Archive for the 'National cinemas: Germany' Category
Der Tunnel (William Wauer, 1915).
Being a cinephile is partly about making discoveries. True, one person’s discovery is another’s war horse. But nobody has seen everything, so you can always hope to find something fresh. There’s also the inviting prospect of introducing a little-known film to a wider community–students in a course, an audience at a festival, readers of a blog.
A festival like Bologna’s Cinema Ritrovato (we covered this year’s edition here and here and here) offers what you might call curated discoveries. Expert programmers dig out treasures they want to give wider exposure. Such festivals are both efficient–you’re likely to find many new things in a short span–and contagiously exciting, because other movie lovers are alongside you to talk about what you’re seeing.
A year-round regimen of curated discoveries is a large part of the mission of the world’s cinematheques. This is why places like MoMA, LACMA, MoMI, BAM, TIFF, ICA, and other acronymically identified showcases are precious shrines to serious moviegoing.
But other discoveries are made in a more solitary way. Film researchers, for instance, ask questions, and some of those can really only be answered by visiting film archives. Sometimes we need to look at fairly obscure movies. And despite the rise of home video, there are plenty of obscure movies that can be seen only in archives. It’s here that the programmers of Ritrovato and Pordenone’s Giornate del Cinema Muto come to select their featured programs.
Archive discoveries aren’t predictable, and many are likely to be of interest only to specialists. Such was the case, mostly, with our archive visits this summer. But as in years past (tagged here), all our archive adventures yielded pure happiness.
This time I concentrated on films from the 1910s-early 1920s films because I hope to make more video lectures about this, the most crucial phase of film history. (One lecture is already here.) In our archive-hopping, we saw films I was completely unfamiliar with. I re-watched some films I’d seen before and found new things in them. I detected some things of interest in films I hadn’t known. Most exciting was our viewing of a major film that has gone unnoticed in standard film histories.
In the steps of Jakobson and Mukarovský
Love Is Torment ( Vladimír Slavínský, Přemysl Pražský, 1920); production still.
First stop was Prague, where I was invited to give two talks. At the NFA we saw two films on a flatbed: a portion of Feuillade’s Le Fils du Filibustier (1922) and a cut-down version of Volkoff’s La Maison du mystere (1922), the latter a big gap in our viewing. The expurgated Maison came off as rather drab, lacking nearly all the big moments much discussed in reports like James Quandt’s from a decade ago. So we search on for the full version. . . .
As for the Feuillade: Le Fils du Filibustier was his last “ciné-roman.” Our two-reel segment, which seemed fairly complete, confirmed his late-life switch to fairly fast, Hollywood-style editing, with surprisingly varied angles.Again, though, we yearn to see the entirety of this pirate saga.
On another day the archive kindly screened several 1910s-early 1920s Czech films for us. Our hosts Lucie Česálková and Radomir Kokes translated the titles and provided contexts. Among the choices were Devil Girl (Certisko, 1918), with a protagonist who’s more of a tomboy than a possessed soul; and the full-bore melodrama Love Is Torment (Láska je utrpením, 1919). The plot, outlined here, involves scaling and jumping off a tower, twice. Once it’s a stunt for a film within the film, the second time (below) it’s the real thing.
Radomir explained to us that one of the co-directors, Vladimír Slavínský, seemed in his 1920s films to specialize in building two reels (often the third and fourth) in a “classical” fashion before letting the other three become more episodic. And indeed, most of the late 1910s-early 1920s films we saw were up to speed with other European filmmaking, in their staging, cutting, and use of intertitles.
We look forward to viewing more Czech films as the opportunity arises. A culture that gave us Prague Structuralism is definitely worth getting to know better. In the meantime, the journal Illuminace, edited by Lucie, is injecting a great deal of energy into local film studies, and the archive is entering a fresh phase with its new director, Michal Bregant.
Der Hund von Baskerville (1914).
In Munich, we reconnected with our old friends Andreas Rost, now retired from administering the city’s cultural affairs, and Stefan Drössler, director of the Munich Filmmuseum. We also reunited with the stalwart archivists Klaus Volkmer, Gerhard Ullmann, and Christoph Michel. Talking with them, we realized we hadn’t been back for over ten years. Klaus and Gerhard were warm and helpful during our earlier visits.
One rainy afternoon, Stefan shared his research on the history of 3D. He presented a spectacular PowerPoint, with rare images and some truly startling revelations. He has given this talk at intervals over the years, but it grows and deepens as he discovers more. Accompanying it, he screened some Soviet 3D films, including the 1946 Robinzon Cruzo. This mind-bending item was made with diptych images, so that the projected image turned out to be slightly vertical. The soundtrack runs down the middle.
The director, Aleksandr Andriyevsky, made excellent use of 3D to evoke the stringy vines and protruding leaves of Crusoe’s island. Amid all the talk today about glasses-free 3D, it’s interesting to learn that Soviet researchers prepared such a system. Stefan’s archaeology of 3D, for me at least, was a pretty big discovery.
At Munich we also saw three silent German titles. Two were associated that resourceful self-promoter Richard Oswald. Sein eigner Morder was a 1914 version of Dr. Jekyll and Mr Hyde, directed by Mac Mack from Oswald’s screenplay. Shot in big sets, it spared time for the occasional huge close-up. The other film was Oswald’s semi-comic adaptation of The Hound of the Baskervilles (Der Hund von Baskerville, dir. Rudolf Meinert, 1914), which he had already turned into a play. The sleuth isn’t exactly our idea of Holmes (see above), and he isn’t as quick-witted, I thought, but it was an enjoyable item. Dr. Watson has a sort of tablet which picks up messages; Holmes’ orders are spelled out in lights on a grid. Stefan rightly called it a 1914 laptop.
As for the third film: More about that coming up.
The shadow of Hollywood
Les Deux gamines (1921).
At Brussels, thanks to the cooperation of the Cinematek, I was able to see several items for the first time, and two held considerable interest. The short The Meeting (1917), by John Robertson, showed a real flexibility in laying out the space of a cabin both in front of the camera and behind it. Most interior scenes in 1900-1915 cinema bring characters in from a doorway in the rear of the set (as Feuillade does in his 1910s films) or straight in from the sides, perpendicular to the camera (as Griffith tends to do). The Meeting shows that the diagonal screen exits and entrances that we see in exteriors were coming into use in interior sets as well.
Another 1917 film, Frank Lloyd’s A Tale of Two Cities, was further support for the idea that American continuity filmmaking was well-established and already being refined at the period. Dickens’ classic tale is handled with dispatch–rapid exposition, smooth crosscutting to set up the plot lines–and the film makes dynamic use of crowds surging through well-composed, starkly lit frames. There are also some remarkably expressive close-ups, evidently made with wide-angle lenses.
To clinch a plot point, the resemblance of aristocrat Charles Darnay to British solicitor Sydney Carton, the star William Farnum plays both characters. Not much of a problem if you keep the characters in separate shots; the good old Kuleshov effect (aka known as constructive editing) makes it easy. At this period, though, filmmakers were perfecting ways to show one actor in two roles within a single shot. The most famous examples involve Paul Wegener in The Student of Prague (1913) and Mary Pickford in Stella Maris (1918).
Cinematographer George Schneiderman contrives some really convincing multiple-exposures showing Farnum as both Darnay and Carton. There are some standard trick compositions putting Farnum on each side of the screen, but several images take the next step and let the actor cross the invisible line separating the two halves. At another point, we get a flashy passage showing the two facing one another in court, followed by a “Wellesian” angle of the two characters’ heads in the same frame.
Hollywood’s pride in photorealistic special effects, so overwhelmingly apparent today, has deep roots.
Part of my Brussels visit involved checking and fleshing out notes on certain films I saw many years ago. Some were wonderful William S. Hart movies like Keno Bates, Liar (1915; surely one of the best film titles ever). There was, inevitably, Feuillade as well. The influence of Hollywood was powerful in the ciné-roman Les Deux gamines (1921). This baby, released in 12 parts originally, runs nearly 27,000 feet. At 20 frames per second, it would take six hours to screen. What with changing reels, making notes, counting shots, pausing to study things, and taking stills, Kristin and I took about ten hours to watch it.
Was it worth it? An adaptation of a popular stage melodrama, it can’t count as one of Feuillade’s major achievements. Two girls are left alone when their mother is reported dead. They are adopted by their gloomy grandpa and tormented by his overbearing housekeeper. They become the target of kidnapping by gangster pals of their father, who has divorced their mother and turned to a life of petty crime. Their allies are their young cousins, a wealthy benefactor, and their godfather and music-hall star Chambertin. Everything ends happily, if you count the father’s redemptive sacrifice on behalf of a pregnant woman.
Les Deux Gamines is determined to delay its ending by any means necessary. Form here definitely follows format; Feuillade fills out the serial structure with plots big and small. (Shklovsky would love it.) There are incessant abductions, escapes, rescues, coincidental meetings, and timely reformations, plus at least three cases of people wrongly assumed to be dead. All of this is accompanied by an endless exchange of telegrams and letters. People are forever piling into and out of carriages, train cars, and taxis. Such material serves as makeweight for some genuinely big moments, including a cliff-hanging scene and a stunning climax in a smuggler’s warehouse stuffed with gigantic bales of used clothing.
Like Le Fils du Filibustier, this film shows Feuillade trying to change with the times. The supple long-take staging of Fantômas and Les Vampires and Tih-Minh mostly goes away, to be replaced by rapid editing. Feuillade employs standard continuity devices, as when the grandfather discovers that the kids have sneaked out at night and are trying to return by scaling the gate.
Feuillade varies his angles and lighting to accentuate the moment of visual discovery. Elsewhere, some appeals to “offscreen sound” (cutaways to doorbells and telephones) built up to a surprise effect.
But by the energetic standards of, say, Robertson or Lloyd several years earlier, Les Deux gamines is fairly timid. Feuillade doesn’t explore editing resources very much here, not even as much as in Le Fils du Filibustier. The fairly quick cutting pace stems partly from the stratagem of having dialogue titles interrupt static two-shots of characters talking to one another. This sort of proto-talkie-technique yields efficient storytelling but not much visual momentum. Feuillade tried flashier things in other films of the period (see here).
Hours and hours of nothing but Bauers
The Alarm (1917).
Yevgeni Bauer, one of the master directors of the 1910s, remains lamentably unknown. About two dozen of his over seventy films survive, but many of the ones we have lack intertitles. A few of his films are available on DVD (most obviously here; less obviously here). He died of penumonia in 1917, between the February revolution and the Soviets’ coup d’état in October. He was only 52.
My first archive-report entry back in 2007 recorded my interest in Bauer, and I’ve returned to his films over the years. Now here I was watching some again, confirming things I found of interest then, and discovering (that word again) new felicities. I hope to say more in those short video lectures on the 1910s, but I can’t leave without giving you a taste of his qualities.
Two of the films I saw this time were from 1917. The Alarm (Nabat) came out in May 1917, just before Bauer’s death in June. Originally running eight reels, it was cut down after the initial release, and that’s evidently the version we have. For Luck (Za Schast’em, September 1917) was directed by Bauer from his sickbed. Both films are fairly hard to follow. The Alarm lacks intertitles, and For Luck has many fewer than it had originally.
The two films are of exceptional interest, though. For one thing, there’s the involvement of Lev Kuleshow, who at the age of eighteen served as art director for the earlier film and, apparently reluctantly, as an actor in the later one. More important, the films remain as beautifully designed, staged, and acted as ever.
The Alarm is a wide-ranging drama set before the February upheaval. The drama involves romantic intrigues among the upper class, interwoven with a workers’ rebellion against a master capitalist. The millionaire Zeleznov holds court in a vast office with chairs bearing ominous spires and spiky arches; the windows open onto a view of his factory. A long-shot view is above; here’s a sample of how Bauer shows off his decor in something akin to shot/ reverse-shot.
The idea of capitalism as an overreaching religious striving is evoked by turning Zeleznov’s headquarters into a Symbolist cathedral. And looking at the second shot, you wonder whether Kuleshov’s inclination to stage his own scenes against pure black backgrounds has its source in his work for the man he called “my favorite director and teacher.”
As ever, Bauer makes fluid use of depth. He choreographs meetings of Zeleznov’s brain trust in ever-changing arrangements, and he eases a man out of a boudoir through a mirror reflection over a woman’s fur-draped shoulder.
Compared to the scale of The Alarm, For Luck is decidedly low-key–a bourgeois melodrama that extends barely beyond an anecdote. Zoya has been a widow for ten years, and she hopes to marry the loyal family friend Dmitri. But Zoya’s daughter Lee hasn’t yet reconciled to losing her father. The couple hope that Lee has worked out her grief during her dalliance with a young painter (played by Kuleshov), but she reveals that all along she has hoped to marry Dmitri.
The Alarm used some extravagant sets, both for interior and exterior scenes, but a good deal of For Luck takes place in parks and terraces. The sincere Enrico sketches Lee in front of swans, and they steal some moments in a bower.
Still, there are some interiors boasting Bauer’s famous pillars and columns, which create massive, encapsulated spaces. Here Zoya looks off, in depth, at the ailing Lee, in bed on the far right.
Sharp-eyed Bauerians will notice the mirror set into the left wall, reflecting Zoya. Kuleshov, who did art direction on this as well as The Alarm, worried more about the trumpet-blowing Cupid floating between the pillars on the left. (“It turned out bad on the screen–incomprehensible and inexpressive.”) He did think that the tonalities of the set worked well: “As an experiment, I put up a set painted in shades of white that were ever so slightly different from one another.”
“Ever so slightly different” isn’t a bad evocation of the tiny variations of shape and shade, light and texture, that characterize Bauer’s ripe, sometimes overripe, imagery. This is a social class on the way out, but it leaves behind a great glow.
The Tunnel (1915).
In 1913, the popular novelist Bernhard Kellermann published Der Tunnel. It’s not quite science-fiction, more a prophetic fiction or realist fantasy in the vein of Things to Come. The book became a best-seller and the basis of a 1915 film directed by William Wauer.
The plot would gladden the heart of Ayn Rand. A visionary engineer persuades investors to fund building an undersea railway connecting France to the United States (specifically, New Jersey). No meddling government gets in the way of this titanic effort of will. Max Allan buys land for the stations, hires diggers from around the world, and risks everything he has. The obstacles are many. An explosion scares off workers; there is a strike; impatient stockholders raid and burn the company headquarters.
Max Allan moves forward undeterred, though he hesitates when his wife and child are stoned to death by a mob. After twenty-six years, the railway is opened. Max, along with his new wife (the daughter of his chief backer), proves it’s safe by taking the first transatlantic train. The event is covered by television, projected on big screens around the world (above). In the original novel, a film company was commissioned to document every stage of work.
The book skimps on characterization, and the film is even less concerned with psychology. Once the character relations are sketched, Wauer goes for shock and awe. The Tunnel‘s thrilling crowd scenes of work, fire, devastation, riots, and panic look completely modern. Bird’s-eye views of stock-market frenzy anticipate Pudovkin’s End of St. Petersburg, and Wauer creates an Eisensteinian percussion of light and rushing movement as workers flee the tunnel collapse.
For the sequences showing the tunnel construction, Wauer supplies violent alternations of bright and dark as men, stripped and sweaty, attack the rock face. The variety of camera positions and illumination is really impressive.
Comparisons with The Big Film of 1915 are inevitable. The intimate scenes of The Tunnel are far less delicately realized than the romance and family life of The Birth of a Nation, and the battle scenes in Birth have a greater scope than what Wauer summons up. But Wauer’s handling of crowds is more vigorous than Griffith’s riots at the climax of Birth, and his pictorial sense is in some ways more refined, even “modern.” There’s little in Birth as daringly composed as the static long shot surmounting today’s entry.
Wauer can handle small-scale action very crisply. The opening scene in an opera house creates low-angled depth compositions more arresting than Griffith’s depiction of Ford’s Theatre. Max’s wife, in one box, is watching his efforts to attract funding from the millionaire Lloyd. Wauer constantly varies his camera setups to highlight Macxs wife in the background studying Lloyd’s daughter, sensing in her a rival for her husband. Whether the angle is high or low, the wife’s presence in her distant box is signaled at the top of the frame.
The second and third shots above present similar but not identical setups, adjusted to reset the depth composition.
It was at Munich’s Filmmuseum a decade ago that I first encountered the brooding power of Robert Reinert’s Opium (1919) and Nerven (1919), the latter now available on DVD. I was convinced that Nerven was as important, and in some ways more innovative, than the venerated Caligari. Now the conviction grows on me that in The Tunnel we have another galvanizing, outlandish masterwork of the 1910s. I hope it will somehow get circulated so that wider audiences can discover it. Yeah, that’s the word I want: discover.
Without archivists, no archives. We’re grateful to Michal Bregant, head of the Czech Republic’s archive, for access to films and for his companionship during our visit. Thanks as well to Lucie Česálková, our host; her knowledgable colleague Radomir Kokes (who kindly corrected the initial version of this post); Petra Dominkova, our Czech translator; and Vaclav Kofron, editor of the Czech versions of our books. Lucie supplied the frame enlargement from Love Is Torment. As well: Good luck to the Kino Světozor!
In Munich, we owe a huge debt to archive chief Stefan Drössler, for his generous sharing of information and his and Klaus Volkmer’s rehabilitation of The Tunnel. Stefan also provided the images from Robinson Crusoe and The Hound of the Baskervilles. Coming up is his work for the annual Bonn International Silent Film Festival, 7-17 August. Thanks as well to Gerhard Ullmann and Christoph Michel.
In Brussels, as ever, the Cinematek has made us welcome, and we thank archive director and long-time friend Nicola Mazzanti and vault supervisor Francis Malfliet. Over the last thirty years, a great deal of our research has depended upon the cooperation the Cinematek leadership: Jacques Ledoux, Gabrielle Claes, and now Nicola.
My quotations from Kuleshov come from Silent Witnesses: Early Russian Films, 1908-1919, ed. Yuri Tsivian and Paolo Cherchi Usai (Pordenone: Giornate del Cinema Muto, 1990), 388-390.
There’s a chapter on Feuillade in my Figures Traced in Light, where Bauer is discussed as well. My essay on Robert Reinert is in Poetics of Cinema.
Thanks to Antti Alanen for correction of a misspelled title. Speaking of discoveries, you’ll find plenty on his wonderful Film Diary site. During his recent trip to Paris, he’s writing about art exhibitions, Dominique Paini’s Langlois exposition at the Cinémathèque, and Godard’s Adieu au langage.
Screening at the Czech Republic’s National Film Archive. From left: Michal Večeřa, Tomáš Lebeda, Radomir Kokes, Lucie Česálková, and Kristin.
Okoto and Sasuke (1935).
Some final notes on this year’s Cinema Ritrovato. Kristin has more when I’ve finished.
Poland, very wide
The First Day of Freedom (1964); production still.
Revisiting a couple of the Polish widescreen classics Kristin mentioned earlier, I’d just add that The First Day of Freedom struck me as merging that heaviness often ascribed to Polish cinema with casual shock effects, as much visual as dramatic. It’s not just the opening shot, with the camera descending implacably to reveal layers of activity in a POW camp before settling on barbed wire in the foreground, made as big as the chains on an ocean liner’s anchor. A symmetrical vertical lift ends the film, rising through floors of a nearly destroyed church tower, revealing a half-shattered Madonna and a looming bell, to float back up to the sky.
As in Wajda’s Ashes and Diamonds, gunfire not only cuts you down but sets you on fire. A Nazi dead-ender, holed up in the steeple and dying from his wounds, orders his girlfriend (“Whore!”) to take over his machine-gun nest. Since she’s been raped by wandering refugees early in the film, she has every reason to fire on the Poles, which she does with animal abandon. A Polish bullet cuts short her shooting spree, and then the camera launches on its remorseless movement heavenward. The primal force of this movie, especially the climax, suggests that Alexander Ford and Samuel Fuller have more in common than I’d suspected.
Kristin pointed out the efforts of Lenin in Poland (1965) to humanize the Great Man, and indeed there are many charming scenes showing him sliding down a banister, taking innocent walks with a Polish maiden, and generally being avuncular. But Sergei Yutkevich also doesn’t spare us the enraged Lenin, ranting in his cell when he learns of mistakes in party strategy. We also get a bit of the puritanical leader. He goes to the cinema for reportage on the political-military situation but walks out when a stupid melodrama comes on. To be fair, though, he does stick around to enjoy a comic short, Le cochon danseur (1907), with a lady cavorting with a man-sized pig. But the ex- (or maybe not so ex-) formalist Yutkevich recycles this image in a return to 1920s montage, when the pig shot reappears in a newsreel sequence showing the march to war.
Yutkevich seems to be keeping up with the Young Cinemas of his day. The film is plotted as a series of flashbacks, alternating the present (Lenin in prison) with pieces of the past, sometimes out of chronological order. He imagines himself striding across a battlefield, conveyed by him walking in place against a blatant back-projection. Late in the film, newsreel footage gets stretched and distorted to fill the ‘Scope format, as in Truffaut’s Jules et Jim (1962). The experimentation with the soundtrack seems likewise rather modern. The noises are filtered nearly as strictly as in Miguel Gomes’ Tabu, so that sometimes we hear only Lenin’s footsteps in a city street.
Lenin not only narrates the film but “quotes” the whole dialogue of the scenes; we never hear any voice but his. Reminiscent of passages of The Power and the Glory (1933) and the entirety of Guitry’s Roman d’un Tricheur (1936), this device blankets the movie with Lenin’s thoughts, feelings, and political analyses. It’s scarily evocative of that booming voice-over narrator that Soviet cinema imposed on imported films. Denied subtitles and dubbing, audiences were obliged to listen to an impersonal voice drowning out the actors with its sovereign interpretation of the action. I wouldn’t put it past Yutkevich to be slyly alluding to this Orwellian voice of authority.
1914 fashionistas and 1940s fakers
Maison Fifi (1914).
For sheer dirty fun I have to recommend Maison Fifi by Viggo Larsen, a Danish director working in Germany. Here situation comedy meets notably horizontal sight gags. A young couturier cozies up to the officers stationed in her town, hoping that their wives will buy her wares. Her first encounter takes place outside the officers’ quarters, as each man, from private up to general, spots her and starts to flirt before being ordered aside by a higher-up. Part of the humor comes from the strict adherence to the table of ranks, part from the fact that each dislodged officer enjoys watching his superior get taken down.
Later, on a lark, some officers swipe one of Fifi’s dummies and take it to a tavern. When their wives surprise them there, they stow the mannequin in a distant phone booth. As they expostulate with their wives in the foreground, the dummy sits unmoving in the window of the booth far on frame right. Meanwhile, increasingly annoyed customers line up outside the booth. The dummy is more visible in projection than in my still, but Larsen also obliges with a cut-in.
In a very logical reversal, Fifi is at the climax caught in a boudoir and must pretend to be one of her own mannequins. This affords the officers an excellent pretext to undress her. Today the scene yields a vivid sense of the hooks, buttons, and stays that women, and men, of 1914 had to contend with.
Faked identity was a motif of the festival’s Hitler strand. The Strange Death of Adolf Hitler (1943) centers on a man with a knack for mimicking his Fuhrer and accidentally becomes his double. In a series of twists, both he and others try to kill the original, but confusion ensues and leads to a very downbeat ending.
The same premise gets a different workout in The Magic Face (1951), a film as puzzling as its title. Luther Adler delivers a performance at once peculiar and virtuoso. A stage impersonator’s wife is stolen away from him by Hitler. Escaping from prison, he decides to get his vengeance by posing as a servant and gaining access to the dictator. He kills Hitler and takes over his identity. Thereafter he cunningly fouls up the prosecution of the war by an ill-timed invasion of Russia, etc. His general staff are baffled and even try to kill him, but he represses all resistance.
The weirdness of this speaks for itself. In addition, the film doesn’t explain how Hitler’s new mistress fails to realize that her paramour has been replaced by her husband. Perhaps more striking, we wonder whether the impersonator might have taken a little trouble to alter other Nazi policies, e.g., the Final Solution. No less odd is the frame story, narrated by celebrated war correspondent William L. Shirer. There he maintains that this account was relayed to him by the wayward wife, who survived the fire in Hitler’s bunker. An independent production directed by Frank Tuttle (recently under HUAC pressure for his Communist affiliations), The Magic Face was judged by Variety to provide “a dramatic and suspenseful story which would have had far greater audience impact five or more years ago.”
Talking, in and out of sleep
The Bride Talks in Her Sleep (Hanayome no negoto, 1933); production still.
The Japanese cinema of the 1930s through the 1960s has been one of the very greatest national film traditions. I once characterized it as the Western cinephile’s dream cinema: a relentlessly commercial industry that has given us dozens of indisputable masterworks. Yet it seems that every few years it’s necessary to remind western publics of this nation’s titanic accomplishments. Packages circulated by the Japan Film Library Council in the 1970s have been followed by retrospectives and one-off touring programs at rather long intervals; the Mizoguchi series is a recent example.
Another effort to draw Japanese cinema to the spotlight, “Japan Speaks Out!” has become a high point of Cinema Ritrovato over the last three years. Curators Alexander Jacoby and Johan Nordström deserve credit for assembling new prints of early talkies, grouped by studio. As in previous years, some of the titles were familiar to specialists, and a few to generalists (Ozu’s The Only Son being this year’s example). But there have been several new discoveries, and the Ritrovato audience has responded enthusiastically. This year the films were screened twice, often to jam-packed halls. The sessions were introduced with brevity and point by Alexander, Johan, and Tochigi Akira of the National Film Center of Tokyo.
This year’s batch focused on the Shochiku studio, more or less the MGM of Japan. Shochiku enjoyed financial stability because of its theatre holdings (both cinemas and live-performance venues) and its address to a modernizing, western-leaning urban audience. Its policies, overseen by Kido Shiro, aimed to provide movies mixing tears and laughter. Kido urged that Shochiku comedy have a melancholy cast, and that Shochiku melodrama indulge in lighter moments. This blend is familiar to us in Ozu’s 1930s works; even as sad a film as The Only Son displays a comic side when the mother falls asleep during a German talkie.
Perhaps the purest example of Kido-ism in this year’s package was one of Shimazu Yasujiro’s best films, Our Neighbor Miss Yae (Tonari no Yae-chan, 1934). Two brothers are introduced practicing baseball, and soon we learn that one has considerable affection for the girl next door. The neighboring families are thrown into quiet turmoil when Yaeko’s sister returns home, having left her husband.
Stylistically, Shimazu is less rigorous than either Ozu or Shimizu Hiroshi, but he is very skilful. Our Neighbor Miss Yae has the real Kido flavor, mixing comedy and drama and throwing in cinephile references that the studio’s young directors enjoyed: one boy is compared to Fredric March, the young people watch a cartoon featuring Betty Boop and Koko the Clown. Just as important, Shimazu enjoys throwing in a stylistic flourish every now and again–a striking, even eccentric shot that arrests our attention. As the four young people are eating in a restaurant, a very straightforward shot of them gives way to a bold composition full of peekaboo apertures. The shot enlivens the fairly routine act of waitresses delivering food; at the end, one pair stands and switches positions.
Not all Shochiku films displayed a mixed tone; we saw some fairly pure comedies and melodramas. Three self-consciously modern films showed an amused, slightly sexy concern with young marriage. Happy Times (Ureshii koro, 1933) by Nomura Hiromasa, begins with a pair of teenage boys practicing pitching and catching to the strains of “There’s No Place Like Home.” Soon they’re spying on newlyweds who are so infatuated with one another that the husband skips work to stay at home and lounge around. He’s mocked by his fellow employees and upbraided by his boss, but his wife is relentless in her sweet-talking ways. The marital bliss is disrupted by an obstreperous visiting uncle, and the couple must turn to one of the man’s old girlfriends, a tough singing teacher, to dislodge him—without sacrificing the inheritance he may leave them. Awkwardly shot and rather too prolonged, the film exemplified how loose-limbed Shochiku comedy could get.
A brace of films by Shochiku stalwart Gosho Heinosuke, The Bride Talks in Her Sleep (1935) and The Groom Talks in His Sleep (Hanamuko no negoto, 1935), showed other newlyweds with comic problems. Again the motif of spying plays a role. (Naughty voyeurism was essential to that strain in popular culture called Ero-guru-nansensu, “erotic-grotesque nonsense.”) Salaryman Komura’s pals have learned that his wife talks in her sleep, and so they drop by to hear for themselves. Unfortunately they drink so much that they fall asleep and miss the big revelation. Plot complications include a burglar, the couple’s decision to sleep elsewhere, and the revelation of what keeps the bride “sleep-talking.”
Only a little less slight is The Groom Talks in His Sleep. Here the title probably gives away too much, because the initial puzzle is why the young wife naps during the day. This scandalous dereliction of housewifely duty leads eventually to a demand for divorce until the cause, the husband’s sleep-talking that keeps her awake all night, is revealed. The family brings in a self-styled hypnotist, played with relish by Ozu regular Saito Tatsuo, to cure the groom.
Gosho is said to be the fastest cutter among classic Japanese directors, but I’m not sure that he goes much beyond what was fairly standard at Shochiku. Most of the studio’s directors working in the contemporary-life genre (gendai-geki) employed what I called in my book on Ozu “piecemeal découpage,” a breakdown of action and dialogue akin to that seen in late US silent films. What Gosho does have in abundance is different camera positions. In The Bride, our introduction to Komura’s drinking buddies takes place at a bar, and I didn’t spot any repeated setups. Throughout the two films, each composition is calibrated to a specific item of information—a line of dialogue, a reaction shot, or a change in the staging. This makes for a tidy visual texture, which is an advantage in the rather loose plotting that’s characteristic of Shochiku comedy (Ozu, always, excepted).
At the other extreme were some very serious drama, such as Mizoguchi’s relatively well-known Poppies (Gubinjinso, 1935) and the more obscure Mizoguchi-supervised Ojo Okichi (1935). There was as well Okoto and Sasuke (Shunkinsho: Okoto to Sasuke, 1935), another Shimazu work. It’s based on a Tanizaki Junichiro tale of male devotion passing into love and masochism. Okoto is blind, but her family can afford to pamper her. She takes up the koto and the family’s young servant Sasuke faithfully escorts her to her music lessons. She often treats him disdainfully, but she insists on his company, and so gossip grows up around them. Sasuke’s loyalty is tested when Okoto is wooed by a vacuous but persistent suitor. Spurned, he arranges an attack on her, which triggers Sasuke’s ultimate sacrifice.
Shimazu treats this story with a calmness that builds up tension between the often wilful Okoto and the simple-hearted Sasuke. The discreet simplicity of the film’s technique, excepting the violent climax, can be seen in an almost throwaway moment. Sasuke as been assigned to tutor two of Okoto’s students, and they laugh at his efforts. As they rise, Shimazu cuts to a new angle, putting them the background and showing Okoto is shown growing anxious in the foreground.
Keeping Sasuke out of focus and far back allows Shimazu to stress a micro-movement in the foreground: Okoto’s shift from sympathy for Sasuke to her usual imperious annoyance. After unfolding her hands, she clenches her right hand and softly strikes it on the edge of the brazier.
As Okoto turns to summon him for a mild dressing-down, still keeping her little fist extended, Sasuke has shifted his position slightly so that he is a more active responder to her.
This sort of directorial discretion, so characteristic of classic Japanese cinema, seems today to come from another world.
Probably the greatest revelation of the Shochiku show was another masterwork by the ever-more-impressive Shimizu Hiroshi. A Woman Crying in Spring (Nakinureta haru no onna yo, 1933), Shimizu’s first sound film, was given its western premier. It was chosen to exemplify his experiments with sound–experiments that induced Ozu to try his own hand at talkies.
Mining work in Hokkaido brings day laborers by ship, along with women who wind up serving them drinks and perhaps something more. Most of the action takes place in a tavern with a bar downstairs, women’s rooms on the next story, and a small upstairs where the mysterious, somewhat cynical Chuko keeps her daughter. Kenji and his boss become rivals for Chuko, and a young woman drawn into prostitution further complicates the situation.
After only a single viewing, I’m pressed to say much more than noting that Shimizu sacrifices some of his geometrical precision (discussed here) to a more naturalistic treatment of the bar’s space and more experiments with chiaroscuro lighting. A somewhat flamboyant scene, in which our view of a fistfight is mostly blocked by a high wall, shows how Shimazu was trying to let sound do duty for the image. The title has multiple implications: the woman we see crying at the outset is Fuji, the girl initiated into the trade; but at the end, Chuko is weeping. Moreover, as Alexander Jacoby pointed out, the scenes we see are all set in winter, although the ending suggests that the couple that is created will find spring elsewhere. Long unavailable in its Japanese VHS edition, A Woman Crying in Spring is ripe for Western distribution.
Last notes from Kristin
Despite my commitment to the Polish, Indian, and Japanese threads, I was able to fit in a film or selection of shorts now and then.
On the afternoon of the opening day, the first “Cento Anni Fa” program for 1914 included a couple of interesting items. One was La guerre du feu, a French film directed by George Deonola. It dealt with a tribe of fur-clad cavemen who have captured fire but lack the knowledge to create it themselves. Thus they must tend their fire constantly and protect it from a rival tribe. In the course of the action the hero learns the secret to using tinder and flint to generate a blaze. This, it has to be said, was more interesting as an historical curiosity than as entertainment.
Not so the final film of this group, Amor di Regina (Guido Volante, 1913). Its unusual story dealt with a queen of an unnamed country who is having a secret affair with a young soldier. When the latter gets wind of a rebellious group’s plans to assassinate the king, the hero and the queen manage to spirit him out of the palace and away to exile. It struck me that in a more conventional film, the lovers would use the assassination of the king to allow them to marry. Instead they take care of the king in exile and watch for a chance to reinstate him.
Stylistically there were some impressive shots. In one, we see a close-up of the back of the hero’s head, looking out from a terrace at a group of conspirators in the distance sneaking toward the palace, and the camera racks focus from him to them–for 1913, a highly unusual way to handle a very deep composition. If anyone is contemplating a DVD/BD release of some Italian short features of this era, Amor di Regina would be a good choice.
Another 1914 program included the lovely La fille de Delft, which, along with Maudite soit la guerre (which was shown at one of the Piazza Maggiore screenings), is one of Alfred Machin’s best-known films. Its plot concerns a little country boy and girl who are dear friends; a variety-theater owner sees them dancing at a country celebration and takes the girl off to the city to become a star. Seeing it again, I was struck at how marvelously natural the performances of the two child actors (above) was, something that goes a long way to making this film so very affecting.
Despite the fact that all of Tati’s early short films are on the new French boxed Blu-ray set, I decided to see the Tati program on the big screen. Seen again, Gai dimanche (1935) seemed a bit labored in its humor, dealing with two layabouts who hire an old car and persuade several people to purchase day trips to the country. The situation seems more the sort of thing that René Clair could have made work, but director Jacques Berr makes it somewhat leaden.
Soigne ton gauche centers on a gawky farmhand who is mistaken for a boxer by a promoter and ends up in a practice ring with a tough opponent. Tati creates a very Keatonesque situation as the naive young man finds a book on boxing on his stool and proceeds to consult it at intervals (below). As he assumes classic boxing poses, the experienced boxer uses brute force to knock him silly.
The opening and closing of Soigne ton gauche contains a comic, bicycle-riding postman, and clearly Tati recognized the comic potential of the character. In his first directorial effort, L’école des facteurs (School for Postmen, 1946), Tati himself played the postman François, who tries to please his teacher by finding ways to deliver the mail more swiftly. The idea proved so fruitful that the film was remade as Tati’s first feature, Jour de fête. The bouncy music and many of the gags were retained, and the longer film’s success established Tati as a major director and star.
To all our friends and the coordinators of Cinema Ritrovato: Thanks for another wonderful year!
You can watch The Eye’s tinted copy of Maison Fifi here.
Miriam Silverberg’s Erotic Grotesque Nonsense offers a thorough discussion of Japanese popular culture of the 1930s. For more on Kido Shiro’s influence on Kamata cinema, see Mark Schilling’s Kindle book Shiro Kido: Cinema Shogun. I discuss trends in 1930s Japanese film style in Chapters 12 and 13 of Poetics of Cinema. For more on the restoration of Machin’s films, see our entry here.
Soigne ton gauche (1936).
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.
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.
Le brasier ardent.
Six years ago David and I celebrated the 90th birthday of the classical Hollywood cinema with a post that included a list of what we considered the ten greatest (surviving) films of 1917. Choosing the ten best films of 90 years ago has become a custom, one which helps us avoid doing a ten-best list for the current year. It’s a way of drawing attention to some wonderful but often little-known films, for those who are interested in exploring the treasures of silent cinema.
For some reason, that 1917 list was pretty easy to put together. In recent years, I’ve had more trouble. As I wrote last year, “For the past two years, I’ve noted that it was difficult to fill out the list of ten masterpieces. I keep thinking that I’ll get to a year where I won’t have to say that, but 1922 turns out not to be that year. Some titles were obvious, but the last one or two took some hunting.” Well, 1923 still isn’t that year. I’ve again had some trouble filling out the top ten.
Why? 1923 should be packed with worthy candidates. But oddly, some of the most significant directors of the era didn’t make films that year. This seems to have been partly because success brought greater ambitions. In 1923 Fritz Lang was preparing his epic two-part Die Nibelungen, guaranteed to show up in next year’s list. Abel Gance had embarked the long road to the release of Napoléon, four years later.
Carl Dreyer, who had made three films in 1919 and two each in 1920 and 1921, was bouncing around among companies and countries in the mid-1920s, and didn’t again release anything until his 1924 German-produced film, Michael.
Others made relatively unremarkable films. F. W. Murnau’s surviving film from 1923, Die Finanzen des Grossherzogs, serves mainly to prove that comedy was not his strong suit. Victor Sjöström’s Eld ombord (The Hell Ship) doesn’t match the masterpieces we find elsewhere in his career. Louis Feuillade’s 1923 feature Le Gamin de Paris is likewise unexceptional, though it’s of interest for showing his abandonment of complex staging and his conversion to American-style cutting, including angled shot/reverse-shots. (Of Feuillade’s 1923 installment film Vindicta, we can’t speak; we haven’t been able to see it.)
Other films are lost. John Ford made four films that year, only one of which survives: an incomplete, beat-up version of Cameo Kirby that doesn’t make it look like anything special. Murnau’s first 1923 film, Die Austreibung, seems to be gone. Mauritz Stiller’s The Blizzard is lost, and he, too, was probably already involved in his own 1924 two-part epic, The Saga of Gösta Berling.
[December 29: Brian Darr tweets that The Blizzard is not lost, which I am glad to learn. Its Wikipedia entry confirms that it is only partially lost, with about two-thirds of the film known to be preserved.]
Finally, the Soviet cinema, which was to make such major contributions to 1920s cinema, had not yet gotten off the ground.
Still, with some help from David, I’ve concocted a list with some great films and some near-great ones. The place to start was obvious.
From the ridiculous to the sublime
Some years now we’ve been watching the careers of Charles Chaplin, Harold Lloyd, and Buster Keaton delivering wonderful short films and inching toward even greater things. This was the year they blossomed.
Chaplin made a charming short feature, The Pilgrim, this year, but he also surprised everyone by making a sophisticated sex comedy (appearing only in an unrecognizable cameo as a porter). The title role of A Woman of Paris features Chaplin’s regular leading lady, Edna Purviance, as a village girl, Marie, who loses her young boyfriend Jean through a misunderstanding. She runs off to the city to become a rich man’s mistress and realizes too late what she has lost.
The plot centers largely around this romantic triangle and Marie’s indecision about whether to return to her boyfriend, who has become an impoverished artist in Paris, or to stay in the luxurious life that Pierre provides her. The affair between Marie and Pierre is handled in a sophisticated and yet subtle way. There are no love scenes, but at one point Pierre finds himself without a handkerchief and goes into the bedroom to pluck one casually out of drawer. Clearly he spends a lot of time in their love nest.
At the same time, the film deals more generally with the gulf between the very wealthy and the working-class people who who serve them. In one well-known scene, a woman gives Marie a massage, and the camera stays mainly on the masseuse as she tries to maintain a neutral expression while obviously being shocked by the lurid gossip between Marie and a friend. In another, a kitchen assistant in a swanky restaurant cannot bear the odor of the aging game bird he has to fetch for the chef, but the chef and Pierre consider it a prime delicacy.
One of the strengths of the film is that it does not take the obvious approach of making Pierre into a fat, obnoxious oaf. On the contrary, Adolphe Menjou plays him as a witty, unflappable figure. He thinks nothing of arranging a marriage with a rich woman while planning to carry on his affair with Marie, but he puts up with her shifting moods and does genuinely seem to love her. The touch of having him play his saxophone while Marie has a tantrum and orders him out (right) typifies the light touch Chaplin applies to what is ultimately a tragic story.
A Woman of Paris was not well received upon its release, at least by the ticket-buying public, who expected a Chaplin film to star the Little Tramp and to be straightforwardly funny. The title at the beginning, where Chaplin explains that he does not appear in the film undoubtedly did little to appease them. Many critics were respectful, however, and other filmmakers recognized the new type of sophisticated comedy that he had introduced. Lubitsch, who was working on Rosita at the same studio, United Artists, was definitely influenced by it–as we shall see next year when his The Marriage Circle figures in the top ten of 1924. That film includes Menjou, playing a similar role, and in fact after playing minor roles for nearly ten years, he became a star with Chaplin’s film.
[February 10, 2014: Paul Duncan, Film Book Editor for Taschen, has kindly supplied figures showing that A Woman of Paris was profitable, if not as much as Chaplin’s other films: “It earned United Artists $634,000, of which $608,868.91 went to Regent Film (the company Chaplin formed to produce films for Edna Purviance). So with a production cost of $351,853.03, A Woman of Paris made a healthy profit, though, as you write, obviously it would have been more if it had been a comedy starring Chaplin.” Paul also informs me that Taschen’s The Charlie Chaplin Archives, which he is editing, will be published later this year.]
By 1923, Harold Lloyd had already done some shorts featuring nail-biting but hilarious comedy high up on skyscrapers. (See High and Dizzy in our 1920 entry.) In 1923 he took the same sort of premise into the feature-length Safety Last and created an indelible image: a brash young man hanging from a tilting clock. The gags go on story by story. After surviving the clock, Harold manages to get to the next level, only to be chased out a flagpole by a dog (left). Looking back, people tend to remember the vertiginous climb as the whole film, though remarkably, it takes place only over the last third. Earlier scenes involve a romance and misunderstandings that arise from the hero’s job at a department store.
Safety Last wasn’t Lloyd’s greatest film, but it launched the greatest period of his career. He’ll probably be joining us for these nostalgic lists every year now until 1927. The film is still available as part of New Line’s big box set of Lloyd’s films on DVD. (Buy that one, and you’ll be a step ahead of those future lists.) This summer the Criterion Collection brought Safety Last out on DVD and Blu-ray. There’s only that one feature on the disc, but it includes several supplements, including three newly restored Lloyd shorts and Kevin Brownlow’s 104-minute documentary, The Third Genius.
Keaton, too, entered a hugely creative streak in 1923. He made an amusing satire on Intolerance, the feature-length The Three Ages, in which Buster traces love through the stone age, the Roman era, and the Roaring Twenties. As Keaton himself acknowledged, “Cut the film apart and then splice up the three periods, and you will have three complete two-reel films.” He followed it up, however, with a masterpiece that displayed a complete command of story structure in the classical Hollywood mold: Our Hospitality. It’s arguably as fine as anything he ever made, except The General, which just edges it out.
Interestingly, Our Hospitality and The General are Keaton’s only two period pieces. (that is, if one excepts The Three Ages, which is far more farcical and does not attempt to recreate a realistic period atmosphere.) Both also take place in the South, and outdoors to a considerable extent. The milieu seems to have inspired him. Dealing with old-fashioned trains and other technology generated a lot of clever gags, and the fields, forests, and rivers helped give these two films a pictorial beauty that separates them from the Keaton’s other films.
Way back in 1978, when David and I were working on the first edition of Film Art: An Introduction, we wanted to include an extended analysis of a single film in each of the chapters on film technique. For mise-en-scene we chose Our Hospitality, which contains numerous uses of setting, costume, acting, and lighting brilliant enough to inspire a teacher and straightforward enough for students to notice and understand. Plus what better way to win over students who think that old black-and-white silent movies aren’t worth watching?
The story is simple. Willie McKay, the hero, travels from New York to the deep South, under the impression that he has inherited a mansion. The trip south on a very old-fashioned train supplies a long string of marvelous sight gags. There Willie meets the heroine, who shares his coach. Upon arrival, Willie discovers that his “mansion” is really a decaying house. Since the heroine has invited Willie to dinner, he wanders around to pass the time, unaware that he has inherited something else: a feud. The heroine’s family has a longstanding grudge against the McKays, and the father and two brothers are determined to shoot Willie. The only catch is that Southern hospitality dictates that they cannot kill him while he’s in their home.
In our analysis in Film Art, we pointed to the many motifs Keaton uses in service of the narrative, such as the moment of the hero’s rescue of the heroine as an echo of the earlier fishing pole/waterfall gag. One stylistic motif of staging comes back several times: Keaton using foreground doors or walls to create depth staging of moments when people spy or eavesdrop on others. In the frame on the left below, one of the brothers waits to ambush Willie, who is unaware of his presence (or indeed of the feud itself). In the one on the right, Willie eavesdrops on the brothers in their house, learning that they intend to kill him but that he is safe inside the house. Now Willie learns what’s going on, while the brothers don’t realize that he’s overhearing their plan. Such compositions are a motif in the film, forming a way of manipulating the narration–usually giving us more information than the characters onscreen have.
Like Safety Last, Our Hospitality ushered in the prime of the comedian’s career. Keaton made a string of marvelous features that lasted until The Cameraman in 1928. He didn’t always sign the films as director (he’s listed as co-director of Our Hospitality, along with John Blystone), but his unerring sense of how to compose images for the entire frame, both its surface composition and in depth, suffuses all his films of this period.
I’ve mentioned that Lubitsch was working at United Artists in 1923. Rosita was his first American film, starring Mary Pickford. It’s certainly not a masterpiece on the level of The Marriage Circle or Lady Windermere’s Fan, but Rosita is a charming and impressive film, certainly at least as good as Lubitsch’s other lesser films of the decade, Forbidden Paradise and Three Women.
As I discuss in my book, Herr Lubitsch Goes to Hollywood, the director had already been tentatively using classical Hollywood style in his last two German films, Das Weib des Pharao and Die Flamme. In Rosita, he managed to balance a typical historical epic from his German period (Madame Dubarry, Anna Boleyn) with the light, vivacious appeal of his star. She plays the title character, a cheerful street musician who is in love with Don Diego, an impoverished nobleman and military officer. Rosita catches the eye of the lecherous king. Don Diego ends up condemned to death, and Rosita plots to save him.
The sets were built on the enormous backlot of United Artists, where Douglas Fairbanks’ castle for Robin Hood had stood. The day after Rosita wrapped, the construction of the sets for The Thief of Bagdad began on the same lot. Indeed, one can detect a distinct similarity between Rosita’s big sets–city streets and a large prison–and those of the two Fairbanks films. This frame is a shot of the prison interior emphasizing a gallows in the background:
Given that this giant set was built in the open air, Lubitsch must have filmed this and other scenes at night, using the giant arc spotlights that had recently become a standard tool of Hollywood filmmaking to throw great swathes of illumination across the scene. In general, Rosita‘s style demonstrates that by 1923, Lubitsch had come fully to understand the American approach.
As a vehicle for Pickford, the film also is skillfully done, permitting her numerous intimate scenes that show off her charm. Given her star persona, the dramatic situation is leavened with humor in the interior scenes. Rosita’s poor family, a large, rowdy bunch, provides much of this, as when Rosita brings home a perfumed handkerchief and the impressed parents and children in turn bury their noses in it and sniff deeply. Rosita’s reactions to the King’s attempts to seduce her are also somewhat comic, though there is definitely a threat hanging over the situation.
Unfortunately, like all too many of the films on this year’s list, Rosita is difficult to see. It seems to have survived only in a Russian print, and a rather contrasty, worn one at that, as the frame above demonstrates. As long as that is the sole available material, a restoration might be too daunting. Still, in this day of digital manipulation, perhaps something could be done to improve the image quality. I hope at some point it will become available on home video. That also goes for Lubitsch’s other somewhat lesser films of the mid-1920s, Forbidden Paradise and Three Women.
Rosita’s reputation has suffered from strange statements Pickford much later made to Kevin Brownlow and which he published in The Parade’s Gone By. There she claims she and Lubitsch did not get along and that the resulting film was bad and a commercial failure. With the film itself unavailable for viewing, Pickford’s condemnation was accepted at face value. In fact, documents in the United Artists archive at the Wisconsin Center for Film and Theater Research overturn Pickford’s supposed dislike for Lubitsch. For years she tried to find financing to make another film with him, and in 1926 she called upon him for help in editing Sparrows. With the discovery of the Soviet print, it becomes apparent that Rosita was far from the disaster Pickford later claimed. Why her memories of her work with Lubitsch became so distorted late in her life we shall probably never know.
Overshadowed masters of French Impressionism
Abel Gance’s flashy La roue (on last year’s list) gets a lot of attention these days. He’s the high-profile representative of Impressionism. Yet 1923 saw the first fiction films from the director who was the movement’s modest heart: Jean Epstein. The very first, L’auberge rouge (“The Red Inn”) is a lovely film, but Cœur fidèle (“Faithful Heart”) epitomizes the quiet side of Impressionism. It’s story is as simple as they get: Marie is a barmaid whose foster parents try to force her to marry a thug, Petit Paul, while she is in love with the sensitive dock-worker Jean. The scenes around the waterside and the famous sequence in a carnival are all done with a realism blended with the subjective camera techniques that convey the characters’ thoughts, perceptions, and feelings in a way that was fresh at the time.
The exteriors were shot around the docks of Marseille, and Epstein uses superimpositions of the ocean to convey the lovers’ longing. Waves are sometimes superimposed over their figures, or one will look into the water and see the other’s face there, as when Jean envisions multiple images of Marie:
Shooting into a distorting mirror, Epstein uses the conventional Impressionist indicator of drunkenness as Petit Paul looks at a woman next to him in a bar:
Coeur fidèle has been released in the UK (Region 2) as a DVD/Blu-ray combo in Eureka!’s Masters of Cinema series. (This includes a helpful little booklet with excerpt from Epstein’s writings and a review of Cœur fidèle by René Clair.) It is also available as a Region 2 French DVD without English subtitles. As these frames indicate, the film survives in beautiful condition.
Along with La roue, Cœur fidèle proved hugely influential. It used the “unfastened camera” that later was credited to Murnau in The Last Laugh. Like Murnau, Hitchcock picked up Impressionist style, as reflected most obviously in his 1927 boxing film, The Ring. Hitchcock’s penchant for moving camera and subjectivity never went away. Hollywood, too, picked up the subjective techniques of Impressionism, especially in the 1940s films that David is studying now.
Unlike Cœur fidèle, Le brasier ardent (“The Burning Crucible”) was sophisticated, convoluted, and perplexing. It was one of two films directed in France by the Russian actor Ivan Mosjoukine for the émigré film company Albatros. (The earlier one is L’Enfant du carnaval, 1921; as far as I know, no print survives.) Earlier this year, upon the release of Flicker Alley’s box set of five Albatros films, I described Le brasier ardent:
It has a reputation as an audacious, surrealist, and almost incomprehensible film. This may be due to the fact that prints available in archives during the 1970s and 1980s lacked intertitles. The opening nightmare sequence is indeed disturbing, but at least with intertitles, we understand that it is only a dream. It begins with a wild-eyed man tied to a stake where he is about to be burned. The heroine stands looking on, resisting as the man pulls on her long hair, apparently intent on dragging her into the fatal flames to accompany him in death. Subsequent scenes of the nightmare show the heroine encountering different men, all played by Mosjoukine, culminating in a man in evening dress stalking her along a vaguely Expressionist street until she escapes and wakes up in bed.
This nightmarish opening must have established vivid expectations in the spectators of 1923 as to what sort of film they were in for. After the heroine wakes up, however, what follows is quite different. The main plot is a stylized but quite amusing comedy. The heroine is a pampered wife, married to a rich man whom she does not love. She is faithful, but he is unreasonably jealous. He goes to a distinctly odd detective agency, one department of which is “Recovery of Lost Wives” (above), with “Success guaranteed!” and “Nothing to pay in advance!” Juxtaposed with the bizarre opening, this quirky humor might have eluded puzzled audiences of the day. Certainly the film itself was a failure, and Mosjoukine stuck to acting thereafter.
Unfortunately for the husband, Detective Z, whom he picks from the eccentric group pictured above, is the very man, again played by Mosjoukine, whom his wife has dreamed about. What follows is an odd tale with the detective and wife gradually falling love. Mosjoukine, known for his tragic, intense characters in the Russian cinema, plays such figures in the fantasy sequences–but in the main story he is allowed to play for laughs, gamboling and rolling on the floor like a puppy when the wife finally appears at his mother’s apartment and declares her love for him.
Mosjoukine should not, however, be allowed to overshadow his co-stars, Ermolieff actors who were also were to make their way into the wider French production of the day, including Impressionism. The wife is played by Nathalie Lissenko, one of the stars of the pre-Revolutionary cinema, who had acted opposite Mosjoukine in Russia. Among her 1920s roles was the protagonist of one of Epstein’s finest films, the largely unknown L’Affiche (1924). The husband is Nicolas Koline, who started his career with Ermolieff only after the company had left the Soviet Union. He will be familiar to silent-film fans from his performance as Tristan Fleury in Gance’s Napoléon.
By this point, stylistic influences were beginning to pass back and forth between France and Germany. Le brasier ardent shows distinct touches of Expressionism in its decor, as when the heroine flees through a distorted door. (See top.)
I have to admit that the third Impressionist film on our top-ten list, Germaine Dulac’s La souriante Madame Beudet (The Smiling Madame Beudet) is not one of my favorites. It hasn’t got much of a plot. A sensitive woman in a provincial town finds her husband crass and unpleasant until a final crisis brings them–at least temporarily–together. It’s not so much the simplicity of the story, however, as the rather heavy-handed use of subjective camera tricks to convey Mme. Beudet’s thoughts about her husband, as when a distorting mirror conveys her grotesque view of him (at right).
We’ve just seen a similar distortion in Cœur fidèle, above, to show a drunkard’s point of view. In Marcel L’Herbier’s El Dorado, from 1921, another distorted-mirror close-up suggests drunkenness without using a character’s point of view (see Film History: An Introduction, 3rd edition, p. 79).
The film has decided virtues, such as the lovely shots of the small provincial town in which the film’s exteriors were made, as well as the genuinely surprising and touching ending, which pulls back somewhat from the simplistic characterization of M. Beudet.
As with some of our choices from previous years, The Smiling Madame Beudet goes on the list partly because of its historical importance. Dulac was one of the early women directors to make a career in the cinema. Back in the days of 16mm, prints of this film were among the few Impressionist classics available for film club and classroom use, and the film became a staple in feminist-film courses.
Ironically, nowadays teaching the film is more difficult. Oddly enough, none of the mainstream labels has brought out a DVD with English subtitles. A German DVD, which includes two other short Dulac films, Invitation au voyage (1927) and the surrealist classic La coquille et le clergyman (1928), is available. The copy on this DVD is probably the same as the fairly good-quality Swiss archive print on YouTube, with bilingual French and German intertitles. For anyone with even an elementary knowledge of either language, the titles are not very challenging.
Caligarisme was the French word for cinematic Expressionism, which, as the example from Le brasier ardent shows, fascinating many French filmmakers.
Despite the lack of major contributions from Murnau and Lang, in 1923 the country’s cinema was going strong. Several films that fall slightly short of being masterpieces appeared. By this point the Expressionist film movement was well established, having begun in 1920 with Das Cabinet des Dr. Caligari. Some of its greatest films–Der müde Tod, Nosferatu and Dr. Mabuse der Spieler–had already appeared.
Three very good Expressionist films came out in 1923: Erdgeist (“Earth Spirit,” directed by Leopold Jessner), Schatten (“Shadows,” released abroad as Warning Shadows; Arthur Robison), and Raskolnikow (adapted from Crime and Punishment; Robert Wiene).
It’s really a toss-up as to which film should represent Expressionism on this year’s list. I give the edge to Erdgeist, largely because it and Von Morgens bis Mitternachts (“From Morn to Midnight”) are the two films from the movement that push the style the furthest. They come the closest to Expressionism as it existed in drama and the other arts. Most Expressionist cinema “tamed” the style a bit by applying it to genre tales: horror (Caligari, Nosferatu), fantasy (Der müde Tod), historical myth (Die Nibelungen), and science fiction (Algol, Metropolis). These two films, in contrast, depended on dramas where elemental human passions are released and taken to extremes, with the costumes, decor, makeup, and acting reflecting the characters’ inner states.
The film was based on the first of the two “Lulu” plays by Frank Wedekind: Erdgeist (1895) and its sequel Die Büchse der Pandora (Pandora’s Box, 1904). G. W. Pabst’s much better-known Pandora’s Box (1929) combines the two plays, which tell a continuous story about an amoral young woman who lives by exploiting wealthy men but drives them to extreme jealousy by flirting with other men.
In Pabst’s film, Louise Brooks plays Lulu as a vivacious young woman, seemingly unaware of her disastrous effect on the men around her. Asta Nielsen plays the character in Jessner’s film as a ruthless, mature woman. The plot concerns Dr. Schön, a rich man who found Lulu on the streets when she was a child and has raised her with the intent of having her become his mistress. At the beginning, she is married to Dr. Goll but immediately begins seducing Schwartz, an artist hired to paint her portrait. In the image below, Goll bursts in on them in Schwartz’s studio and Lulu collapses at the right. The distorted stairway, the streaks of light painted on the set, and the jagged shadows all create the Expressionist look–as does the eerie blank glow of Goll’s glasses.
The acting is exaggerated and unnatural. Nielsen, foregoing all glamor, frequently holds a grimace on her face to the point where she almost looks like she is wearing a mask. In an early scene Goll moves his cane about, and she dances like a marionette attached to it by strings. (Puppet-like acting was a convention of Expressionist drama.)
Overall, the style is so grotesque and the characters so unpleasant as to make it clear why Erdgeist is one of the least remembered of the major Expressionist films. It is not available on home video. The print I saw about 16 years ago had Dutch intertitles and was somewhat dark. Perhaps, like Von Morgens bis Mitternachts, it will eventually be restored and released on DVD.
Two Expressionist films deserve brief mention as well.
Robert Wiene, the director of The Cabinet of Dr. Caligari, launched the Expressionist movement in cinema but never made another film that gained nearly as much attention. That’s a pity, because Raskolnikow is quite a good film–of all the Wiene films I’ve seen, probably his second best (though The Hands of Orlac, 1924, has its virtues). I found it difficult to decide between it and Erdgeist.
Crime and Punishment turns out to be, not surprisingly, a good fit for the style, with the hero’s increasingly bizarre view of the world literalized in the settings. The film seems to have had a higher budget than Caligari, and the sets are sturdier looking and more three-dimensional. (See bottom.) Wiene also had the good fortune to work with a group of Russian emigré theatrical actors who had trained under Stanislawski and worked at the Moscow Art Theater. Clearly they had to adapt their approach distinctly to achieve Expressionist performances, but they managed well. The lead, Gregori Chmara, makes a haggard and mercurial Raskolnikow.
Back in the 1970s, when I became intrigued by German Expressionist cinema, Schatten was considered one of the main classics. That was no doubt partly due to the limited number of Expressionist titles available for viewing at the time. It’s a good film, but its prominence in film history has declined a bit in the intervening decades, especially as the full surviving work of Murnau and Lang has been discovered and restored.
Schatten is an atypical Expressionist film. Not that many of its sets are distorted or simplified in the usual ways. (This is also true to some extent of designer Albin Grau’s other notable Expressionist film, Nosferatu.) Its few exterior shots, including the opening, show the most strongly Expressionist decor (below left). Part of the action consists of a shadow-puppet show put on by a wandering entertainer (below right). Its plot seems to magically unleash the passions of the onlookers, who begin to behave in odd ways. The male guests (and a servant) try to seduce their hostess, driving the master of the house into a jealous rage.
The shadow play creates its own distortions and stark, black and white imagery. Once the show is over, Robison often frames the distorted shadows of the characters more prominently than their actual bodies (again echoing some of the scene with the vampire in Nosferatu). In this corridor scene one of the servants slyly creates cuckold’s horns on another man’s head:
Shadows, with their natural capacity for distortion, not surprisingly appeared in many Expressionist films, though never so pervasively as in this one.
Raskolnikow is unfortunately not available on home video, at least in an acceptable copy. (The reviews for the Alpha release on Amazon deem it “unwatchable.”) Warning Shadows is available on DVD from Kino or to stream on Amazon (free to Prime customers).
Returning to our top-ten list, I yield the floor briefly to David, who has been studying Sylvester for another project.
German silent cinema is more varied than a litany of the official classics, from Caligari to Metropolis, would suggest. One of the most intriguing trends of the period involved what was called the Kammerspiel, or chamber-play, film. Kammerspiel films were far more naturalistic than Expressionist films. They concentrate on a very few characters in a drastically limited number of locales. Performance is often slow and understated, though action may freeze into somewhat contorted poses. The action typically takes place in a short time span, and it is built up out of everyday activities in working-class households—chores, job routines, the habits of family life. Eventually, however, the mundane milieu is likely to explode into violence.
The versatile Carl Mayer (who worked on the script of Caligari) conceived of the early Kammerspiel film Scherben (Shattered, 1921), which defined the trend. In the same year the stage director Leopold Jessner released the remarkable Hintertreppe (Backstairs), which Kristin mentioned as a runner-up in her Best of 1921 list. Mayer also wrote the script for Sylvester (1923). Named for the feast day of St. Sylvester, 31 December, it’s known in English as New Year’s Eve. It’s not available on home video, but it’s worth seeking out in screenings. It remains a striking study in tabloid tragedy.
A café owner and his wife are busily serving crowds on New Year’s Eve. After a big meal and too many drinks, the wife and the mother-in-law fall to quarreling. The tensions around the table are constantly crosscut with the increasingly wild revelry in the café and the upper-class nightclub across the street. As midnight draws near, the women struggle for the husband’s loyalty. This petty quarrel will end in death.
Director Lupu Pick explores the limited space of the action by shooting the parlor from many angles, including ones that make daring use of a mirror (right). The street shots feature extravagant camera movements that look forward to the “unchained camera” made famous in Der letzte Mann (The Last Laugh, 1925), directed by F. W. Murnau and scripted by Mayer. With its strict limitation to a single night and its focus on domestic space, along with suggestions of the husband’s Freudian dependence on his mother, Sylvester showed how a fait divers could yield psychological drama.
The Kammerspiel film wasn’t a dead end. After Carl Dreyer’s borderline contribution to the trend, the Ufa production Michael (1924), back in Denmark he created probably the best of the lot: The Master of the House (Du Skal Aere Din Hustru, 1925). He later returned to the aesthetic in Two People (1945), and he continued to exploit its possibilities in his last features. Over the years after World War II, other directors were rediscovering Kammerspiel principles. We see fresh applications of the approach in Les Parents Terribles (Cocteau, 1948), Les Enfants Terribles (Melville, 1949), and of course Hitchcock’s Rope (1948) and Dial M for Murder (1954). As often happens, ambitious films of the sound cinema owe a good deal to innovative impulses of the silent era.
Welcome, experimental cinema!
One of the most remarkable films of 1923 is a mere three minutes long. Man Ray, an American painter and photographer who moved to Paris in 1921 and became involved in the Dadaist and Surrealist movements. He soon acquired a film camera and later described how he shot bits of footage with it:
a few sporadic shots, unrelated to each other, as a field of daisies, a nude torso moving in front of a striped curtain with the sunlight coming through, one of [his] paper spirals hanging in the studio, a carton from an egg crate revolving on a string–mobiles before the invention of the word, but without any aesthetic implications nor as a preparation for future development: the true Dada spirit.
In 1923 Tristan Tzara advertised a Dadaist program in a Parisian theatre to be held the following evening, including a film by Man Ray as part of the entertainment. Ray had only a very small amount of footage ready. Faced with an overnight deadline, he supplemented it by using a technique he had already employed in still photography (the “rayograph”): placing small objects on a sheet of photographic paper in the dark, turning on the light briefly, and developing the image. The result was a series of sharply focused silhouette images of the objects against a plain background. This time Ray unrolled some raw negative film in a dark room, scattered nails, tacks, and other objects on it, exposed it to light, and developed the negative (right). Combined with the shots Ray had previously made, the result was a perfect Dada film, with randomly juxtaposed imagery that defied the audience to make any sense of what they were seeing. He titled it in ironic Dada fashion: Le retour à la raison (“The Return to Reason”).
Despite being cobbled together overnight, Ray’s film offers a broad exploration of the possibilities of abstract filmmaking. The opening, a rapidly shifting stippled screen, resembles the later flicker films of the 1960s avant-garde. The rayograph shots introduce an alien, high-contrast look–not surprising, given that these may have been the first cinema images produced without using a camera.
Ray also shifted between positive and negative imagery. This was not entirely new. Murnau had used short stretches of negative footage in Nosferatu the year before. But Murnau’s negative shots had a narrative function, to convey the eeriness of the environs of the vampire’s castle. In Le retour à la raison, Ray used negative imagery in an abstract way, to create startling juxtapositions of imagery that looked both similar and yet strikingly different. The tacks, nails, and springs in the rayograph stretches could be either stark white against black, as in the image to the right above, or the same shot repeated, but this time in black against white. The film ends with another positive/negative passage. The “nude torso moving in front of a striped curtain” is initially shown in a positive image, then in the same image flipped and shown in negative:
Ray was not the first to create an abstract film. In 1921 German filmmaker Walter Ruttmann probably made that conceptual leap in 1921 with Opus 1, a one-reeler with painted shapes moving around against a dark background. He followed this up with three further films, Opus 2 (1923), Opus 3 (1924), and Opus 4 (1925). (Good-quality prints with toning and appropriate musical accompaniment are available on YouTube: Opus 1 here, Opus 2 here, Opus 3 here, and Opus 4 here.)
I must confess that I probably should have at least mentioned Opus 1 in my entry on the best films of 1921. Still, Ruttmann’s films are far less daring than Le retour à la raison. It and its successors are basically efforts to do what so many filmmakers have tried since: to create the equivalent of a painting, but with motion. Ray’s film went much further, pushing the limits of the young art form in ways that had little precedent in the other arts, apart from Ray’s own highly experimental approach to still photography. There are even two fleeting stretches of film leader with illegible writing on them–a tactic one thinks of more in relation to, say, Bruce Conner’s A Movie (1958) than to the silent era. Much of the experimental cinema to come decades later was briefly probed here.
There are several copies of Le retour à la raison on YouTube. The best was posted by Dimitri Shubin, who also provides a piano score. The film is also available on disc 3 of the Unseen Cinema set of American experimental cinema. Unfortunately this copy has a considerable amount of breakup, particularly in the early flicker portions. (An HD version would perhaps help.) The version on Kino’s “Avant-Garde: Experimental Cinema of the 1920s and ’30s” set has the same problem and is distinctly shorter, apparently because it is running at sound speed. The copy provided by Shubin has the clearest, steadiest video image of the film I have seen. Ideally, of course, Ray’s film should be viewed on 35mm.
I regret that so many of our choices for this year’s list are not available on home video or even, except in very rare circumstances, for viewing on 35mm in archive screenings. Still, part of the purpose of this ongoing series is to call attention to obscure but worthy and important films. Perhaps an archivist or an enterprising DVD publisher will be inspired to restore some of the ones described here.
The quotation concerning The Three Ages comes from p. 217 of Rudi Blesh’s biography, Keaton (New York: Collier, 1966).
Mary Pickford’s strangely distorted claims about Rosita and her relationship with Lubitsch are expressed on pp. 129-34 of Brownlow’s The Parade’s Gone By (New York: Knopf, 1968). I go into more detail about the continuing Pickford-Lubitsch collegiality in the 1920s in Herr Lubitsch Goes to Hollywood, pp. 24-26.
For more examples of unusual German silent films, go elsewhere on this site here and here and here and here and here and here and here and here. Criterion has a new, authentic version of Dreyer’s Kammerspiel-influenced Master of the House forthcoming.
The Man Ray quotation comes from a detailed study of Le retour à la raison by Deke Dusinberre in the collection Unseen Cinema: Early American Avant-Garde Film 1893-1941 (New York: Anthology Film Archives, 2001), published to coincide with the release of the DVD set mentioned above.