David Bordwell's website on cinema   click for CV
    %62or%64%77e%6cl%40%77%69%73c%2e%65%64%75

Home

Blog

Books

Film Art: An Introduction

Christopher Nolan: A Labyrinth of Linkages pdf online

Pandora’s Digital Box: Films, Files, and the Future of Movies pdf online

Planet Hong Kong, second edition pdf online

The Way Hollywood Tells It pdf online

Poetics of Cinema pdf online

Figures Traced In Light

Ozu and the Poetics of Cinema pdf online

Exporting Entertainment: America in the World Film Market 1907–1934 pdf online

Video

Hou Hsiao-hsien: A new video lecture!

CinemaScope: The Modern Miracle You See Without Glasses

How Motion Pictures Became the Movies

Constructive editing in Pickpocket: A video essay

Essays

A Celestial Cinémathèque? or, Film Archives and Me: A Semi-Personal History added September 2014

Shklovsky and His “Monument to a Scientific Error”

Murder Culture: Adventures in 1940s Suspense

The Viewer’s Share: Models of Mind in Explaining Film

Common Sense + Film Theory = Common-Sense Film Theory?

Mad Detective: Doubling Down

The Classical Hollywood Cinema Twenty-Five Years Along

Nordisk and the Tableau Aesthetic

William Cameron Menzies: One Forceful, Impressive Idea

Another Shaw Production: Anamorphic Adventures in Hong Kong

Paolo Gioli’s Vertical Cinema

(Re)Discovering Charles Dekeukeleire

Doing Film History

The Hook: Scene Transitions in Classical Cinema

Anatomy of the Action Picture

Hearing Voices

Preface, Croatian edition, On the History of Film Style

Slavoj Žižek: Say Anything

Film and the Historical Return

Studying Cinema

Articles

Book Reports

Observations on film art

Archive for the 'Directors: Lubitsch' Category

The Getting of rhythm: Room at the bottom

Music Land (Disney, 1935).

DB here:

“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.

 

Mickey-mousing redux

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.

Okay, again, but these early musicals are still very pre-structured, you might say. What about movies that don’t rely on music so much and that give the actors more freedom during shooting?

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.


Again, to investigate the clips supporting the book’s argument, start at the University of California Press page devoted to the book. These take their place as part of the larger trend toward visual essays examining film aesthetics. Other examples are the work of Kevin Lee, Tony Zhou, and Matt Zoller Seitz. Now that we can quote a film, Lea shows us that we can do a kind of philology of it.
Twentieth Century (1934).

The ten best films of … 1924

Die Nibelungen: Siegfried

Kristin here:

For a seventh year running, we skip ranking the current year’s films and instead hark back 90 years.

We started out with a list that was essentially an appendix to an entry, but soon we were dedicating whole entries just to the list. Our entries for past years are here: 1917, 1918, 1919, 1920, 1921, 1922, and 1923.

These lists are our way of calling attention to important silent films that some readers may have overlooked. In one case here we point out a largely forgotten film that deserves to be better known, in the hope that an archive will take the hint. With the proliferation of silent-film festivals, of DVD and Blu-ray releases with restored prints and supplemental material, and of TCM’s eclectic screenings of foreign and silent titles, there seems to be considerably more interest in these early classics. Herewith our choices for 1924.

For the last few years I’ve struggled to fill out the full list of ten films with truly deserving items. But as I’ve been predicting, the 1924 choices fell easily into place. As usual, some of these are obvious picks, already famous to most readers. Others are less obvious, and a few are unknown except to specialists. Some, though very important historically and artistically, are not currently available on DVD, which is a real shame.

 

At last, the USSR

Films in the Soviet Montage style make up one of the most important cinema movements of all times. The key filmmakers of the movement, Eisenstein, Pukovkin, Dovzhenko, Kuleshov, Kozintzev and Trauberg, and others began their work later than the German Expressionist and French Impressionist directors. But at last one joins our list, with Lev Kuleshov’s The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks.

Although Kuleshov’s work has become more widely available, his most familiar work is still By the Law (1926), a grim tale of two members of a gold-prospecting team agonizing over how to bring to justice a colleague who has committed a terrible crime. Mr. West couldn’t be more different. This hilarious and grotesque comedy satirizes American perceptions of the new Soviet Union, as Mr. West, president of the YMCA, comes to for a visit, his faithful cowboy friend Jeddie in tow. They’re terrified of the barbaric land they expect to encounter, and a gang of thieves dupe Mr. West by dressing up in outfits that caricature West’s images of Bolsheviks (above).

In making the film, Kuleshov and his team drew upon the experiments they had been doing in his classes he ran of the early 1920s. Film stock was scarce and all he and his students could do was practice staging scenes and make short editing experiments. They explored the possibilities of “biomechanical acting,” a style based more on gymnastic control and energy than on psychological subtleties of facial expression.

Once the group did get the resources to make a feature, their delight is evident in the lively editing and the exuberant performances. Alexandra Khokhlova, a gangly woman who was married to Kuleshov and starred in most of his films, plays a vamp who tries to lure Mr. West into her toils. Pudovkin, who studied with Kuleshov before going into directing himself, is the well-dressed gang leader who pretends to guide Mr. West away from danger. Boris Barnet, also to become a major director, performs feats of derring-do as Jeddie tries to save Mr. West.

Mr. West is not only a satire on Western fears of post-Revolutionary Russia but also a parody of American serials. (The latter was something Barnet soon tried in an actual serial, his 1926 Miss Mend.)

Mr. West is available on DVD in Flicker Alley’s set, “Landmarks of Early Soviet Film.”

 

German Expressionism begins to wind down

Last year I was hard put to pick a film to represent the German Expressionist movement in the top ten. I chose Erdgeist but mentioned Schatten and Raskolnikow as runners-up. By 1924 there were fewer Expressionist films released, though the movement would linger on until 1927, mainly carried on by the two greatest directors who had worked in the Expressionist movement: F. W. Murnau and Fritz Lang. Each of these contributed a classic film in 1924: Murnau’s The Last Laugh and Lang’s two-part epic: Die Nibelungen: Siegfried and Kriemhild’s Revenge).

The Last Laugh isn’t really Expressionist. The sets are mildly in the style, but what really fascinated Murnau at this point was the freedom of camera movement introduced by French Impressionism. He set out to make a character study. Emil Jannings plays a doorman in a large hotel (none of the characters’ names are given). His regal bearing and fancy uniform bring him respect among his fellow employees and from relatives and neighbors in the lower-middle-class neighborhood where he lives. He has aged to the point where he carry large luggage and is abruptly demoted to work as a rest-room attendant.

Murnau introduced what came to be known in Germany as the entfesselte Kamera, the “unfastened camera,” beginning in the opening shot where an elevator with a grill descends, carrying the camera and dramatically revealing the lobby. Murnau may have been directly influenced by one of last year’s top-10, Cœur fidèle, where Epstein put his camera on a spinning-swings carnival ride. Murnau saw other uses for the device. Like the Impressionists, he conveyed drunkenness through moving camera, though in this case he put the actor and camera on a turntable, so that the room spins past behind Jannings, conveying the dizzy happiness of the doorman at a party (above).

Using more imagination, Murnau follows sound with his camera. As the party ends, musicians exit to the apartment-block courtyard, and one plays a final tune under the window. Starting with a close-up, the camera “cranes” diagonally up and backward until the men are in long shot. A cut takes us to the doorman inside, happily listening.

       

Actually the camera was not on a crane. Murnau and cinematographer Karl Freund affixed a track over the courtyard with a small metal elevator underneath, so that the camera could move both back and forth and up and down. The camera was not literally unfastened in these cases, but it looked like it was.

Murnau wanted to end the film on a grim note with the protagonist seated alone in the hotel rest room. Commercial considerations led to a happier ending, however, with him unexpectedly becoming wealthy. The twist was so outrageous that Carl Mayer, the scenarist, considered it a comment on Hollywood’s insistence on happy outcomes. Hence the English title The Last Laugh. The original German means “The Last Man.”

The Last Laugh got distribution in the USA, but it was not a success. Hollywood practitioners studied it, though, and started hanging cameras from tracks themselves and trying other tricks. The track backward above a long, laden banqueting table soon became a cliché of Hollywood cinema.

Murnau would make two more mildly Expressionist films, Tartuffe (1925) and Faust (1926) before heading to Hollywood to make the ultimate hanging-camera film, Sunrise (1927)

The Last Laugh is available from Kino in the USA and Eureka! in the UK.

One of my favorite films of the 1920s is Lang’s two-parter, Die Nibelungen: Siegfried and Die Nibelungen: Kriemhilds Rache (Kriemhild’s Revenge). An adaptation of the ancient German myth, it mostly proceeds at a stately pace until the final battle scene. Some may find it slow, especially when compared with the lively, suspenseful Dr. Mabuse der Spieler (1922) and Spione (1928). Yet its leisurely presentation is appropriate to the subject matter. Equally important, lingering over images allows us to notice the details of the extraordinary settings and costumes, with their busy decorated surfaces and their startling arrangements within the shot.

Take the image at the top of this entry. Brunhilde, having been forced to marry King Gunther against her will, envies her sister-in-law Kriemhild, who has married Siegfried, the man Brunhilde loves. In this shot, Brunhilde mounts the steps of Worms Cathedral to confront Kriemhild and assert her right to enter the cathedral first. We see her from behind and then at the upper left as her ladies follow her, wrapped in their patterned hoods and black cloaks, creating an almost abstract composition. Lang build the enormous stairway outside the cathedral in two stages and then used the set imaginatively to stage several ceremonies and dramatic conflicts.

What makes this film Expressionist, I would argue, is the way the actors and settings interact, as in this moment when Brunhilde pauses by her window and then comes forward through the slightly parted curtain, exiting left. She pauses in the opening, her dress seemingly becoming part of the curtains for a moment.

   

The similarity and the pause have no narrative function, but it’s a very Expressionist composition. Insistent symmetry and acting also contribute to the style. In the second plot, the Hunnish King Etzel asks for Krienhild’s hand in marriage. She agrees on the condition that he will aid her in exacting her revenge on Siegfried’s killers. Upon her move to the land of the Huns, the style becomes a more familiar sort of Expressionism, with distorted trees and buildings that looks like they were built of mud that settled oddly before drying:

   

The elements of the German tales are all here: love, betrayal, suicide, revenge, presented in images worth savoring.

Lang was inspired in his approach to the film’s visuals by some illustrations by Carl Otto Czeschka for a 1909 retelling of Die Nibelungen published in 1909. The heavy decoration on the knight’s shields and many other surfaces in the film somewhat resemble this image, for example:

Yet the resemblance is far from exact. Clearly Lang used elements from these illustrations and took them off in his own direction.

The film has recently been restored and looks great on Blu-ray. Kino in the US and Eureka! in England have brought it out. Both have DVD editions as well.

 

Scandinavia’s golden age drawing to a close

During the first half of the 1920s, the Swedish cinema was a victim of its own success. Victor Sjöstrom (who has figured in these lists in 1918 and 1921, as well as in our “Lucky ’13” entry), had headed to MGM, becoming Victor Seastrom. In 1924 he released his first two films in 1924: Name the Man and He Who Gets Slapped. The latter was the newly formed MGM’s first in-house production to be released. It was a huge success, no doubt in large part due to the growing stardom of Lon Chaney, and it put the studio on the map and allowed Seastrom to stay in Hollywood, notably for The Scarlet Letter (1926) and The Wind (1928).

Mauritz Stiller (also a previous top-10 choice) was about to head for Hollywood as well, but his final Swedish film is one of his finest. Gösta Berlings Saga, a epic adaptation of Selma Lagerlöf’s novel, was made in two parts lasting over three hours. Many people will know it as the debut film of Greta Garbo. Fans should be forewarned that she is an important character and appears in the early and late scenes but disappears for a long stretch in the middle.

[December 30: As our friend Antti Alanen points out, Garbo had already acted in a comedy, Luffar-Petter (Peter the Tramp, 1922) and in some short advertisements.]

The film begins with Berling, a drunken pastor in a small town, being relieved of his duties. He ends up being taken in the “Chevaliers” at Ekeby the country estate of Margaretha Samzelius, a tough middle-aged woman who runs a group of foundries she has inherited from a lover. The Chevaliers are a group of hangers-0n, men who can drink and laze about most of the time but who must be charming and entertaining at Samzelius’ many dinner parties. Berling has a number of chances to redeem himself but ends up harming the people around him and sinking lower into despair.  He is finally redeemed by the love of the Garbo character, Elizabeth, the new bride of a wealthy neighbor, to whom, it turns out through a technicality–and happy coincidence–she is not actually married.

Hansen and Garbo make a gorgeous couple (below left), but they are upstaged by the great Swedish stage actress Gerde Lundequist as Samzelius:

   

As usual, the film contains lovely scenes in the Swedish landscapes. There are some impressive night sleigh rides, including a famous scene in which Berling and Elizabeth are chased across a frozen lake by wolves. There is also one of the most impressive fire scenes I can recall from the silent era, as Samzelius’ efforts to smoke the Chevaliers out of the guest house where they live and inadvertently sets fire to the big main house as well.

Unfortunately the film was cut down into a single feature for its release outside Scandinavia. The Story of Gosta Berling was the main version that circulated for many years. The Swedish Film Institute restored it in stages as more footage was found, but the current print, at 183 minutes, is still missing some footage.

Beware picking up an older video release with the truncated film. The restored version was released on DVD in the USA by Kino. The original Svensk Filmindustri release (with English, French, Portuguese, German, and Spanish subtitles), is available here. The same DVD comes in a box set of six Swedish silent classics, which is widely available from the usual online sources.

Carl Dreyer has popped up on this blog several times, usually in passing. Not surprising, since David wrote a book about him way back 1981. Here he makes his second appearance on our ten-best lists (the first having been for his first feature, The President, in 1919) with Michael.

The film centers around a wealthy, aging artist, Claude Zoret. The main room of his house is decorated with several eye-catching pieces of sculpture, notably a mysterious battered head that looms in the background of many shots. Is it one of Zoret’s own works? Is it part of a collection of ancient statues? Much of the action takes place here, which has led some historians to place Michael in the tradition of the Kammerspiel. David calls it a borderline case. There are certainly scenes that leave Zoret’s studio, most notably one in a large theater set.

The film has been hailed as an early treatment of homosexuality. Although there is nothing overtly expressed, it is hard not to read such a subtext into the action. Zoret, wonderfully played by Danish director Benjamin Christensen, has many guests and admirers visit him, creating a little all-male coterie. He has taken in a young protegé, a very beautiful and very young Walter Slezak. Zoret refers figuratively to Michael as his son, but there seems to be another tie between the two. Moreover, there may be a hint that Charles Switt, a journalist apparently writing a biography of Zoret (at the center of the frame above), feels some jealousy toward the young man.

Trouble begins when a princess comes to commission a portrait from Zoret. Although he usually doesn’t do commissions, he is intrigued by her face and agrees. During her visits to the studio to pose, she meet Michael, who is immediately smitten. The affair continues as Michael becomes increasingly inconsiderate to Zoret,borrowing money to continue the affair and missing an important showing of his work. In contrast, Zoret shows unwavering generosity to Michael, despite being devastated by his desertion.

Ultimately Zoret paints his last work, showing an elderly, lonely man against a barren seascape. It is hailed as a masterpiece at a party which Michael does not attend.

The character study proceeds at Dreyer’s usual formal pace, and yet it is never dull. As much as any of his silent films, it looks forward in tone to his later sound ones.

A very nice print of Michael is available in the UK from Eureka! (not deliverable to the USA); Kino released what I assume is the same print in the USA.

 

She was nothing but a poor flower-maker

Every now and then I want to put a film on the list which is impossible to see unless you happen to live near one of the archives that has a print and they happen to program it. Still, in the hope of inspiring someone to restore it and make it available, I proceed.

The film is Jean Epstein’s L’Affiche (“The Poster”). Epstein first made our list last year for the much better known Cœur fidèle. L’Affiche is a bit like the earlier film, a simple melodrama made in the French Impressionist style. Its situation is highly conventional, and its plot depends on a massive coincidence.

The heroine is introduced as Marie, one of several women making artificial flowers. On her lunch break she thinks back to a romantic day she spent in the country. There she meets a young man, Richard. The couple go to an expensive restaurant, and Richard seduces Marie, and then abandons her, driving away alone the next morning.

Three years pass, and Marie has a small child, also named Richard. She enters him in a contest for the most beautiful child, with a cash prize, offered by an insurance company that wants to put the winner on their advertising posters. The boy wins, and Marie signs a 10-year contract for the rights to use little Richard’s image.

The child dies, however, and Marie visits his grave. As she leaves, she sees a huge poster with his image. The campaign has begun. Everywhere in Paris she goes, she sees the poster and finally begs the insurance company to end the campaign. The boss, however, refuses. Marie begins tearing down the posters, and she is soon arrested. Epstein handles the arrest scene without an establishing shot but builds it up through close-ups.

Initially we see only the back of Marie’s head and her arms tearing down a poster. There a cut-in to slightly closer framing as a policeman’s hand comes into the shot and touches her shoulder. A third shot shows her turning to the officer and staring in a way that suggests she is becoming mentally unbalanced. Finally a long shot establishes the scene as a second policemen enters to help arrest her.

   

   

It’s the sort of gradual revelation of space that Kuleshov was working with at the same time.

The boss of the insurance company is informed of this and sends his son to file a complaint against her. New copies of the poster are being put up all over town. The son is none other than the Richard who seduced Marie years before. Hearing her tale, he asks her forgiveness and takes her home to his parents. The father forbids their marriage, they marry anyway, and eventually (after his own younger child dies!), the boss blesses the marriage and agrees to take down the posters.

Summarized baldly, it sounds like an impossible plot to take seriously, but Epstein’s delicate, understated approach in presenting it and Nathalie Lissenko’s affecting performance as Marie manage to make it a great film. It’s full of Impressionist moments: Marie’s memory of her romantic day with Richard, a dance scene with rhythmic editing, a dream sequence, and plenty of gauzy shots and fancy wipes at transitions.

Earlier this year I complained because L’Affiche was not included in the big new box set of Epstein’s work, despite almost everything else from the period being there. It’s also not on the box set of films made at the Russian emigré studio, Albatros, even though Epstein’s other three Albatros films are there. I don’t whether there are rights problems or there simply isn’t a good enough print.

At least one streaming service claims to have L’Affiche available, but a search turns up numerous complaints about the site.

I should make mention of one other Impressionist film that came out in 1924. Perhaps it should be on the list rather than L’Affiche. It’s Marcel L’Herbier’s L’Inhumaine. L’Herbier appeared on our 1921 list for El Dorado, and even then I expressed reservations. Most of his films seem cold and by-the-numbers to me, not to mention a bit pretentious. But his films were historically important, and L’Inhumaine was influential in its use of art deco sets. At one time the film was available on DVD, but it seems to be out of print.

 

Three funny men …

And no, it’s not Chaplin, Keaton, and Lloyd this time. Chaplin didn’t release a film in 1924. His next would be what many would consider his funniest feature, The Gold Rush.

Over the years I’ve stressed that during the 1910s, the three great comics were working in shorts, honing their filmmaking and working up to their great series of features. By 1923 they had fully made the transition: Lloyd made Safety Last and Keaton Our Hospitality. Safety Last had a simpler plot, structured mainly by the stages of the hero’s climb up a building. Keaton went further with a complex story of a romance blooming between members of feuding families, using multiple locations, a developing causal line, and clever motifs. (We analyze it in Chapter 4 of Film Art: An Introduction.)

In 1924, Lloyd achieved a similar complexity with Girl Shy, one of his greatest films. He plays a bashful young tailor’s assistant who is terrified of women. Yet in secret he writes a guide for seducers, taking on the narrational persona of a jaded man of the world. Clearly he has taken his inspiration from movies of the day. The imaginary scenes from his book dramatize his success in gaining the love of a vamp (see bottom) and a flapper. The publishers decide that the book is so over the top that they will publish it as a comic story. During all this Harold develops a relationship with Mary, a quiet young woman from a wealthy family. When her father tries to buy Harold off, he pretends to spurn Mary. She is about to marry a rich man, but Harold determines to stop the wedding.

There develops one of the most epic chase scenes in all silent comedy,  and indeed all cinema, as Harold commandeers all manner of vehicles, from cars and wagons to a firetruck and a speeding trolley (above).

Even Keaton never outdid that one. But from 1923 to 1927, these two each created a string of innovative, carefully crafted, hilarious films.

Girl Shy used to be available in a 3-DVD set from New Line, but that is no longer available–though one optimistic third-party seller offers it, still sealed in plastic, for $399.99). Now the individual releases of each DVD seem to be slipping out of print as well. Volume 1, which contains Girl Shy, is definitely out of print. Be forewarned: Volume 2, which includes the wonderful 1927 film The Kid Brother (look for it on a future list) seems like it’s not long for this world, and the same is true of Volume 3, with For Heaven’s Sake (1926).

It was difficult to choose between Keaton’s two major releases of 1924, Sherlock Jr. and The Navigator. I chose the former mainly because of its perpetually astonishing transition from the frame story of a small-town projectionist unlucky in love to his dream of himself as a sophisticated detective. His dream takes the form of a movie, and the sleeping projectionist walks through the theater and into the onscreen action. With extraordinary precision, Keaton maintains a long-take framing of the pianist and audience in the auditorium while the hero onscreen undergoes a series of unexpected shot changes. In each he is in the same pose and position within the screen, but the backgrounds change arbitrarily, as when he begins to dive from a rock into the ocean and finds himself landing in a snowdrift:

   

The result is a marvelously convincing technical feat, giving the illusion of being a single shot as far as the theater is concerned and on the movie screen a character wandering through an appropriately dream-like series of edited shots. In general, Keaton was the most adept of the three great comics at using cinema technology to create gags, and this is his most elaborate attempt. (Though see also his short, The Playhouse, in which multiple exposures, flawlessly managed in-camera, create Keaton clones that play all the roles.)

The plot of the dream emerges after this virtuoso transition, and it remains hilarious throughout. The chase, while not quite as dazzling as the one in Girl Shy, has considerable variety of vehicles (one wonders if the two comics were consciously trying to best each other), including a passage where the hero rides the handlebars of a speeding motorcycle, unaware that the driver has fallen off.

Kino has packaged Sherlock Jr. together with Keaton’s early feature, The Three Ages (1923), and released them both on DVD and Blu-ray.

The third funny man was Ernst Lubitsch. The Marriage Circle was his second Hollywood film, and one of his best. Lubitsch had started out as a comic in silent shorts in Germany, but unlike the famous Americans,  he entirely gave up acting to direct. Not that he directed only comedies, but his best films, including Lady Windermere’s Fan, Trouble in Paradise, and The Shop around the Corner, fall into that category.

The Marriage Circle is a light romantic comedy, following a chain of flirtations and misunderstandings. Prof. Stock has realized that his pretty young wife Mizzi has begun to neglect and nag him. She is soon attracted a newlywed, Dr. Braun. Mizzi happens to be an old friend of Braun’s wife Charlotte, which gives her opportunities to flirt aggressively with Braun. Charlotte is in turn admired by Braun’s medical partner, Dr. Mueller, though she laughs off his attempts to woo her.

It has often been pointed out that Lubitsch is a director of doorways. That’s not always true, but The Marriage Circle is built around visits. The five characters visit each other in various combinations, and the string of attempted seductions and jealousies builds. Stock encourages Mizzi’s pursuit of Braun, since he wants an excuse for a divorce. Charlotte naively pushes Braun into visiting Mizzi at home when she plays sick.

The sets and especially the doorways play a big role. Characters pause in doorways to take in a compromising situation they have interrupted. At one point Mizzi comes to Braun’s office. Mueller spots them in an embrace, but Braun claims he’s hugging his wife. Eager to alienate Charlotte from her husband, he opens the office door to reveal Charlotte in the waiting room:

This is the first film where one can see the “Lubitsch touch” in action. It’s an ability to use film techniques to hint at something naughty. Here the innuendos are aimed at the characters. We know more than any of them does, and the humor arises from watching them misinterpret what they see and hear. When they finally learn of their mistakes, they end the “circle” of the title.

The Marriage Circle is available to rent or buy in digital form on Amazon. I know nothing about the source or the quality. The only DVD easily available is a region 2 French one under the rather blah title Comédiennes. The print is distinctly soft (as the frame above suggests) but acceptable until a better one becomes available.

 

… and one not so funny

Greed is often spoken of as the film that historians and buffs would most like to see rediscovered. Part of it survives, of course–about two hours out of the original eight or so. Its producer, MGM, had it was edited down into a reasonably coherent feature, mainly by cutting out a number of characters and their subplots. I won’t say much about the film here, since it is already quite well-known.

The film is an adaptation of Frank Norris’ novel McTeague done in a naturalistic style, which was unusual for Hollywood films of that or any other day. It follows McTeague, an unlicensed dentist, who steals his friend Marcus’ girlfriend, Trina, and marries her. Their luck fluctuates, as Trina wins a lottery and McTeague is thrown out of work for not having a license. Trina becomes an obsessive miser, and McTeague, by now an alcoholic, murders her and flees to Death Valley with her money.

I find a lot of Greed heavy-handed and obvious. (I prefer the simpler Blind Husbands, which made our  ten-best list for 1919.) It has an interesting style, however, with a lot of proto-Wellesian deep focus and low angles, complete with, in the case of the frame above, a hint of a ceiling. The final sequence in Death Valley is also very effective.

Apart from being 75% lost, Greed has never been released on DVD. (See Indiewire for comments on this.) In 1999 Turner Classic Movies edited a four-hour version, inserting production stills to suggest the missing scenes. This was reasonably effective, but it seems impossible to find a print of it that is not washed out and fuzzy. We’ve tried taping off TCM, as well as buying the VHS and laserdisc releases of that version. They all verge on unwatchable.  I hope that the situation is not left where it is and that a true restoration is eventually done. My frame above comes from an archival 35mm print, so clearly better material exists.

The lost film that I would most like to see discovered is Lubitsch’s Kiss Me Again (1925). Given that it was made right before Lady Windermere’s Fan, there’s a good chance that it’s a masterpiece.

 

One of a kind

Last year I put Man Ray’s experimental short, La retour à la raison, on the list. Comparing experimental shorts to fiction features, though, seems unfair. This year I’m separating out the experimental category and will try to choose at least one film each year.

This year it’s Walter Ruttmann’s Opus 3, the third of his four films done with abstract animation.

All of the Opus films plus other Ruttmann shorts are available on a DVD set with Berlin, die Sinfonie der Grossstadt and Melodie der Welt. If you want to sample just Opus 3, which is about four minutes long, it has been posted multiple times on YouTube. Although a bit dark, this is the best copy I’ve found, and it has a nice, appropriate score by Hanns Eisler.


Bernard Eisenschitz made the connection between Lang and Czeschka in his massive Fritz Lang au travail (Cahiers du Cinéma, 2012) , pp. 38 and 42. Czeschka’s Nibelungen illustrations can be see along with the entire book on the Museum of Modern Art’s website, with a page-turning feature and the ability to enlarge the pages considerably. Individual illustrations can be found with a Google Images search on “Czeschka” and “Nibelungen.”

Thanks to Jonah Horwitz for a correction.

Girl Shy

Classics on DVD and Blu-ray, in time for a fröhliche Weihnachten!

Die Börsenkönigin

Kristin here:

With December holidays coming up, perhaps you’re looking for some DVDs or Blu-ray discs to put on your wish list or to buy for someone. Releases of historically important films in restorations have been prominent lately. The group below has a distinctly, though not exclusively, German accent.

 

Pabst’s stock going up

Back in the 1970s, when I was in graduate school, G. W. Pabst occupied a central place in the history of German cinema. The standard film studies, like Arthur Knight’s The Liveliest Art and Paul Rotha’s The Film Till Now, emphasized his silent classics, most notably Die freudlose Gasse (The Joyless Street, 1925), Geheimnisse einer Seele (Secrets of a Soul, 1926), and Die Liebe der Jeanne Ney (The Loves of Jeanne Ney, 1927), as exemplars of the “Neue Sachlichkeit” tendency (usually translated as “New Objectivity”). Pabst was the counter to German Expressionism, and yet not all his films fit neatly into the Neue Sachlichkeit. Die Büchse von Pandora (Pandora’s Box, 1929), for example, is a somewhat Expressionistic melodrama.

Indeed, Pabst started his directorial career smack in the middle of the Expressionist movement. Der Schatz (The Treasure, 1923; left) is not bad for a debut film, but it was seldom mentioned in the old accounts of the director’s work. It reminds me of such films as Murnau’s Der brennende Acker, with the Expressionist style being used to portray ancient rural buildings. Der Schatz was long impossible to see, at least outside archives in Europe. I remember liking it when I saw it long ago at the Belgian film archive. The new DVD, from Arthaus Premium, is unfortunately entirely in German, with no optional English subtitles. It’s also Region 2 Pal, so those in the US and other non-Region 2 countries would need a multi-standard player. Still, there are plenty of film courses in German departments these days, and this new issue would be invaluable for research and teaching.

The print isn’t terrific, but it’s presumably the best available, and it’s watchable. It comes in a nice package with a little booklet and a whole disc of extras—documentaries on the reconstruction of the film (be forewarned, the new version has modern intertitles with a Gothic font) and interviews with experts. The text on the case claims this is the last great work of German Expressionism. That’s a considerable stretch. Die Nibelungen, Tartuffe, Faust, and Metropolis were yet to come, along with some lesser films. Der Schatz can be ordered from Amazon’s German outlet. (For those who have an American Amazon account, this should work just the same way, with the same password and your address and credit-card information on record.)

Far more famous is Pabst’s second film, The Joyless Street. With its controversial subject matter, involving women forced to prostitute themselves in various ways during the era of hyperinflation, the film was repeatedly subject to censors’ cuts—different cuts in different countries. In my first film course ever, in 1970, I remember seeing what was probably the best version available in the USA at the time, but it was far from complete. At least it still retained a pretty good balance between the Greta Garbo and Asta Nielsen plotlines. Later I saw what was probably the original American release print, butchered down to about an hour. The Nielsen plot, where she plays a character who becomes a rich man’s mistress, was all but gone, with the Greta Garbo plot dominating.

Now the Filmmuseum in Munich has released the latest attempt at restoration on DVD. The accompanying booklet, with some lovely illustrations of set designs and toned frames, has one essay in English. Archivist Stefan Drössler traces the attempts to compile a complete version from many different truncated prints. The original German censor’s records, so often a source of original intertitles for such restorations, are not known to survive. A 1989 restoration by Enno Patalas was the first major attempt to assemble something vaguely like the original. Jan-Christopher Horak initiated another restoration in the late 1990s, drawing upon newly surfaced footage from various archives. It was an improvement, but still probably far from the original. The current reconstruction tweaks that version. Still, as Drössler makes clear, with luck this version is only one more step toward a semblance of the original. More prints may surface—even, perhaps a nearly complete one like the miraculous Metropolis print that was, against the odds, found in South America.

In the meantime, the Filmmuseum DVD is as close as we can get to Pabst’s pioneering move into New Objectivity. There’s still about half an hour missing, but at 151 minutes, there’s a lot more of the film than most viewers will have seen before. Again there is a second disc with documentaries on Pabst, including The Other Eye, an overview of his career. This time there are optional English subtitles, though the format is also Pal.

     

I was very impressed by the film. It’s a network narrative, coincidentally with the same star who played in Hollywood’s quintessential network narrative, Grand Hotel, seven years later. Most of the main characters live on the same street in 1921 Vienna, where the primary centers for interaction are the queue for the butcher’s shop and the brothel hidden behind a dress shop. There are many characters who come and go in complicated scenes. I was also struck by the use of wide-angle lenses and depth staging (as above). Pabst has definitely gone up a notch in my estimation as a result of this release.

 

More German films

The great actress Asta Nielsen, who was one of the first international movie stars, had already made an incredible number of movies by the time she appeared in The Joyless Street, most of them German productions. Edition Filmmuseum has also released a collection of four short features Nielsen made during the 1910s. The selection was made to show off her range, with two comedies–Das Liebes-ABC (“The ABC of Love,” 1916) and Das Eskimobaby (“The Eskimo Baby,” 1916)–and two dramas–Die Suffragette (1913) and Die Börsenkönigin (“The Queen of the Stock Exchange,” 1918; see top). She worked frequently with emigré Danish director Urban Gad, to whom she was married, but he directed only the third of these four. The others were respectively made by Magnus Stifter, Heinz Schall, and Edmund Edel. (David’s essay on the Danish company Nordisk discusses some of Gad’s films and his 1919 book on filmmaking.) The films average about 60 minutes each.

Although trained as a stage actress, Nielsen had a remarkably flexible, uninhibited acting style onscreen. She wasn’t afraid to play gawky, plain girls but could also convincingly embody a glamorous woman of the world. Some of her films are terrific, some not so much, but they’re always worth watching for her performances.

Another recent release is close to my heart, Ernst Lubitsch’s Das Weib des Pharao (1921). In terms of subject matter, it’s not one of his most likable films, with a rather silly plot about a pharaoh falling in love with a commoner. Paul Wegener chews the scenery as a Nubian ruler who wants the pharaoh his daughter instead. But if one can overlook the silliness, it’s a pretty well-made film. The sets are fairly authentic compared with the usual sort of design one encounters in these costume epics, though the notion that a king’s treasure would be inside a giant, hollow statue (see bottom) is pretty risible. Visually, it’s gorgeous, and the print quality in this release is stunning. (There’s a brief film about the restoration, with several of the flashiest shots from the film, here.)

For years, Das Weib existed in only a very choppy, incomplete version running about 40 minutes, discovered at Gosfilmofond, the Soviet/Russian film archive. It was hard to make out the plot. More reels were found in other archives, and a longer version was completed in 2008. Now ALPHA-OMEGA has put together a bang-up package of material. The original score was recorded and matched to the footage to determine a running time of 100 minutes. Footage still missing has, as has become common practice, been filled in with photos, and the plot now makes a lot more sense than it used to. The tinting and toning is based onsurviving footage.

I consider Das Weib extremely important in Lubitsch’s career, as well as in the development of German cinema after World War I. It displays the influence that Hollywood films had on Lubitsch when foreign films were finally let into Germany in 1921 after a nearly five-year ban. To some extent he picked up principles of continuity editing, but it was the new styles of American lighting that he rapidly adopted. He also had the opportunity to work with American cameras and lighting equipment for the first time on Das Weib. The impact of highly directional arc lamps is visible in the frame just above, with its strong back and side light without frontal fill. (I discuss such aspects of Das Weib des Pharao in Herr Lubitsch Goes to Hollywood.)

The extras include the original trailer and a documentary on the restoration. An informative booklet accompanies the disc, including a reprint of program notes I wrote when the film was shown at “Il Giornate del Cinema Muto” in Pordenone. There are optional subtitles in ten languages. The Blu-ray and DVD can be purchased directly from ALPHA-OMEGA. There is no region coding.

 

Beyond Germany

Back in my senior year of high school I heard a recording of The Mikado and instantly became a big Gilbert and Sullivan fan. Coincidentally a film of The Mikado (1967), performed by the D’Oyly Carte Opera Company, came out just at that time. The D’Oyly Carte company had put on the operettas in their original productions in the 1870s, 1880s, and early 1890s and had toured with the same basic productions almost continuously for about 107 years, until forced out of business for lack of funds. The Mikado film was a straightforward record of the theatrical production, filmed on the stage without an audience present. Over the next 15 years or so I was also lucky enough to see some of the plays onstage in Chicago and London. Apart from being charming works, the productions continued to use the same staging and business as when the operettas premiered; they were a living museum of Victorian theatrical practice. Unfortunately the company finally succumbed to financial woes in 1982; there have been sporadic attempts to revive it, but the traditional staging was finally abandoned, and a link to the past was lost.

I had long been intrigued by the fact that another version of The Mikado had been filmed in Technicolor in 1939, directed by Victor Schertzinger. I was dubious, in that most of the cast were not D’Oyly Carte members. Indeed, the leading tenor role, Nanki-Poo, was played by Kenny Baker, whose main claim to fame at the time was as a featured singer on Jack Benny’s radio show. Still, the film did use three major D’Oyly Carte players: Martin Green, who took the comic baritone roles, in this case Ko-Ko; Sydney Granville, a bass, who plays Pooh-Bah; and Elizabeth Paynter, comic mezzo-soprano, as Pitti-Sing. (From left to right, Paynter, Green, and Granville.) So, when I learned that our friends at the Criterion Collection had put out a restored version on DVD and Blu-ray, I decided to take the plunge and watch it.

It turns out to be a strange mixture. Rather than filming the production onstage, like the later version, the producers created much larger but stylized sets in sound studios; there’s never a hint of an exterior. The blocking and filming are stodgy, and Kenny Baker is barely adequate to his role. I’m not sure this aspect of the film would win converts to the operetta.

On the other hand, there are the marvelous performances of the three D’Oyly Carte actors, particularly Green and Granville, who were among the greatest members of the troupe during its long history. Having a record of this pair in such important roles is a treasure. And Constance Willis, a British stage actress whose only film this was, does an excellent job as Katisha, bringing in a deft humor that one seldom sees in this dour character. Moreover, the postures and gestures are faithful reproductions of the D’Oyly Carte company’s approach. Until the copyrights ran out on the operettas, those who wished to produce them theatrically were given copies of the scripts with all the staging details written in; these had to be followed exactly. The same was true for both film versions of The Mikado. The poses of the young ladies in “Three Little Maids from School,” with mincing gait, tilted heads, and coyly raised arms, are the same ones that all singers playing these roles would have replicated, as the vintage poster shows:

   

Ko-Ko’s business with his executioner’s ax in his first number, the Mikado’s gestures in “Make the Punishment Fit the Crime,” and many other moments are also historically accurate. The film even includes the traditional encores for two of the most popular numbers, “Here’s a How-De-Do” and “The Flowers that Bloom in the Spring,” though here there is no live audience demanding them. I saw the D’oyly Carte production of The Mikado three times, and these same songs and no others were always encored. Overall, such a record is invaluable, and definitely makes up for the less entertaining portions.

As always, Criterion’s supplements are strong. Apart from some interviews, a silent D’Oyly Carte promotional film, and a booklet by experts, Ko-Ko’s song, “I’ve Got a Little List,” which was cut from the film, is a very welcome addition.

Finally, I’ll just mention that Kino Classics has put out versions of the 1996 restoration of Louis Feuillade’s 1915-16 serial, Les Vampires.  Feuillade is a favorite of ours. (For more on his work, see David’s Figures Traced in Light and our entries here and here and here.) Whether in DVD or Blu-rayLes Vampires is a must-have, providing 417 minutes of pure, crazy pleasure.

Das Weib des Pharao

DVDs for these long winter evenings

Kristin here:

Coming back from a trip has pleasant and unpleasant consequences. Bills piled up, but so did stacks of packages, books and DVDs we forgot we had ordered or ones sent to us out of the blue.

The intrepid companies that rescue and issue silent films on DVD have been busy. All are past winners of awards in the Cinema Ritrovato festival’s annual ceremony, and obviously they are working hard to keep their standards up. (For a pdf listing all the winners since the awards began in 2004, click here.) Two of my favorite directors are represented.

Much More Méliès!

In 2008, Flicker Alley won “Best Box-Set” for its monumental collection “Georges Méliès: First Wizard of Cinema” (five DVDs with 173 films). Amazingly, 26 more films (or fragments, in one case very short) have been discovered since its issue. These will be released in the U.S. on February 16 on a single disc titled “Georges Méliès Encore.”

One of these, Le Manoir du Diables/The Haunted Castle, from 1896, contains something like 26 cuts, all stop-motion effects. I wouldn’t have thought such an elaborate production would have been possible so early in the history of cinema, but here it is. It’s also interesting for having been shot outdoors, with what looks like a flat gravel “floor.” The lighting changes dramatically at one point, with the sun in a different position after an obvious pause in filming, and for a time the shadow of a tree is visible in the right foreground. The set is also quite elaborate for such an early production. Watch for a moment when the actors bump into the set and cause it to wobble alarmingly.

I had long been intrigued by production photos and sketches from a lost Méliès film, L’omnibus des toqués ou Blances et Noirs/Off to Bloomingdale Asylum. (I have no idea why this English title was chosen, since it has nothing to do with the action. “Toqués” would translate roughly as “crazies.”) The thing that intrigued me was a strange, mechanical-looking horse that draws the omnibus of the title. Finally I got to see it, and it was worth the wait. The horse is good, to be sure. It pulls a small coach with five black-face minstrels sitting atop it.

It’s not terribly apparent from the film, but a surviving Méliès sketch makes it obvious that the horse farts, driving the minstrels to jump off. The horse and coach depart, and the four minstrels begin an elaborate game of slapping and kicking each other in rhythm, each blow turning one into a white-clad pierrot figure and then back into a minstrel. It’s another of Méliès’ rapid-fire set of stop-motion substitutions, with the positions of the figures matched with astonishing precision. A tiny masterpiece in one minute and four seconds, counting the title card.

There’s a wide range of genres represented on the disc, including staging of news events, as in Éruption volcanique à la Martinique/ Eruption of Mount Pele (1902); chase films, like Le mariage de Victoire/ How Bridget’s Lover Escaped (1907); and even tear-jerking melodrama, like Détresse et charité/ The Christmas Angel (1904). The latter has an interesting stop-motion effect to add a white-painted stream of light as a rag-picker turns on his lantern to see the little beggar-girl asleep in the snow.

An otherwise surprisingly pedestrian 1905 film, L’ile de Calypso/ The Mysterious Island has one impressive moment, when a giant hand (Polyphemus having been transferred to Calypso’s island) emerges from the dark of a cave to threaten Ulysses (who is a bit hard to see, standing against the rocks at the right of the cave).

Was Méliès the first filmmaker to realize that leaving a large dark patch in part of set allowed things to be superimposed in that area without looking translucent? The best-known film to use the device is L’Homme à la tête en caoutchouc/ The Man with the Rubber Head (1902), but many other films use it, including some on this disc. A few of the films have hand-coloring, including the early L’hallucination de l’alchimiste/An Hallucinated Alchemist, where the alchemist of the title dreams of a giant spider.

The state of preservation naturally varies enormously. One nearly pristine print is the amusing Satan en prison/Satan in Prison (1907). The title is vital, since the bulk of the action consists of a well-dressed man magically producing a series of items to furnish a bare room, culminating in his summoning up a charming lady to share his meal. Hearing the guards approaching, the man reverses the process, ending with a bare room when the two men enter. Finally he is revealed as one of Méliès’ favorite characters, Satan! (See frame surmounting this entry.)

I suppose we shall never have all of Méliès’ films, but there are now more than twice as many known to survive as when I was in graduate school. I look forward to a second encore.

Lubitsch, Lubitsch, Lubitsch

Another pleasant surprise among the heap of packages was Eureka!’s new boxed set of Ernst Lubitsch films from the years 1918-1921. If that sounds a bit familiar, that’s because this is the third such set to appear in just over three years. I’m not going to make a point-by-point comparison, but I’ll sketch some basic differences.

The German set, confusingly titled in English the “Ernst Lubitsch Collection,” came out in November, 2006 and is PAL, region-2 encoded. It contains five Lubitsch silents: Ich mochte kein Mann sein (1918), Die Austernprinzessin (1919), Sumurun (1920), Anna Boleyn (1921), and Die Bergkatze (1921). Its main bonus is a feature-length documentary, Ernst Lubitsch in Berlin—Von der Schönhauser Allee nach Hollywood. None is subtitled. The set won the Cinema Ritrovato’s prize as Best DVD of 2008.

The set was issued by the Munich company Transit Film, a government-owned 35mm distributor with a library of about 600 titles, drawn from across the history of German cinema. We’ve brought some of their prints to Madison for Cinematheque screenings. The sources of the films are primarily the Friedrich-Wilhelm-Murnau-Foundation and the Bundesarchiv-Filmarchiv. It also produces documentaries like the one on Lubitsch. (The website offers German, English, and French language options.) It has also put out several DVDs under the name “Transit Classics.”

In the U.S., from late 2006 into 2007, Kino Video brought these five titles out as four individual DVDs (pairing Die Austernprinzessin and Ich mochte kein Mann sein on one disc). Apparently, although Transit’s set didn’t include the 1919 comedy Die Puppe, it made it available, and in December 2007, Kino brought it out on a disc with the Ernst Lubitsch in Berlin documentary—and at the same time issued a boxed set of all six features plus the documentary on five DVDs, called “Lubitsch in Berlin.” (All Kino discs are NTSC region 1; given that they were transferred from PAL versions, they probably run about 4% faster than the Transit versions.)

Eureka!’s set is also entitled “Lubitsch in Berlin.” It contains the same set of films, including the documentary, all also licensed from Transit. These are here arranged over six DVDs. Its unique material is relatively slight, consisting mainly of short original sets of liner notes and an original score for Die Puppe. One advantage is that Eureka!, as usual, has retained the German intertitles and added subtitles to them. (The Kino versions, in contrast, replace the original intertitles with English ones, which has been their practice on some, if not all, of their other DVDs.) Some or all of these intertitles may have been replaced, perhaps reconstructed on the basis of censorship records, as is often the case with restorations. Still, many viewers would want access to the German text as well as the English versions. The Eureka! set is PAL, and it doesn’t seem to have region coding.

For those unfamiliar with Lubitsch’s German films, these are a good introduction. The four comedies all hold up well today. The first three are built around Ossi Oswalda, a boisterous blonde comic who seems to have inspired Lubitsch to move away from broad slapstick to a more stylized, eccentric approach. Pola Negri, after acting such roles as Carmen and Madame Dubarry in the director’s costume pictures, revealed her comic talents in Die Bergkatze, his last German comedy.

Overall my favorite of the group is Die Puppe, so I’m very glad it’s been added. Some might prefer Die Austernprinzessin, which is indeed hilarious. But it mainly has the wealthy heroine’s home as its comic milieu. Die Puppe seems denser, with more characters and three comedy-generating settings:  the rich uncle’s home, the art-nouveau cartoon doll shop, and the monastery where the hero takes refuge. Plus there’s the famous prologue, where Lubitsch himself sets up the premise that the characters themselves are simply dolls brought to life. (See below.)

I chose Ich möchte kein Mann sein as one of the best films of 1918. See here for a brief description and a frame at the bottom of the entry.

The conspicuous absence from this set is Madame Dubarry, the 1919 historical epic that made Lubitsch famous worldwide. Perhaps it’s not an ingratiating film at first viewing, but I found that it grew on me in repeated screenings. (I talk about some of its best scenes including one impressive long-take scene, in my book Herr Lubitsch Goes to Hollywood.) Anna Boleyn took on British history in an attempt to replicate the success of Madame Dubarry, but I have never been able to warm up to it. That’s probably partly because Henny Porten simply did not bring the vibrancy to the title role that Negri had in Madame Dubarry and perhaps partly because the increased budget let to an overemphasis on huge sets and crowds of extras (above). The characters in Madame Dubarry seem comfortable in their period costumes; the ones in Anna Boleyn don’t.

I chose Die Puppe as one of the best films of 1919. See here for a frame from it, and one that demonstrates why I admire Madame Dubarry. Perhaps restoration work on the latter is going on at this moment, so that another DVD will someday join these on the shelf.

The other film in the collection, Sumurun, is a quasi-Arabian-Nights tale, starring Pola Negri as a seductive member of a traveling troupe of entertainers. Lubitsch plays his last film role as the hunchback clown who dotes hopelessly on her. The performance isn’t all that different from some of his earlier ones, but perhaps seeing his rather exaggerated acting style in the context of a non-comic film led Lubitsch to doubt his own abilities. Given that he was far better as a director than as an actor, his decision to stay behind the camera was a boon to future generations. To me, Sumurun is fascinating because it shows the first real signs of Lubitsch’s awareness of Hollywood continuity editing, a set of techniques he would thoroughly master over the course of his next half-dozen films.

It can’t have been easy to put together a 109-minute documentary on Lubitsch’s life before his move to Hollywood. In working on my book, I discovered how surprisingly few photographs of him at work onset survive. The studios where he worked don’t survive, though there are shots of the giant Ufa Tempelhof sound stages that now stand where those studios were.

Several prominent historians are interviewed, including archivist Enno Patalas and historian Hans Helmut Prinzler, co-editors of Lubitsch (an extremely useful book, published by the Verlag C. J. Bucher i 1984) and archivist Jan-Christopher Horak (whose master’s thesis was on Lubitsch’s relation to Ufa). Lubitsch’s surviving family members, seen above at the unveiling of a “Lubitsch lived here” plaque, were interviewed: his niece  Evy Bettelheim-Bentley (left), granddaughter Amanda Goodpaster (center), and daughter Nicola (right). Lubitsch’s theatrical career is well covered, and generous clips from the pre-1918 era demonstrate his move into comic acting for films. Audio interviews with Henny Porten and Emil Jannings include a charming anecdote she tells about how apologetic Jannings was after the scene in Kohlhiesels Töchter in which his character jerks a bench out from under her–an incident that left her with a bruised rump. In between scenes, directors who have been awarded the Ernst Lubitsch prize, such as Tom Tykwer, discuss the master. Perhaps the most interesting artifact shown is an album Lubitsch’s regular costume designer and friend Ali Hubert made for him, combining drawings with photos of Lubitsch and little poems; below he depicts Lubitsch directing Madame Dubarry. Ultimately Hubert gave it to the director as a gift.

The documentary feels a trifle thin at times, and it makes no real attempt to cover Lubitsch’s Hollywood career, presumably because of the difficulty of getting permission to use clips. But it certainly would be a useful teaching tool for introducing students to Lubitsch’s life before Hollywood.

(Thanks to Ben Brewster for helping determine some of the differences among these three Lubitsch boxes.)

The Man with a Movie Camera before The Man with a Movie Camera

In 2007, the Cinema Ritrovato awarded the “Edition Filmmuseum” series from the Filmmuseum Munchen its DVD award for “Best Series.” We’ve mentioned this series before, in relation to its Walter Ruttmann disc and its DVD of Robert Reinhert’s Nerven.

Now the Filmmuseum has issued a two-disc set offering two of Dziga Vertov’s silent feature documentaries, A Sixth Part of the World (1926) and The Eleventh Year (1928). The former is a poetic look at the various and farflung ethnic groups within the U.S.S.R., the population of which made up one sixth of the world. It was the first of Vertov’s films to be strongly praised, seeming to justify his theory of the Kino-Eye.

Those expecting anything as experimental as Man with a Movie Camera might be disappointed. There are some of the familiar camera tricks, such as split-screen effects:

The typography of the intertitles reflects the constructivist style of the 1920s:

The discs have optional English subtitles.

Having seen these films during my research, I haven’t watched the discs in their entirety. The quality looks as good as can be expected. Michael Nyman’s music is certainly not authentic to the period, but what I heard of it sounded strangely appropriate to the images and effective as accompaniment.

The discs also include an interesting bonus, a German propaganda short, Im Schatten der Maschine, by Albrecht Viktor Blum, which used footage from The Eleventh Year to make a film critical of the technical progress which Vertov was praising in his own movie. (Since The Eleventh Year had not yet appeared in Germany, Vertov was actually accused of plagiarizing from Blum rather than the other way round.)

Another bonus is a 14-minute documentary, Vertov in Blum: An Investigation (optional German or English narration). This fascinating short begins by demonstrating that Vertov himself and possibly others almost certainly cannibalized footage from The Eleventh Year for Man with a Movie Camera and other films. It goes on to hypothesize that the final montage in Im Schatten der Maschine may consist of footage that Vertov later removed from The Eleventh Year‘s negative. Side by side comparison of prints using Final Cut Pro revealed matching shots between the two films, highlighted in yellow here:

Blum’s film culls shots and even edited passages primarily from late in Vertov’s film, but it continues beyond the end of the surviving version of The Eleventh Year. Some of those shots have been traced to other, later Vertov films, and the archival sleuths are still comparing prints and looking for the rest. They may have found the missing ending from The Eleventh Year; at least, the evidence makes that idea very plausible. Whether they are right or not, though, the short demonstrates the painstaking work often necessary in the restoration of films.

These companies and archives have certainly not been resting on their laurels. It will be exciting to see what the upcoming Cinema Ritrovato’s awards will highlight.

David Bordwell
top of page

comments about the state of this website go to Meg Hamel.