, especially their verbal comedy. When Tubby (I think it was) hits Lulu with a pie, he says, “I’ve thrown a custard to her face.” Lulu replies: “I liked breathing out and breathing in.” This was probably a post-Stanley passage, but the fact that I’ve remembered it for sixty years indicates the ways grown-up jokes can stick in the unformed brain. (I knew Boris Badenov before I knew Boris Godunov.)
Mike is very good on the bitter humor that Stanley puts on display as Lulu and her girl pals skirmish with Tubby and his gang of sexist bullies.
His characters were never vulnerable to the suggestion so often made about the children in Charles Schulz’s comic strip Peanuts—that they were adults masquerading as children. They were instead children whose quarrels and schemes echoed adult life.
Lulu evolved, Mike shows, into a trickster who constantly showed up the boys, even as she herself was sometimes slapped down. In one story a rich boy, seeing Lulu longing for pastries in a shop window, doesn’t consider buying her one. Instead, he buys the shop and drops the shade on the window. Walking away on his golden stilts, “he felt very happy because now the poor little girl wouldn’t have to look at things she couldn’t buy.” Another compassionate conservative.
Stanley drew many other characters, including Bushmiller’s Nancy and the ingratiating Melvin Monster. His career fizzled out when comic-book publishing hit hard times in the 1950s. He wound up working in a factory that made aluminum rulers.
Walt Kelly fared better. In the beginning he he worked on many series but he gained fame with his own creation, the enduring swampland of Pogo Possum and his friends. “Ensemble comedy,” Mike calls the remarkable menagerie Kelly assembled.
At first speaking in mangled Southern accents, Pogo, Albert the Alligator, Porkypine, Howland Owl, Churchy la Femme (another joke passing over kids’ heads), and a host of other creatures developed a patois as bizarre as the rodomontade you hear in Coconino County. Characters sang nonsense songs, recited garbled poetry, and engaged in pun-filled miscommunication. The wordplay was enhanced by lettering adjusted to different characters, notably the Gothic script associated with Deacon Mushrat and the circus-ballyhoo font employed by con artist P. T. Bridgeport.
Slapstick went along with the verbal pyrotechnics. Kelly’s fluid line created complex equivalents of movie pratfalls, each one enlivened by fussy details (check the bear’s glasses below) and punctuated by unique sound effects. Barrier reports that in one Kelly comic, a cannon explodes with the sound “FRED.”
In all, eccentricity was the watchword, usually accompanied by food, or characters trying to get it. Albert had a disconcerting habit of accidentally eating his friends. Any of the crew might launch into retelling a classic children’s story featuring the entire cast. These were fairy tales not so much fractured as splintered. In all, it’s astonishing how many pictorial and verbal gags Kelly could cram into four daily panels.
Kelly, a superb draftsman, learned the secret of round forms in his Disney days, and Mike traces how this tendency toward cuteness helped make Pogo a success. But Kelly also had a nutty sense of humor that set him apart from other Western/Dell artists. Mike surveys Kelly’s range, from liberal political cartoons to Our Gang comics, and he treats with care how Kelly’s work included both racial caricatures and more affirmative images of African Americans.
Mike shows how Kelly’s talents outgrew the Dell family. As Pogo and his pals became more popular with intellectuals, the comic-book format proved a rickety vehicle for the artist’s ambitions. Kelly shifted his energies toward daily and Sunday strips that attracted nation-wide attention, not least for satirizing Joseph McCarthy and the Jack Acid (aka John Birch) Society. Pogo’s swamps, I thought at the time, became the liberal counterweight to Al Capp’s reactionary Dogpatch. Like Doonesbury and Calvin & Hobbes later, the dailies became incorporated into best-selling books published by Simon & Schuster. Those collections, to be found on every college kid’s bookshelf in the 1960s and 1970s, made Pogo as much a part of the official counterculture as Frodo Baggins. “We have met the enemy and he is us” became the slogan of a generation.
A peculiar affinity with those damn Ducks
If Funnybooks has a protagonist, it is Carl Barks. No wonder. Unlike Stanley, he both wrote and drew his books. Unlike Kelly, he was anonymous. A modest worker prized by all who knew him, he simply spent year after year turning out the beautifully crafted adventures of Donald Duck, Uncle Scrooge, and their associates. He was, it seems, born to make funny-animal comic books.
Mike Barrier is a long-time Barksian. His 1981 Carl Barks and the Art of the Comic Book is at once a biography, an appreciation, and a catalogue raisonné of this master of precision artwork. The new book fits some of Mike’s earlier arguments into the wider tale of Western and Dell, but he has also deepened his ideas about the nature of Barks’ achievement. He is able to expand his recognition of Barks’ gift for characterization, mood, and emotional expression.
Instead of merely recycling an iconic character from the Disney animated shorts, Barks gave Donald his own town, Duckburg, populated by a new cast of characters—Gyro Gearloose, Gladstone Gander, the Beagle Boys, and others. Barks, it seems, gained this creative freedom because everyone at Western admired him. Mike quotes one old timer who calls Barks “the genius of the group. . . . He had a particular affinity with those damn Ducks.” Barks once thought he could support himself raising chickens. Fortunately for us, he turned his poultry fascination to comic books displaying elegant storytelling.
Here’s where Mike set me thinking about some relations between film and comics. He points out that a panel often needs to convey the passage of time—not through movement, as in film, but through devices for suggesting interplay among characters and their environment. The staging of the action, the composition, and the placement of dialogue balloons all create a rhythm of reading. Whereas Japanese manga can split an instant into many single, striking images (and thus create very long books), American comics developed ways to suggest the ripening of the story, moment by moment, within each panel.
My last Pogo panel featuring the self-aggrandizing hound Beauregard is a good example.
Without the balloons, the image would be a snapshot, but the balloons produce a temporal flow. The most prominent balloon, filling about a quarter of the frame, reports the frog urging Beauregard to jump. The next balloon that we notice, snuggled against the first, shows the bug trying to exploit the rescue (“Step right up”). Farthest right, Beauregard replies to the bug, talking diagonally past the frog. The speeches are the usual Kelly demotic, incorporating low slang, literary references, and pompous rhetoric, and the order in which we read them and attach them to action accentuates the differences in diction.
Barks could create this sense of rhythmic duration with his ready-made chorus of Huey, Dewey, and Louie. In this panel from “Frozen Gold” (1944), the cascade of balloons assumes a left-to-right reading and creates a pulse capped by Donald’s brusque reply.
Most panels don’t create such a dense sense of time unfolding. That is more commonly achieved through several panels depicting a stretch of action. Or sometimes inaction. In a wonderful passage, Mike discusses how Barks uses a pause to suggest Donald’s growing guilt feelings after sending the odious Gladstone to the North Pole. At first he gloats, but then in a series of panels he starts to question what he’s done.
Barrier takes this page as a turning point in Barks’s evolution as an artist. Eight panels, some without action. convey a deepening psychological state, capped with an image of Donald crushed by his imagination of what could happen to Gladstone. The sense of food stuck in Donald’s craw is nicely hinted at by two motion lines near his neck.
Instead of stretching action by a pause, the artist can accelerate it through ellipsis. Here’s a lovely Barks passage from “Christmas on Bear Mountain” (1947) that’s somewhat filmlike, and yet not. Huey, Dewey, and Louie are checking out a snowstorm and Donald approaches with his telescope. The suggestion is that he approaches their window from off right, with only a few steps until he gets there.
Now comes the first ellipsis: The boys have left the window, and Donald is already spotting what he thinks is a bear. This is very concise storytelling. A sharp change of angle shows another ellipsis: the boys are back at the window identifying the squirrel.
In the “cut” between panels 3 and 4, Donald has disappeared. Where’d he go? The next panel shows us.
The jumps in time are covered by the smoothly varied compositions: 1 and 2, sitting side by side, flow neatly, while 3 and 4, overlapping pictorially, actually cover a time gap. The gap is filled by panel 5, a nice variant on what we saw in 1 and 2. You’d seldom find cuts like these in a film, though I’d welcome somebody trying.
I don’t want to give the impression that Funnybooks is a theoretical study. Mike Barrier, who has thought seriously about the aesthetics and history of comics for fifty years, has given us another precious historical account of this extraordinary popular art and three of its masters. It’s up to us to recognize how his discoveries can shed light on pictorial storytelling generally.
P.S. 28 April 2015: Funnybooks has been nominated for an Eisner Award. Congratulations to Mike! Another fine nominee is Thierry Smolderen’s The Origins of Comics: From William Hogarth to Winsor McCay (University Press of Mississippi), translated by Bart Beaty & Nick Nguyen.
My illustrations are drawn from The Best of Walt Disney Comics 1944 and The Best of Walt Disney Comics 1947 (Western Publishing, n.d.); Walt Kelly, Pogo: The Complete Dell Comics, vol. 2 (Hermes, 2014); Walt Kelly, Pogo: The Complete Syndicated Comic Strips, vol. 2: Bona Fide Balderdash (Fantagraphics, 2012); and Little Lulu Color Special (Dark Horse, 2006). The model sheet of Donald heads comes from Mike Barrier, Carl Barks and the Art of the Comic Book (M. Lilien, 1981), 43.
Thanks to Hank Luttrell of Twentieth Century Books for helping me find some rare items. And be sure to check Mike Barrier’s encyclopedic website. His 23 April entry rounds up several reviews of Funnybooks.
If anyone reading this doesn’t know Scott McCloud’s superb surveys of the art and craft of comics, I should mention Understanding Comics (Morrow, 1993) and Making Comics (Morrow, 2004). Both books contain many observations on how comics manipulate time.
Looking back at my blog entry on Tintin, I think that the sense of time unfolding within the frame is what Hergé was getting at when he picked a certain image of Captain Haddock as the essence of his method. In the same entry, I suggest that Hergé was creating continuity and ellipses in ways similar to Barks’s Bear Mountain story. Still, Hergé offers more tightly constrained choices of angle and less drastically changing compositions.
Music Land (Disney, 1935).
“The great directors, I’ve learned, have a great sense of rhythm.” So says Alexandre Desplat, who’s again earned two Oscar nominations in the same year (for The Imitation Game and The Grand Budapest Hotel). The statement sounds true but vague. Musicians and musicologists have a firm sense of what the term rhythm means, but how can we understand it in relation to movies?
Well, surely it refers, at least, to the rhythm of the music we hear in the film. But we usually think there’s more involved. There’s rhythm in the movement on the screen. The people and things we see can be infused with a beat and tempo and pace. (Critics of the 1920s considered Chaplin a dancer, like Nijinsky.) There’s a rhythm to the combination of images too, as everybody who’s tried film editing knows. And we think that the story can be told in a way that has a distinctive pace–narrative rhythm, we sometimes call it. But how do these components work together to create an overall rhythm for the film?
When synchronized sound recording entered movies, critics and filmmakers worried a lot about this problem. Filmmakers who had mastered visual storytelling in the silent era had to figure out how to merge spoken language, music, and sound effects with the flow of images. The lazy solution was simply to shoot plays, filling the scenes with dialogue. But both audiences and critics missed the dynamism of silent films. Talkies were too talky.
The opposite solution, to eliminate words as much as possible and simply use music and sound effects, was of limited value. After all, silent film needed the written language of intertitles to make the story clear; why give up the advantages of spoken language? But how then to integrate image and sound into something that engaged the audience–not only through the film’s story but also, perhaps more deeply, through that elusive quality called rhythm?
Today this debate may seem sterile. We think filmmakers have solved the problem. Maybe they have, collectively, but each one faces it at every moment. How do you blend movement, music, pictorial composition, sound effects, and dialogue to create an overall pace that will benefit your movie? No single recipe will work. The rhythm of the Coen brothers’ Raising Arizona is very different from that of No Country for Old Men. Both Gone Girl and Non-Stop are thrillers, but Fincher’s pacing is far more deliberate and understated than Collet-Serra’s; yet both take hold of us.
Filmmakers solve the problem of rhythm in practice, often brilliantly. Those of us who want to understand how films work, and work upon us, want to get specific and explicit. What is this thing called cinematic rhythm? What contributes to it? Can we analyze it and explain its grip? Very few scholars have tackled these questions; they’re hard. In her new book, Film Rhythm after Sound: Technology, Music, and Performance, our friend and colleague Lea Jacobs takes us quite a ways toward some answers.
Lea starts from the assumption that the debates of the early 1930s are still relevant. So she looks at some much-praised examples of sound/image integration: the musicals of Mamoulian and Lubitsch and the cartoons from the Disney studio. She studies these paradigm cases more closely than anyone has before. She also goes beyond them to consider the theory and practice of Eisenstein (a big admirer of Disney) and the handling of dialogue in Howard Hawks’ work from The Dawn Patrol (1930) to Twentieth Century (1934).
Central to Lea’s inquiry is the notion of synchronization. How can distinct moments in the image flow, the sound flow, and the narrative action be pinched together, like the toothpick pinning the ingredients in a sandwich? One answer is to rehabilitate the old idea of mickey-mousing. Mickey-mousing makes the patterning of the sound match, in some way, the pattern of onscreen action. Mickey-mousing has had a bad press, but Lea shows that if we look at it afresh, it offer a solid point of departure for thinking about rhythm.
Eisenstein develops the idea of sync, in a fresh but still general way, in his notion of “brickwork” structure–the non-coincidence of image and sound, like the staggered array of bricks in a wall. That is, your cut shouldn’t come on the beat (are you listening, music-video directors?). Save your sync until it can have maximum impact, ideally through accenting some action in the image and maybe a high point in your drama. This is a step beyond the duality synchronous/asynchronous sound that was floated in the early 1930s. Eisenstein shows how all the different lines of pictorial and auditory movement can be woven in a flow that will create various degrees of emphasis. In this “wickerwork” pattern (another of his metaphors), actor movement might coincide with a melodic run rather than a beat, and the cut might accentuate a line of dialogue while the music subsides. Or instead of Hollywood’s underscoring, the music might be abnormally loud, doubling and clashing with dialogue in a “Godardian” manner. At certain moments, several accents in these lines could hit simultaneously. Just as important are the moments when the imagery and the mix get thinned out so that a single element–a word, a chord, a gesture–is isolated.
The key example comes from Ivan the Terrible, Part I, in which the ailing tsar asks the Boyars to kiss the cross in allegiance to his baby son Dmitri. In unprecedented detail, Lea tracks how the melody, meter, motifs, orchestration, and dynamics of the music fluctuate in relation to staging, line readings, and narrative developments. In a passage lasting only six minutes, she shows how–as so often happens–Eisenstein’s practice outruns his theory and creates a rich audiovisual texture at an almost microscopic level.
Rhythm is constructed frame to frame, sync point to sync point, and involves very small durations of a half second or a quarter second. This proposition may seem obvious to anyone who has been involved in editing or scoring film music. Classical Hollywood click tracks measured tempi to fractions of a frame, as defined by the sprocket holes, and there are clear indications that composers and editors haggled over durations of five or six frames.
This urge to “think small” and study the finest grain of image and sound carries through Lea’s analysis of rhythm in Disney cartoons. Some have accused Eisenstein’s Ivan of being a live-action cartoon, and there’s no hiding either the old man’s admiration for Disney or his belief that cinema was capable of highly “engineered” effects. Still, music and its mickey-mousing possibilities, determine animated films even more strongly than live-action ones. Lea takes Disney’s early sound films as experiments in synchronization.
Early sound cartoons are sometimes characterized as “prisoners of the beat” because they create cycles of motion that are lined up with the musical meter. Lea traces how Disney animation became more fluid and flexible, syncing more around sound events than around rigid beats. She illustrates her case with analyses of Hell’s Bells (1929), The Three Little Pigs (1933), and Playful Pluto (1934). The last two are widely regarded as classic Silly Symphonies, and she sheds fresh light on them through the sort of micro-analysis brought to bear on Ivan.
She shows how sections gain a fast or slow tempo through the interaction of many factors, of which shot length is only one. In particular, Disney directors could change pace through a tool that Eisenstein didn’t have: altering the frame rate of animation. Normal animation is “on twos”; each drawn frame is photographed twice, to last for two film frames. Many stretches of the Disney cartoons are on twos, but sometimes, to create vivid sync points, the filmmakers go “on ones,” allotting one frame for each drawing. This is more expensive and time-consuming, but it allows for the sort of fine control of pace that we find in The Three Little Pigs. There the Wolf launches into “a jazzy, up-tempo gallop” that accelerates the danger bearing down on the pigs. In a similar way, Playful Pluto creates variety by “matching movement to different fractions of the beat and establishing differential rates of movement within the shot.” Imagineering, for sure.
How to convey this fine-grained analysis on the page? Lea uses the familiar tactics of presentation: verbal description, musical scores, and frame enlargements. But she goes farther. At great effort and expense, she has constructed analyses of key passages as video clips, with the film scene running in interlock with a highlighting bar that shifts across the score. Annotations on the score mark actions and sync points. These analyses are designed to be watched as you read along in the book. You’ll see some frame grabs in this entry, but to watch them simply go here, select the Audio/Video tab, and choose what you want to see from the menu. This is a real step forward for film scholarship, and the University of California Press should be congratulated for helping her take it. Why shouldn’t every film book hereafter come garlanded with clips?
No age for rhythm
Monte Carlo (1930).
Okay, you might say. Rhythm is of concern to top-down audiovisual masters like Eisenstein and Disney. But there are other notions of film as art–for instance, that performance is central to its storytelling. Lea shows that, again, early sound film explored a more open and porous integration of music and image. Ernst Lubitsch, as Kristin has shown, was one of the masters of image-based cinema in the silent era. Yet as soon as sound came in, he was exploring how to blend music with the mercurial repartee and attitudes of his sophisticated characters. Rouben Mamoulian, who had indulged in sync experiments in the theatre, contributed as well to a broader trend that gave music a central role in structuring scenes.
The result wasn’t exactly “musicals” as we usually understand them, although there might be song numbers; instead, the music worked its way into the crannies of the scenes–pauses in the dialogue, moments when characters cross a courtyard or boudoir. Thanks to post-synchronization (music performed after the film was shot and cut) and sync-to-playback (prerecorded music played on the set during performance), early sound films could boast a tight rhythmic bond of performance style and musical accompaniment. That created a sort of cinematic operetta, one no longer bound to a theatrical space. In “Isn’t It Romantic?” in Mamoulian’s Love Me Tonight (1932), a song begun in a tailor’s shop is passed along through Paris, onto a train, to the open road (soldiers march to it), and eventually to a gypsy campfire, where the heroine hears it from her balcony.
Most historians find strong similarities between such passages in Love Me Tonight and scenes in Lubitsch’s Monte Carlo (1930), but Lea contrasts them. She argues that Mamoulian’s film is more like early Disney in syncing music one-to-one with figure movement and camera movement. Lubitsch (although working earlier than Mamoulian) is interested in synchronization at another level, linking musical segments to dramatically coherent parts and wholes. She shows how one sequence in Monte Carlo accelerates its techniques to culminate in a patter song, creating a curve of rhythmic interest that creates the scene’s overall shape. Significantly, as in the famous choo-choo “Beyond the Blue Horizon” number, the song uses noises rather than music to launch its rhythmic arc.
The case-study method leads Lea to some generalizations too, as in her survey of manners of dialogue underscoring. This section of the books seems to me especially rich, because it shows how tactics of underscoring associated with the 1930s “symphonic” scores were already available, at least sketchily, in the early years of sound. At the same time, she’s able to distinguish some creative options, such as the conversion of patter songs to a more conversational tempo, that seem very distinctive of these early sound films and not their successors. She and other scholars can now build upon her survey to track a variety of styles of dialogue underscoring.
Enter Howard Hawks.
The book’s last in-depth analysis is devoted to probably the trickiest aspect of the whole problem: rhythm in speech, performance, and narrative. Lea points out that sound film acting required quite exact timing of pauses, glances, gestures, movement around the set, and deployment of hand props–probably tighter timing than in the silent era, with its shorter takes and greater scene dissection. (Consider how often a silent film gives us a close-up of a hand picking up something; in talkies, picking up something seldom gets that emphasis, so that the actor has to integrate the action into the flow of the full shot.) In sound filming, the shooting of the scene and the actor’s performance choices limited what an editor could do to slow it down or speed it up.
Hawks is a notoriously difficult director to analyze because he doesn’t have an obvious signature style at the visual level. His conception of cinematic art relied upon his players. He famously developed his scenes slowly, letting actors improvise, asking screenwriters to recast the scene, and working out the blocking gradually. In this actor-centered cinema, we’re often told, a lot of the Hawksian tang comes from overlapping dialogue. Lea points out, though, that overlapping dialogue was already in wide use on the theatre stage and Hawks was comparatively late in importing it to film. His earliest 1930s experiments don’t owe much to it, largely because early sound technology couldn’t discriminate voices very well. Lea breaks new ground in showing other ways in which speech patterns, regulated through rhythm as well as pitch and timbre, not only contribute to characterization but supply that zesty bounce we associate with the Hawksian world.
His tactics include shifting actors around the set, letting background and foreground sound alternate in clarity, and shortening scenes. Lea goes on to show how these and other options led Hawks to create the “tough talk delivered in a tough way” that became one of his hallmarks. By measuring the length of actors’ lines in seconds and fractions of a second, she’s able to track a subtle orchestration of voices–long speeches delivered fast (or slow), short speeches delivered slow (or fast), and many varieties in between, all interwoven. Overlapping comes in occasionally, as icing on the cake. When it does, especially in Twentieth Century, Lea is ready to specify it, showing how syllables and phonemes are stepped on or cut off.
Now the control freaks aren’t the directors, the Eisensteins and Lubitsches, but the actors. Working together, they plan their lines, expressions, and gestures down to the word. They make their own music. Hawks, says Lea, gives us rhythm “without benefit of a beat.”
Film Rhythm after Sound is a breakthrough in showing how narrative cinema masters time in its finest grain. We’re used to talking about scenes, shots, and lines of dialogue. Lea has taken us into the nano-worlds of a film: frames and parts of frames, fractions of seconds, phonemes. As Richard Feynman once said of atomic particles, “There’s plenty of room at the bottom.” Of course Lea doesn’t overlook characterization, plot dynamics, themes, and other familiar furniture of criticism. But she shows how our moment-by-moment experience depends on the sensuous particulars that escape our notice as the movie whisks past us. We can’t detect these micro-stylistics on the fly. Yet they are there, working on us, powerfully engaging our senses. Film criticism, informed by historical research, seldom attains this book’s level of delicacy. Analyzing a movie’s soundtrack will not be the same again.