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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

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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

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

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Archive for the 'National cinemas: Denmark' Category

The ten best films of … 1925

Big Parade barrel scene

The Big Parade (1925).

Kristin here:

As all about us in the blogosphere are listing their top ten films for 2015, we do the same for ninety years ago. Our eighth edition of this surprisingly popular series reaches 1925, when some of the major classics of world cinema appeared. Soviet Montage cinema got its real start with not one but two releases by one of the greatest of all directors, Sergei Eisenstein. Ernst Lubitsch made what is arguably his finest silent film. Charles Chaplin created his most beloved feature. Scandinavian cinema was in decline, having lost its most important directors to Hollywood, but Carl Dreyer made one of his most powerful silents.

For previous entries, see here: 1917, 1918, 1919, 1920, 1921, 1922, 1923, and 1924.

 

The lingering traces of Expressionism vs the New Objectivity

Joyless Street mirror

The Joyless Street (1925).

Last year I suggested that German Expressionism was winding down in 1924. It continued to do so in 1925. Indeed, no Expressionist films as such came out that year. What I would consider to be the last films in the movement, Murnau’s Faust and Lang’s Metropolis, both went over budget and over schedule, with Faust appearing in 1926 and Metropolis at the beginning of 1927.

Murnau made a more modest film that premiered in Vienna in late 1925, Tartuffe, a loose adaptation of the Molière play. The script adds a frame story in which an old man’s housekeeper plots to swindle and murder him. The man’s grandson disguises himself as a traveling film exhibitor and shows the pair a simplified version of the play, emphasizing the parallels between the hypocritical Tartuffe and the scheming housekeeper.

The film has some touches of Expressionism but cannot really be considered a full-fledged member of that movement. The lingering Expressionism is not surprising, considering that some of the talent involved had worked on Robert Wiene’s Das Cabinet des Dr.Caligari: screenwriter Carl Mayer, designers Walter Röhrig and Robert Herlth, and actors Werner Krauss and Lil Dagover.

The visuals include characteristically Expressionist moments when the actors and settings are juxtaposed to create strongly pictorial compositions.  These might be comic, as when the pompous Tartuffe strides past a squat lamp that seems to mock him, or beautifully abstract, as when Orgon is seen in a high angle against a stairway that swirls around him:

Tartuffe candlestick small     Tartuffe staircase small

A restored version is available in the USA from Kino and in the UK in Eureka!‘s Masters of Cinema series. (DVD Beaver compares the two versions.) The restoration was prepared from the only surviving print, the American release version; it runs about one hour.

The other German film on this year’s list, G. W. Pabst’s The Joyless Street, contrasts considerably with Tartuffe.  It was arguably the first major film of the Neue Sachlichkeit or New Objectivity trends in German cinema. I have already dealt with it in a DVD review entry shortly after its 2012 release. The restoration incorporated a good deal more footage than had been seen in previous modern prints, but it remains incomplete.

 

Once more the comic greats

Gold Rush roll dance 3 contrast boosted

The Gold Rush (1925).

For several years now these year-end lists have mentioned Charles Chaplin, Buster Keaton, and Harold Lloyd, in various combinations. Early on it would was Chaplin alone (Easy Street and The Immigrant for 1917) or Lloyd and Keaton alone (High and Dizzy and Neighbors for 1920). In a way most of these films were placeholders, signalling that these three were working up to the silent features that were among the most glorious products of the Hollywood studios in the 1920s. In our 1923 list, each found a place with a masterpiece: Chaplin’s A Woman of Paris, Keaton’s Our Hospitality, and Lloyd’s Safety Last.

This year we may surprise some by giving Lloyd a miss. For years The Freshman was thought of as his main claim to fame, perhaps alongside Safety Last. I think this was largely because The Freshman was the one of the few Lloyd films that was relatively easy to see. (Perhaps also because Preston Sturges dubbed it an official classic by making a sequel to it (The Sin of Harold Diddlebock, aka Mad Wednesday, 1947.) Now that we have the full set of Lloyd’s silent features available, it emerges as a rather tame entry compared to Safety Last, Girl Shy, or our already-determined entries for 1926, For Heaven’s Sake, and 1927, The Kid Brother. Let’s just call The Freshman a runner up.

Keaton’s Seven Chances takes one of the most familiar of melodramatic premises and literally runs with it. James Shannon discovers from his lawyer than he stands to inherit a great deal of money if he is married by 7 pm on his 27th birthday–which happens to be the day when he receives this news. A misunderstanding with the woman he loves leads to a split, and in order to save himself and his partner from bankruptcy, Shannon determines to marry any woman who will volunteer in time. Hundreds turn up.

The result is another of the extended, intricate chase sequences that tend to grace Lloyd’s and Keaton’s features, and to a lesser extent Chaplin’s. In fact Seven Chances has a double chase. The first and longer part involves a huge crowd of women gradually assembling behind Shannon as he unwittingly walks along the street. This accelerates and keeps building, exploiting various situations and locales, as when the chase passes through a rail yard and Shannon escapes by dangling from a rolling crane above the women’s heads. Eventually the action moves into the countryside, where the brides temporarily disappear, taking a short cut to cut Shannon off, and he ends up in the middle of a gradually growing avalanche.

Seven Chances crane     Seven Chances avalanche

Seven Chances is available on Blu-ray and DVD from Kino.

Of all the films on this year’s list, Chaplin’s The Gold Rush is probably the most widely familiar. The Little Tramp character, here known only as a “Lone Prospector,” blends hilarity with pathos in a fashion that is actually typical of relatively few of the director/performer’s films overall. It is, however, how many people think of him.

The Gold Rush looks rather old-fashioned compared with Seven Chances. Although the opening extreme long shots of an endless line of prospectors struggling up over a mountain pass are impressive, much of the action takes place in studio sets, sometimes standing in for alpine locations. Both the cabins, Black Larsen’s and Hank Curtis’, are like little proscenium stages, with the action captured from the front. Yet the film depends on its brilliant succession of gags and on the Prospector’s status as the underdog who is also the resilient and eternal optimist.

The best bits of humor arise from Chaplin’s ability to create funny but lyrical moments by transforming objects metaphorically. Given the plot, some of the best-known gags arise from meals. One is the dance of the rolls, part of a fantasy sequence in which the Prospector dreams of entertaining a group of beautiful women at dinner (above), when in fact the women stand him up. Trapped by a storm in a remote cabin, the Prospector and his partner cook one of his shoes. He serves it on a platter and carefully “carves it, with the leather becoming the meat, the nails bones, and the laces spaghetti.

Gold Rush carving the shoe     Gold Rush shoelace spaghetti

Many home-video versions of The Gold Rush have been released, but the definitive restoration of the 1925 version is available from the Criterion Collection.

 

The Golden Age in full swing

Lazy Bones Ruth on sluice

Lazybones (1925).

When people speak of the “Golden Age” of the Hollywood studio system, they usually seem to mean the 1930s and 1940s (and the lingering effects of the system in the 1950s). A look at Hollywood films of the 1920s shows that it was already functioning at full steam. Three features of 1925 display the utter mastery of continuity storytelling and style and a sophistication that matches films of subsequent decades.

Lady Windermere’s Fan may be the best silent made by Ernst Lubitsch, who has appeared on these lists before. It arguably ranks alongside Trouble in Paradise and The Shop around the Corner as one of the best films of his entire career. It’s a loose adaptation of the Oscar Wilde play, but it’s pure Lubitsch throughout.

Anyone who thinks that the classical Hollywood system was merely a set of conventions that allowed films to be cranked out with minimal originality could learn a lot from Lady Windermere’s Fan. Its completely correct in its use of continuity editing, three-point lighting, and the like does not preclude imaginative touches and methods of handling whole scenes. There’s the sequence when Lord Windermere visits the mysteriously shady lady Mrs. Erlynne in her drawing-room. The camera is planted in the center of the action, with frequents cuts as the two characters move in and out of the frame and even cross behind the camera. There’s not a hint of a mismatched glance or entrance across this complex and unusual series of shots. There’s the racetrack scene, as everyone present watches and gossips about Mrs Erlynne in a virtuoso string of point-of-view shots.

The racetrack scene ends with a wealthy bachelor following Mrs Erlynne out of the track. The camera moves left to follow her, keeping her in the same spot in the frame. As the man gradually catches up, Lubitsch uses a moving matte to hint at their meeting without showing it or cutting in toward the action.

Lady Windermere's Fan 1     Lady Windermere's Fan 2

A good-quality transfer of Lady Windermere’s Fan is only available on DVD as part of the More Treasures from American Film Archives 1894-1931. (Beware the copy offered by Synergy, which according to comments on Amazon.com is from a poor-quality, incomplete print.)

The one title on this list whose inclusion might surprise readers is Frank Borzage’s Lazybones. I remember being bowled over by this film during the 1992 Le Gionate del Cinema Muto festival in Pordenone, which included a Borzage retrospective. I found the more famous Humoresque (1920) a disappointment, but Lazybones was a revelation. This is another case of a film that was simply unknown when film historians started writing about the Hollywood studio era. It was not discovered until 1970, when it was found in the 20th Century-Fox archives. As a result, Lazybones was, as Swiss film historian Hervé Dumont put it in his magisterial book on the director, “revealed as the most poignant–and the most accomplished–of Borzage’s works before Seventh Heaven.”

Year by year since we started this annual list, I looked forward to recommending Lazybones, and now we arrive there. I rewatched it for the first time to see if it really deserved to make one of the top ten. The answer is yes. For me, this is as good as 7th Heaven, or as near as makes no difference.

It’s difficult to describe the plot of Lazybones, since it doesn’t have much of one. Steve (played by the amiable Buck Jones) is a very lazy young man living in a rural village. He has a girlfriend, Agnes, whose mother scorns him. The girlfriend has a sister, Ruth, who returns home with a baby in tow. In despair, Ruth leaves the baby on a riverbank and tries to drown herself (image at top of section). Steve rescues her, and she explains that unknown to her family, while she was away she married a sailor who subsequently went down with his ship. She has no proof of this and knows her tyrannical mother will assume that the baby is illegitimate. Steve decides to keep her secret and adopt the apparent foundling himself.

All this happens during the initial setup. Then the little girl, Kit, grows up into a young lady. Along the way, not all that much happens. Steve, lacking any goals, stays lazy, which sets him apart from the energetic, ambitious protagonists of most Hollywood films. Kit is shunned by her classmates and the townspeople, and Steve tries to shelter her from all this. He loves Agnes but quickly loses her to a richer, more respectable man. He goes off to fight in World War I, becomes an accidental hero, and returns home after perhaps the shortest battlefront scene in any feature of the period. Kit finds a boyfriend.

What makes all this riveting viewing is its mixture of quiet comedy and poignancy. Steve is so amiably and unrepentantly loath to work that he is scorned by nearly everyone, and yet he commits an act of great kindness for which he gets no credit at all, except from his devoted mother. It is clear that these snobbish townspeople would scorn him even if they knew how he has kept Kit out of the orphanage and made a happy life for her.

The film is beautifully shot, and Borzage displays such an easy mastery of constructing a scene, particularly in depth, that it is easy to miss the underlying sophistication. Early on, Agnes and her mother arrive at Steve’s house. As Agnes waits outside the fence in the foreground, Steve tips his hat to her, in the foreground with his back to the camera. The mother passes by him toward the house, her mouth fixed in a sneer. We may think that Steve is oblivious to this, but once she passes out of the frame in the foreground, he puts his hat back on and slips it down over his face rather cheekily as he glances at her, his gesture suggesting his indifference to her opinion of him. (Note also the subtle touch of his lazily fastened suspenders.)

Lazy Bones mother sneers     Lazy Bones hero looks at mother after sneer

Borzage has mastered the use of motifs that are so characteristic of Hollywood cinema. There’s a running gag about the state of disrepair into which the gate of the picket fence around Steve’s and his mother’s house, with each person remarking “Darn that gate!” as they struggle through it. The repetition becomes cumulatively funnier because about two decades pass in the course of the film without the thing being fixed. The acting, particularly of Buck Jones and Zasu Pitts (as Ruth), is affecting.

It’s difficult to convey the charms of such an unconventional film, but give it a try and you may be bowled over, too.

A superb DVD transfer of Lazybones was included in the lavish Murnau, Borzage and Fox box (2008). The 20th Century-Fox Cinema Archives series offers it separately as a print-on-demand DVD-R. I’ve not seen it but suspect that there would be some loss of quality in this format. Besides, every serious lover of cinema should have that big black box sitting on their shelves next to the Ford at Fox one.

Returning to the more familiar classics, my final Hollywood film of the year is King Vidor’s The Big Parade.

Apart from its success and influence, however, The Big Parade remains an entertaining, funny, and moving film. Vidor’s scenes often run a remarkably long time, suggesting the rhythms of everyday life. One such action  involves James fetching a barrel back to where he and his mates are staying so that he can turn it into an outdoor shower. When nearly back, he encounters Melisande, whom he initially can’t see. His stumbling about and her increasing laughter at his antics are played out at length (see top), as is a supposedly improvised scene shortly thereafter where James tries to teach Melisande how to chew gum.

A very different sort of prolonged scene is the long march of James and his comrades through a forest full of German snipers in trees and machine-gunners in nests. They begin by walking through an idyllic-looking forest, then increasingly encounter fallen comrades, and finally reach the Germans.

Big Parade forest advance begins     Big Parade forest advance 2     Big Parade forest advance 3

For years the prints of The Big Parade available were less than optimum, with some based on the 1931 re-release version, where the left side of the image had to be cropped to make room for the soundtrack. A 35mm negative was discovered relatively recently, however, and is the basis for the superb DVD and Blu-ray versions released in 2013.

Finally, I turn you over to David for some comments on films that fall within his specialties.

 

Eisenstein, action director

Watch this. Maybe a few times.


These two seconds, violent in both what they show and the way they show it, seem to me a turning point in film history. Here extreme action meets extreme technique. The spasms of the woman’s head, given in brief jump cuts (7 frames/5/8/10), create a sort of pictorial fusillade before we get the real thing: a line of riflemen robotically advancing into a crowd.

It’s not usually recognized how often changes in film art are driven by showing violence. Griffith’s last-minute rescues usually take place in scenes of massive bloodshed; not only The Birth of a Nation but the equally inventive Battle at Elderbush Gulch use rapid crosscutting to treat a boiling burst of action. The Friendless One’s pistol attack in Intolerance is rendered in flash frames that Sam Fuller might approve of. Later, the Hollywood Western, the Japanese swordplay film, the 1940s crime melodrama, the Hong Kong action picture, and many other genres pushed the stylistic envelope in scenes of violence. Hitchcock’s vaunted technical polish often depended on shock and bloodletting, from a bullet to the face (Foreign Correspondent) to stabbing in the shower (Psycho). The free-fire zone of Bonnie and Clyde and Peckinpah’s Westerns took up the slow-motion choreography of death pioneered by Kurosawa. Extreme action seems to call for aggressive technique, and intense action scenes can become clipbait and film-school models.

Sergei Eisenstein is celebrated as the theorist and practitioner of montage, whatever that is; but he insisted that what he called expressive movement was no less important. Just as montage for him came to mean the forceful juxtaposition of virtually any two stimuli (frames, shots, elements inside shots, musical motifs), so he thought that expressive movement ranged from a haughty tsar stretching his stork neck (Ivan the Terrible) to peons buried up to their shoulders, squirming to avoid horses’ hooves (Que viva Mexico!). In Eisenstein, psychology is always externalized, crowds move as gigantic organisms, and any action can turn brutal. (I fight the temptation to call him S & M Eisenstein.) We can trace influences—Constructivist theatre, the chase comedies coming from America, his interest in kabuki performance—but when he moved into cinema from the stage, Eisenstein became an action director, in a wholly modern sense.

Eisenstein’s first two features bracket the year 1925. Strike was premiered in January, The Battleship Potemkin in December. The first was apparently not widely seen outside Russia until the 1970s, but the second quickly won praise around the world. Potemkin’s centerpiece, the Odessa Steps sequence, became an instant critical chestnut, proof that cinema had achieved maturity as an art. Owing nothing to theatre, this massive spectacle was as pure a piece of filmmaking as a Fairbanks stunt or a Hart shootout. But of course Eisenstein went farther.

The Steps sequence was probably the most violent thing that anybody had ever seen in a movie. A line of soldiers stalks down the crowded staircase. A little boy is shot; after he falls, skull bloodied, his body is trampled by people fleeing the troops. Another man falls, caught in a handheld shot. A mother is blasted in the gut, and her baby carriage, jouncing down the steps, falls under a cossack’s sword. A schoolmistress who has been watching in horror gets a bullet in the eye–or is it a saber slash? The sequence ends as abstractly as it began, if “abstractly” can sum up the horrific punch of these images.

Cossack 350     Schoolteacher 350

The film is much more than this sequence, of course, but every one of its five sections arcs toward violence, and each payoff is shot and cut with punitive force. The mutiny itself is a pulsating rush of stunts, unexpected angles, and cuts that are at once harsh and smooth. The whole thing starts with a rebellious sailor smashing a plate (in inconsistently matched shots) and ends with the ship confronting the fleet, a challenge rendered by percussive treatment of the men and their machines.

In Strike, Eisenstein rehearsed his poetry of massacre, along with a lot of other things. Instead of rendering an actual incident, as in Potemkin, here he portrays the typical phases any strike can go through. The plot starts with injustices on the shop floor, escalates to a walkout, and then—of course—turns violent, as provocateurs make a peaceful demonstration into a pretext for harsh reprisals. Throughout, Eisenstein experiments with grotesque satire and caricature. The workers are down-to-earth heroic; the capitalists are straight out of propaganda cartoons; the spies are beastly, the provocateurs are clowns. Every sequence tries something new and bold, and weird.

The most famous passage, well-known from his writings if not from actual viewing, is the climax. Here a raid upon workers in their tenements is intercut with the slaughter of a bull. Montage again, of course, but what isn’t usually noticed is the remarkable staging of that police riot, with horsemen riding along catwalks and fastidiously dropping children over the railings. For my money, more impressive than this finale is the earlier episode in which firemen turn their hoses on the workers’ demonstration. The workers scatter, pursued by the blasts of water, until they are scrambling over one another and pounded against alley walls. This is Strike’s Odessa Steps sequence, and for throbbing dynamism and pictorial expressiveness–you can feel the soaking thrust of the water–it has few equals in silent film.

Hoses 1 350     Hoses 1a     Hoses 2 350     Hoses 5     Hoses 3     Hoses 4

For Eisenstein, the bobbing, screaming head in my clip was the “blasting cap” that launched the Odessa massacre. Is the woman the first victim of the troops, or is her rag-doll convulsion a kind of abstract prophecy of the brutality to come? Yanked out of the actual space of the action, it hits us with a perceptual force that goes beyond straightforward storytelling. Kinetic aggression, making you feel the blow, is one legitimate function of cinema. Eisenstein is our first master of in-your-face filmmaking.

After many tries, archives have given us superb video editions of Potemkin and Strike, both available from Kino Lorber. Potemkin’s original score captures the film’s combustible restlessness. Strike seems to have been shot at so many different frame rates that it’s hard to smooth out, but the new disc makes a very good try, and it’s far superior to the draggy Soviet step-printed version that plagued us for decades.

 

Chamber cinema

Master high angle 400

Every so often a filmmaker decides to accept severe spatial constraints, creating what David Koepp calls “bottle” plots.  Make a movie in a lifeboat (Lifeboat) or around a phone booth (Phone Booth) or in a motel room (Tape) or in a Manhattan house (Panic Room) or in a remote cabin plagued by horrors (name your favorite). In the 1940s several filmmakers were trying out a “theatrical” approach that welcomed confinement like this; Cocteau’s Les Parents terribles, H. C. Potter’s The Time of Your Life, and of course Rope are examples. Today’s filmmakers are still exploring “chamber cinema.” The Hateful Eight is the most recent instance, with most of its chapters set in Minnie’s Haberdashery.

Typically, the chamber films in any period aren’t “canned theatre” like the PBS or English National Theatre broadcasts. Chamber films push the camera into the space, often showing all four walls and letting us get familiar with the rooms the characters inhabit. But this requires not only a carefully planned setting but also a good deal of cinematic skill in smoothly taking us to the primary zones of action.

Carl Dreyer was one of the earliest exponents of chamber cinema. He had seen initial examples in German Kammerspiel (chamber-play) films like Sylvester (1924) and had made a mild version himself in Michael (1924). Dreyer took the aesthetic to new heights in The Master of the House (1925).

Long before Akerman’s Jeanne Dielmann, Dreyer gave us a film about housework. Ida’s husband Victor is unemployed, so while he loafs and drifts around town, she struggles to keep things going. He pays her back with scorn and abuse. The plot is structured around two days, which yield a before-and-after pattern. At the end of the first, Ida leaves Victor, and a month later, his realization of his mistakes is revealed by his behavior in the household. The drama comes not only from the characters’ conflicts but from the way they handle everyday things like butter knives and laundry lines.

Rendering the household in all its specificity obliges Dreyer to rethink continuity filmmaking. He lays out the geography of the home by shooting “in the round” and cutting on the basis of eyelines and frame entrances. (He displays the same confidence in the “immersive camera” that Lubitsch displays in Lady Windermere’s Fan.) He trains us to notice landmarks, to associate bits of action with particular areas of the apartment, and to sense the characters’ changing emotions in relation to small adjustments in composition. The film is an exceptionally fluid, assured one, and it prepares for  more daring Dreyer experiments to come: the fragmented interior spaces of La Passion de Jeanne d’Arc, the creeping camera of Vampyr, and the intensely theatricalized late films Day of Wrath, Ordet, and Gertrud. Little-known at the time, The Master of the House has come to be regarded as one of the most quietly perfect of silent films.

The most lustrous edition of The Master of the House is the Criterion release. It contains an in-depth interview with Danish film historian Casper Tybjerg and a visual essay that Abbey Lustgarten and I prepared. Criterion has posted an extract from the essay. More about this release is here.


In connection with the eleventh edition of Film Art: An Introduction, to be published in mid-January, we have added ten new online Connect video examples. These include one based on clips from the Blu-ray of The Gold Rush, which the Criterion Collection has kindly allowed us to use. We discuss two contrasting styles of staging used for comedy effects in the isolated cabin set.

The Dumont quotation is from his Frank Borzage: Sarastro à Hollywood (Cinémathèque française, 1993), p. 108.

Lea Jacobs and Andrea Comiskey have examined the complicated early distribution of The Big Parade in their “Hollywood’s Conception of Its Audience in the 1920s,” The Classical Hollywood Reader, Steve Neale, ed. (Routledge, 2012), p. 97.

Eisenstein’s aesthetic of expressive movement, and its relation to montage, is discussed in David’s The Cinema of Eisenstein. On Dreyer’s “theatricalized” cinema see his The Films of Carl Theodor Dreyer, and this essay on its sources in 1910s tableau filmmaking. Eisenstein’s exactitude in matching gesture to sound and cutting is demonstrated in Lea Jacobs’ Film Rhythm after Sound, reviewed here.

Lev Kuleshov’s second feature, The Death Ray, doesn’t make our top-ten list for 1925, but as a bonus we include its poster (by Anton Lavinsky), which must rank among the most beautiful of that year.

Death Ray poster

 

Adieu to Vancouver 2014

Jauja.

Kristin here:

The Vancouver International Film Festival ended this past Friday. I had hoped to post a wrap-up entry over the weekend, but illness intervened. Herewith a summary of several films I enjoyed this year.

 

Too clever by half

Some films are obviously and thoroughly pretentious. This year Field of Dogs (Lech Majewski, 2014) fell into that category. I had had high hopes for it, since I very much liked Majewski’s The Mill & the Cross at the 2011 festival. Unfortunately, it’s a completely different film, overcomplicated and, for me, nearly unwatchable.

Two film, however, suffered from a different problem. They had absorbing stories and interesting stylistic approaches. I enjoyed both very much–except for unwise additions, in each case unnecessary and annoying.

Stations of the Cross (Dietrich Bruggemann, Germany, 2014) revolves around Maria, an adolescent girl raised in a household where a strict, old-fashioned version of Catholicism is practiced. Bruggemann takes the not uncommon approach of filming each scene in one lengthy, and in most cases static, take. In the opening scene, a priest instructs a small class of children about to take First Communion. The camera is placed in a planimetric framing, a technique used in several shots in the film:

As the lesson continues, Maria, seated to the priest’s right, gradually emerges as the student most versed in the topics under discussion. She stays after the others leave and hints to the priest that she wants to sacrifice herself to earn a miracle for her four-year-old brother, who has never spoken. Her belief that she must deny herself virtually all pleasures, comforts, and even necessities, as well as her guilt over the slightest perceived infraction, become increasingly apparent across the narrative. Her arguments with her harsh and inconsistent mother, who dominates the family, reveal her suffering. Despite the static shots, the story is never boring, and a scathing indictment of this brand of religious extremism builds up.

The problem is that Bruggemann inserts chapter titles before each scene/shot, numbered and with the descriptions of the fourteen Stations of the Cross. This inevitably connects Maria’s sufferings to those of Jesus. Each scene contains some parallel, however tenuous, to the station that it is supposed to illustrate. I found this distracting and occasionally ludicrous, as when the title describing Christ’s being stripped of his clothing cuts to a shot of a partially undressed Maria seated on a doctor’s examining table. (Jay Weissberg’s review for Variety sees deliberate humor in the film, but as far as I could see, Bruggemann takes all this as deadly serious.) This could have been an excellent film without the insistence on allegory, but as it is, one must try to ignore the interruptions to focus on the story.

Something rather similar happens in Jauja (Lisandro Alonso, Argentina, 2014). Again there is an absorbing story, though a very different one. In nineteenth-century Patagonia, a Danish engineer is doing surveying work to help a military group determined to wipe out the indigenous population. When his daughter runs off into the forbidding desert with a young soldier, the engineer follows on his own and experiences a series of increasingly disturbing and mystifying incidents, including some that could be classed as magical realism.

This is fascinating stuff, and in the print we saw, the beautifully composed landscape shots (almost the entire film takes place out of doors) were presented in a masked format reminiscent of old lantern slides or stereoscope images (see top, the opening one-shot, long-take scene). Most of the images from this film on the internet are in a more conventional 1:66 ratio, but the masked version seems far superior. One can only hope that the video release preserves it.

It’s a lovely, evocative, disturbing film, but just as we see a shot of the protagonist disappearing into a valley in a bleak landscape of black volcanic rocks, there is a cut to an epilogue set in a beautiful Danish castle. The daughter wakes up and goes for a walk with some dogs. End of film. How this is supposed to relate to the preceding story is a mystery, and one which thoroughly undercuts the tension slowly built up over the course of the Patagonian-set story. The scene of the hero disappearing would have made a fitting ending, leaving the solution to the tale’s mysteries open-ended.

I note from a recent story in Variety that Alonso has been chosen as the second filmmaker to be hosted in the Film Society of Lincoln Center’s new “Filmmaker in Residence” program. That’s good news, I think, but I hope Alonso will trust more in his story-telling ability and less in flashy tactics like this pointless epilogue.

 

Brief notices

One director who displays such trust is Alejandro Fernández Almendras, whose Chilean revenge tale To Kill a Man (2014) is both entertaining and morally and psychologically complex. We are almost entirely confined to the presence and knowledge of Jorge, a forest ranger who has grown accustomed to the casual violence in the neighborhood where he lives. He tries to avoid trouble, but his family is increasingly harassed by Kalule, a loathsome petty gang leader. As Jorge is mugged, his son is shot and then wrongfully imprisoned, and his house pelted with stones and threatening messages, he doggedly insists on going through the police, while his wife becomes increasingly frustrated with their lack of response.

Finally, after Jorge’s daughter is assaulted and nearly raped, he decides to act and sets out to eliminate Kalule. The film then follows his patient, careful planning, culminating in an understated but riveting long take of the truck in which Jorge has his victim trapped as he systematically sets up the mechanics of the killing. The death itself is not shown:

Hitchcock has said that in making Torn Curtain‘s big fight scene in the farmhouse, he wanted to show just how physically difficult it is to kill someone–as opposed to the seemingly effortless killings that fill American genre films. Almendras’ film is almost entirely about how difficult it is in all ways. Jorge takes a long time making his fateful decision, in executing it, in dealing with the body and evidence, and in living with what he has done. Most spectators, attuned to more conventional revenge plots and frustrated by Jorge’s initial resignation in the face of intolerable injustice, are probably cheering him on from an early point in the plot. But, as Almendras thoroughly shows us, it just isn’t that easy.

Charlie’s Country (Rolf De Heer, 2013) also centers very tightly on a protagonist beset by difficulties, but it sets a very different tone. It’s another Australian film focusing on aborigines and their problems under the rule of the white majority. Charlie is a genial elderly man living in impoverished circumstances in a village set aside for aborigines and run by local police. Their laws mystify him. His gun is taken because he cannot afford a license, and when he fashions a spear for hunting for food, it is taken away and destroyed as a dangerous weapon.

His health declines so far that the authorities send him to a hospital in a city far from his home, an apparent signal that he is dying. Instead, he escapes, lives with some street people, and finally makes his way home.

The film is entertaining enough, though it deals with familiar subject matter. It exists, though, primarily as a love letter to David Gulpilil, the most successful Australian aboriginal actor. His first film is also one of his best-known outside Australia, Walkabout, which I saw when it first came out, just after I had gotten my BA and was about to commence film-studies as a graduate student. (It’s a bit disconcerting to watch him playing an old man here and realizing that he is three years younger than me!) Gulpilil turns in an endearing performance that pretty much carries the movie.

I enjoyed and was impressed by Russian director Andrei Zvyagintsky’s Leviathan (2014), though I’m not sure it quite lives up to all the hype following its debut in competition at Cannes, where it won best screenplay. The story centers around the owner of a sprawling, dilapidated garage in a declining fishing port on Russia’s northwestern coast. He struggles to prevent a corrupt local mayor from appropriating his property illegally. (The hypocritical official wants to use the land to build a church to further his own reputation.) At the same time, the protagonist has remarried, and he must deal with his teenage son’s reluctance to accept a young stepmother.

The depiction of modern Russian society in the provinces is a grim one, albeit one displayed in sweeping landscape shots that suggest the waste of this stunning region. Many scenes involve the characters putting away great quantities of vodka. These include a hilarious set-piece in which the family and friends drive into the countryside for a drunken picnic complete with a shooting competition using portraits of historical Soviet leaders as targets.

Leviathan will be released in the USA by Sony Pictures Classics on December 31.

Papusza (Joanna Kos-Kralize and Krzysztof Kralize, 2013) is the second new black-and-white Polish film I’ve seen this year. The first was the much-heralded Ida (Pawel Pawlikowski, 2013), an austere tale of a young woman in the 1960s, about to take her vows as a nun when she learns that she comes from a Jewish family persecuted during World War I. Papusza is a more easily engaging film, with a relatively fast-moving historical drama set among Poland’s Roma (“gypsy”) population.

Papusza centers around Bronislawa Wajs, the first Roma woman to learn to read and write; she became a well-known poet nicknamed Papusza. The film adeptly balances sympathy for the Roma group at the center of the story, the victims of racial prejudice, with a clear-eyed depiction of the less savory aspects of Roma culture. Girls, kept ignorant and oppressed, are married off at a young age. The Roma society practices its own prejudices, rejecting any interactions with people outside their clan and treating non-Roma as fair game to be fleeced at any opportunity.

The lively culture of the Roma and their closeness to nature are shown in impressive landscape scenes, as in shots of the caravans on the move through bucolic countrysides or when the band sets up a camp and market outside a traditional church (below).

As of now there is no indication that the film will receive an American release. The only DVD available seems to be the Polish one, with no optional subtitles. Various small streaming services claim to be offering it, but again, possibly without subtitles and in some cases with timings that don’t correspond to the original 131 minutes.

 

And so another year at Vancouver has ended. As usual, we are left with the feeling that this event is one of the most pleasant ways to catch up with a huge amount of what is happening in world cinema.

Papusza

12 hours, Ritrovato time

DB here:

Reporting on the magnificent Cinema Ritrovato festival at Bologna has become a tradition with us, but it’s become harder to find time during the event to write an entry. The program has swollen to 600 titles over eight days, and attendance has shot up as well; the figure we heard was over 2000 souls. The organizers–Peter von Bagh, Gian Luca Farinelli, and Guy Borlée–have responded to requests for more repetition of titles by slotting shows in the evening, some starting as late as 9:45. (You can scan the daily program here.) There are as well panel discussions, meetings with authors, and some unique events, such as carbon-arc outdoor shows, the traditional screenings on the Piazza Maggiore, and Peter Kubelka’s massive and mysterious Monument Film. Add in time to browse the vast book and DVD sales tables, and the need to socialize with old friends.

In all, Ritrovato is becoming the Cannes of classic cinema: diverse, turbulent, and overwhelming. How best to give you a sense of the tidal-wave energy of the event? I’ve decided to take off one morning and write up just one day, Monday 29 June. I don’t know when Kristin and I will find time to write another entry, for reasons you will discover.

9:00 AM: Ned Med Vaabnene! (Lay Down Your Arms!, 1914) was a big Danish production, based on a popular anti-war novel by the German Bertha von Suttner. It’s a remnant of the days when the rich went to war along with the common folk. (Sounds quaint in today’s America, where the elite have other priorities.) The Nordisk studio specialized in “nobility films,” melodramas that show the upper class brought low by circumstances; Dreyer’s The President (1919) is another example. The film, directed by Holger-Madsen, shows a family devastated by war and its aftermath. It’s shot in tableau style, with the restrained acting and sumptuous, light-filled sets characteristic of Nordisk. The combat scenes are remarkably forceful, but the most harrowing scene, for me, is the shot showing a battlefront hospital, with exhausted nuns and wounded men strewn around the shot–a tangle of limbs and heads.

Premiered soon after the Great War broke out, Lay Down Your Arms! anticipates Nordisk’s wartime policy.  Denmark was a neutral country, and the Danish industry depended on both the German and the American markets. As a result, most of the films studiously avoided taking sides. After the war, with the revival of the German industry and the circulation of American films in Europe, Nordisk lost its powerful position in the international market.

The entire film is available for viewing online at the Danish Film Institute site.

Programmer Mariann Lewinsky, in charge of the “100 Years Ago” thread, wisely included other pacifist films from the mid-teens. One of the high points was the evening screening, on the Piazza Maggiore, of the fine Belgian film Maudite soit la guerre (1914), in the hand-colored version I discussed some years back. Not by accident, I suspect, Lay Down Your Arms! featured several Lewinsky dogs.

10:30 AM: Werner Hochbaum was an unknown name to me, but after seeing Morgen beginnt das Leben (Life Begins Tomorrow, 1933), I realized that was my loss. This story of a cafe violinist released from prison is a sort of anthology of 1920s International Style devices: canted angles, rapid montages, City Symphony passages, flamboyant camera movements, multiple-image superimpositions, and huge close-ups of faces, hands, and objects. The work on sound is no less ambitious, with voice-overs, sound motifs (a carousel, a canary’s call-and-response to a chiming doorbell), offscreen dialogue, and harsh auditory montages of traffic and city life. Everything from Impressionist subjective-focus point-of-view to Expressionist shadow work comes into play.

The plot is gripping throughout. At first we don’t know why the violinist was imprisoned, and we learn about the case first from his gossiping neighbors (excellent run of whispers during fast-cut close-ups of housewives), then from his own flashbacks, which build up to a revelation of the murder he committed. Threaded with all this is another uncertainty: Has his wife begun a love affair while he was in jail? Giving us only glimpses of her life as a cafe waitress, Hochbaum leads us to suspect that he will come home to more misery–and perhaps another temptation to murder.

Along with all this were arresting side scenes of cafe life, like a fat woman ordering up a gigolo to dance with her, reminiscent of Georg Grosz and the New Objectivity’s cynical portrait of daily desperation. It’s a lot to pack into 73 minutes, but Morgen beginnt das Leben succeeds smoothly and made me want more. Alex Horwath‘s introduction confirmed that this is a director we should know better. We can hope that a DVD edition is coming soon.

Noon: A packed house for the panel of three American studio archivists: Schawn Belston of Twentieth Century Fox, Grover Crisp of Sony, and Ned Price of Warners. Too many ideas to summarize here, but one that emerged: Digital tools are great for restoration, not so reliable for preservation.

Ned (left) emphasized that now scanners are very sensitive to the oldest negatives, with their shrinkage and warpage. But Ned pointed out that today’s monitors don’t often render the full color scale needed to respect film’s tonal range, so that weak monitors mean that we are “working blind” and may “bake in” flaws that will be evident when display devices improve. Likewise, low bit-depths (often only 10-bit) in outputting to film for preservation can cause problems later. Grain reduction is another big problem. Grover (center) added: “When you do anything to grain, you’re denaturing the film.”

On the restoration front, Schawn showed clips from the 1959 Journey to the Center of the Earth, first from a beautiful photochemical restoration of twelve years ago, then from a recent digital one. To my eye, the warm skin tones of the 35mm image were more attractive than the almost porcelain surfaces of the digital version, but the latter was sharper and contained a healthy amount of grain. Grover screened A/B comparisons of the main titles of Only Angels Have Wings and Vaghe stelle dell’Orsa (Sandra ), both of which showed how handily digital restoration creates a rock-stable image, without the jitter and weave unavoidable with a strip of film.

All the panelists agreed that digital restorations are rapidly improving; ones finished only a few years ago could now be done better. A major problem coming up is that younger restoration workers know the digital tools better than the look and feel of photochemical, particularly the surface of older films. Grover recalled that one eager techie added flicker to a Capra silent because he thought that was how old movies looked.

1:15 PM: Hurried lunch with Schawn. Main topic: The Grand Budapest Hotel, but also the vagaries of the DVD and Blu-Ray market.

2:30 PM: Ritrovato has mounted an ambitious William Wellman series, and though I’d seen most of the films on the program, I had to catch two 1920s titles.

You Never Know Women (1926) is an exercise in good old classical storytelling. The plot presents Vera (Florence Vidor), star of a troupe of Russian entertainers, momentarily entranced by a no-good millionaire who wants to seduce her. The magician of the troupe, Norodin (Clive Brook) loves her, but she’s unaware of her feelings for him until the Lothario’s true nature is exposed. El Brendel adds spice as a clown devoted to his pet duck.

Variety‘s review was ecstatic, claiming that “Wellman at the megaphone lifts himself into the ranks of select directors with by his handling of this story, for his direction is never obvious or old-fashioned.” I’ll say.  Filled with running gags, seesawing conflicts, and motifs (Ivan’s skill at knife-throwing, the expletive, “Ridiculous!”), You Never Know Women has a headlong pace. With nearly a thousand shots in 70 minutes, it relies on glances, gestures, and reactions to channel the dramatic flow. It needs only three expository titles, letting its 100 or so dialogue titles pinpoint key emotional transitions. In anticipating the sound cinema that was just around the corner, You Never Know Women resembles the more famous Beggars of Life (1928, given pride of place at Ritrovato), which as I recall uses dialogue titles exclusively.

The Man I Love (1929) tells the familiar story of a prizefighter who, as he rises in the game, leaves his loyal woman behind. As an early sound film, it relies on multiple-camera shooting for extended dialogue scenes, but Wellman enlivens the staging with unusual angles, including a view of a quarrel seen through a window in a dressing-room door. The Man I Love boasts the sort of ambitious, somewhat bumpy tracking shots we sometimes find in early talkies. One swaggering camera movement takes us from the locker room into an arena, down the aisle, past the ring, and to Dum Dum’s anxious wife in the crowd, a sketchy prefiguration of the celebrated Steadicam movement in Raging Bull. The fight scenes, not requiring sync sound, are shot with brio, while the dialogue scenes are extremely well-miked, allowing for fairly fast line readings and varied volume and emphasis in the voices.

Gina Teraroli and David Phelps, along with other colleagues, have assembled a wide-ranging dossier on Wellman’s work that serves as a fine complement to the Ritrovato thread.

5-something PM: One of the things in the first edition of our Film History: An Introduction that made me proud was the inclusion of sections on Indian cinema, a subject usually ignored in textbook surveys. I remember in the late 1980s and early 1990s watching the 1950s-1960s classics of Hindi filmmaking with a sense of discovery: How could we not have known this invigorating tradition?  It was therefore with a sense of homecoming that I visited Raj Kapoor’s Awara (“The Vagabond,” 1951), in a pretty sepia-tinted print.

The young ne’er-do-well Raj (no last name, and this is important) is on trial for attacking a judge in his home. A female lawyer, Rita, takes up his defense and urges the judge, on the witness stand, to tell why he expelled his wife from his home many years ago. The wife had been kidnapped by the gangster Jagga, and the judge assumed that the child she was now expecting was Jagga’s. Before the courtroom, Rita recounts up the story of how young Raj, actually the judge’s legitimate son, took up a life of crime. To add spice, Rita is the judge’s ward and Raj’s lover.

No coincidence, no story, they say, and Awara offers plenty of  timely misunderstandings and improbably neat encounters. No matter. We’re told that TV narrative, by stretching its tale over several hours, can introduce novelistic breadth, but so can Indian classics of the 1950s. This one takes us across twenty-four years and as many ups and downs as a mini-series might offer. Not to mention Kapoor’s vigorous visual style, with huge sets, vivacious fantasy sequences, and traces of 1940s Hollywood hysteria (chiaroscuro, fluid track-ins to overwrought faces, even thunder and lightning in the distance). Here Raj, about to stab the judge, shatters the childhood picture of Rita; her simple gaze checks his moment of revenge.

Then there are the songs, lusciously sung by Lata Mangeshkar and Mukesh. Of course the sprightly “Awara Hoon” is the official classic and Kapoor’s signature tune, but this time around my favorite was the duet, “I wish the moon…,” with Rita asking the  moon to look away and Raj asking it to turn to him. With its glamorized social realism, its tale of a good boy gone wrong, unjustly punished, and eventually redeemed, and its primal themes of mothers, fathers, and sons, Awara is a milestone in the world’s popular cinema…. and just one of several Indian classics in this year’s Ritrovato.

 

That was one day. Now I’m off to…what? Polish films in widescreen? The Riccardo Freda retrospective? The rare Ojo Okichi? Or maybe the restored Oklahoma!? In any case, this afternoon an incontro on Nicola Mazzanti‘s book 75000 films, and tonight Guru Dutt’s glorious Pyaasa.

I tell you, it’s hard to keep up, running on Ritrovato time.

Nargis and Raj Kapoor sing to the moon in Awara.

Silent films, old and new

Blancanieves

Kristin here:

February and March have been good to silent cinema. Time for a round-up of some highlights as we impatiently anticipate Il Cinema Ritrovato, coming up in a little over two months.

Publications on Albert Capellani

In reporting on the 2010 and 2011 programs of Il Cinema Ritrovato, I highlighted one of the festival’s major revelations, that of the silent films of Albert Capellani. These generous doses of Capellani’s splendid films were put together by Mariann Lewinsky, who realized his importance after she included some of his shorts in her annual “Cento Anni Fa” programs. In my entries I argued that Capellani was revealed as one of the early cinema’s great masters. (The 2010 entry is here, and the 2011 one here.)

Not surprisingly, during the intervening years, scholars have been busy researching Capellani’s films and career. March 6 to 24 saw a major retrospective at the Cinémathèque Française. (Information on the program is still available online, as is a detailed press release.) Shortly before it began, the first biography appeared: Christine Leteux’s Albert Capellani: Cineaste du Romanesque, with a foreword by Kevin Brownlow.

    

Leteux discovered Capellani in May of 2012, thanks to seeing Notre-Dame de Paris and Les Misérables at the Forum des Images in Paris. Setting out to learn more about the filmmaker, she realized how thoroughly his memory had nearly vanished from film history. She sought out and received the cooperation of his grandson, Bernard Basset-Capellani, whom she describes as “intarissable” (inexhaustible) on the subject.

The result is a solid, traditional biography, with chapters mostly organized around the companies for which Capellani worked (Pathe, SCAGL, World, Mutual, and so on) and some of his key films (Les Misérables, The Red Lantern). The prose style is easily readable French, at least to someone like me with an average knowledge of the language. For an interview with Leteux concerning the book, see here.

The book is on sale at the Cinémathèque’s shop, which unfortunately does not sell online. It was supposed to be available on Amazon.fr, but so far is not. The easiest way for those outside France to order it is through three third-party book-sellers on amazon.fr, all offering it at the cover price of 14.90 €. Leteux’s book is a vital source for anyone interested in early cinema.

I was pleased to see that the last chapter ends with some quotations from my second entry on Capellani, ending with “With the end of the main retrospective, however, it is safe to say that from now on anyone who claims to know early film history will need to be familiar with Capellani’s work.”

The book includes a filmography and list of films available on DVD. These include a new one, a restoration of The Red Lantern by our friends at the Cinematek in Brussels, available on Amazon.fr or directly from the Cinematek’s shop.

The French-language historical journal on cinema, 1895, timed its March, 2013 issue to coincide with the Cinémathèque’s retrospective. It is entirely devoted to Capellani. I have not had a chance to see it yet, but the table of contents is available here. The only online purchasing source for individual issues I have found is here; the page gives a lengthy summary of the contents.

Mariann continues to search for more surviving prints for restoration and eventual inclusion in future editions of Il Cinema Ritrovato. She has sent me some tantalizing news about recent discoveries and restorations. There will be a third Capellani season in 2014. This will probably include some of the director’s American films: Social Hypocrites (now restored), Flash of the Emerald (the one surviving reel), Inside of the Cup (surviving but so far with no projection print), Eye for Eye (two surviving reals), Sisters, and the French film Le Nabab. Other possible restorations include House of Mirth, La belle limonadiere, and Oh Boy!

A description of the 2013 Ritrovato festival is available here.

Nanook and friends

Early this year we posted our annual list of the ten best films of ninety years ago. It featured the classic early documentary, Robert Flaherty’s Nanook of the North. In March our friends at Flicker Alley released a two-disc Blu-ray edition of Nanook paired with the 1934 Danish feature, The Wedding of Palo (Palos Brudefærd). The latter is one of those titles that one occasionally encounters on the fringes of older historical surveys, but it has been difficult indeed to see. This new print is a 2012 restoration from a George Eastman House original 35mm nitrate copy.

Nanook is familiar enough, but The Wedding of Palo is not. It was made by the Danish explorer and anthropologist Knud Rasmussen, who appears in a brief introductory passage. Clearly he was influenced by Flaherty’s work. He combines a simple fictional narrative with documentary scenes of traditional Inuit life in eastern Greenland. The basic story involves the heroine Navarona, whose brothers are reluctant to lose their housekeeper by allowing her to marry. Two men of the tribe court her and come into violent jealous conflict. Interjected are sequences of a salmon hunt, a festival, a traditional song duel between the two rivals, and a polar-bear hunt. The staged dialogue scenes involve sound recording, with no subtitles but the occasional brief intertitle to translate.

As in Nanook, the non-professional actors are remarkably natural, especially the “actress” portraying the heroine. There is a cute young boy brought in at intervals for comic appeal, and the members of the village seem always to be laughing and enjoying a suspiciously carefree life. The film has the advantage of more spectacular scenery than that in Flaherty’s film, with huge mountains and glaciers in place of the vast ice-covered vistas (see bottom image).

As usual, the Flicker Alley team has gone beyond the call of duty with this release. It includes not only the two features, but six bonus films, as described in the press release:

Nanook Revisited (Saumialuk) by Claude Massot was made in the same locations used by Flaherty. It shows how Inuit life changed in the intervening decades, how Flaherty consciously depicted a culture which was then already vanishing, and how Nanook is used today to teach the Inuit their heritage. Nanook Revisited was produced in 1988 on standard definition video for French television. Dwellings of the Far North (1928) is the igloo-building sequence of Nanook re-edited and re-titled as an educational film; Arctic Hunt (1913) and extended excerpts from Primitive Love (1927) are by Arctic explorer Frank E. Kleinschmidt; Eskimo Hunters of Northwest Alaska (1949) by Louis deRochemont shows many activities seen in Nanook thirty years after, and Face of the High Arctic (1959) depicts the ecology of the region, produced by the National Film Board of Canada.

Altogether, the films run an impressive 281 minutes. There’s also a booklet with excerpts from Flaherty’s book, My Eskimo Friends, an essay by Lawrence Millman, “Knud Rasmussen and The Wedding of Palo,” and notes on the films.

Snow White and the Seven (?) Bullfighting Dwarves

In 2011, a French film, The Artist, gained huge attention in the infotainment media as a modern version of silent cinema, winning yet another Best Picture Oscar for the Weinstein brothers. It was a reasonably successful imitation of mid- to late 1920s cinema during the transition to sound. Now a much better modern silent film has arrived, Pablo Berger’s Blancanieves, a loose version of the Snow White story transposed to 1920s Spain. A famous bullfighter is paralyzed after being gored in the ring. His wife dies in childbirth and his scheming nurse marries him. She keeps his daughter, Carmen, away from her father by setting her to work as a downtrodden servant in his country estate. Upon her father’s death, the evil wife schemes to have her killed, and she escapes to the protection of a troupe of six bullfighting dwarves who, possessing uncertain arithmetic skills, bill themselves as seven bullfighting dwarves.

While The Artist was a fairly good imitation of 1920s Hollywood filmmaking, Blancanieves is a pastiche of the 1928-29 era of European silent cinema. It draws on what I have termed the International Style of filmmaking, a late 1920s blend of influences from the French Impressionism, German Expressionism, and Soviet Montage movements. One could almost pass it off as a genuine film of the era.

At times there are subjective effects à la Impressionism. A superimposition conveys Carmen’s memories of her father’s crucial instructions to her, and superimposed images of hands waving handkerchiefs present the enthusiam of the crowd’s plea for the bull to be pardoned.

    

This was also the period in which the power of the wide angle lens, particularly in close-ups and in low-angle shots, was exploited, initially in Soviet cinema and then all over Europe. Blancanieves is full of such shots, as in the frame at the top of this entry and in these two shots from the opening scene:

    

There are also montage sequences, building up to flurries of very short shots. This accelerated-editing technique is typical of both Soviet and French filmmaking of the era.

The too-frequent use of handheld camera in Blancanieves detracts somewhat from the feeling of authenticity. In the late 1920s, cameras were too heavy to be handheld. They could be strapped to the body of the cinematographer with harnesses, but that creates a subtly different look. And during the late 1920s, shots with the camera holding on a character while the background spins around behind him or her would have been achieved by placing both camera and actor on a large turntable. (This effect apparently was pioneered in Germany in the mid-1920s). But the occasional dramatic lighting effects, particularly in the climactic scene, are distinctly reminiscent of German cinema.

In general, the narrative is charming and amusing. The heroine’s pet rooster provides exactly the sort of comic relief that is common in films of the 1920s, and the story has an effective fairy-tale quality. I found the ending a bit disappointing and certainly not typical of the films of the 1920s. Still, Berger has clearly watched an enormous number of 1920s European films and absorbed their styles. He can imitate the International Style remarkably well, telling a tale that is appropriate to the 1920s and yet has a touch of humor that doesn’t belittle the silent era.

Blancanieves was released in the US on March 29 and is currently making the rounds of art-houses and festivals.


Other entries discussing the International Style and wide-angle filming at the end of the silent era can be found here and here.

The Wedding of Palo

David Bordwell
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