I've been watching some early Japanese films.
I was born but.... an early Ozu silent family comedy told through the eyes of children, reminiscient of when Ozu uses children to tell a story in his later work.
That Night's Wife an Ozu film from 1930, the title perhaps isn't the best translation as it doesn't really fit the action. This isn't that Ozu like, it's a touch expressionist and a touch noir. I watched this with the Japanese titles (which I can't read) but still felt that I came away with a good understanding of the story.
Sisters of the Gion is a superb 69 minute film by Kenji Mizoguchi. It concerns two geisha's a very traditional one and a modern one who plays men off against one another and ends up paying the consequences. It shows the very seamier side of the geisha's world and also the poverty that never seems very far away. The most touching moment is when the loyal older geisha discovers that her old patron who she has taken in after falling on hard times has deserted her.
WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
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charliechaplinfan
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
I watched the 1920 version of Hamlet recently! It's a great film, I can definitively recommend it if any of you have a chance to see it - although unfortunately, it's not available on DVD, so it's rare to get to view it. Even though it is silent, it is an intriguing retelling of the story, with some new twists.
The main twist is of course that Hamlet is played by a woman, the great Asta Nielsen. That was nothing new in 1920, Hamlet had already been played by Duse and Sarah Bernhardt. But in Sven Gade's Hamlet, not only the actress but the character is a woman, which adds a new spin on her relationship with Horatio, for instance.
The point of the film seems to be that the gender confusion Hamlet suffers from is the main explanation for why he/she is so tormented, and behaves so erratically. Hamlet is really unhappy because he/she doesn't know what to make of herself, she is doomed to a half life as a girl pretending to be a boy. Aaand of course, her father was killed by his brother, who went on to marry her mother. I might be reading too much into the gender-bending thing. Maybe it was just an excuse for Asta Nielsen to sink her teeth into a great role.
Asta Nielsen is the real revelation in this film. She's both tortured, mad, mischievous and very intelligent. She's very reminiscent of Garbo in Queen Christina, although this film is more daring and Asta acts out more. It's so rare to see a woman get to play a role like this. It made me want to see more of her films, and wish Hamlet was available on DVD.
As a matter of fact, Hamlet has recently been restored, so there might be a DVD. I can hope.
I also saw The End of St. Petersburg yesterday, thanks to Alison. It's a silent Soviet film about the events leading up to, and the immediate effects of the October revolution in 1917. When people talk about the Russian revolution they tend to lump the two revolutions together, but as a matter of fact the Russians had a few months of failed democracy in 1917, before the Bolsheviks seized power in October. The film makes the claim that the first revolution only switched the power over from the Czar to the capitalists, who enjoyed a life of decadence similar to what is depicted in German films of the Wiemar era. There is something in that. If only the power had fallen into more capable hands then, perhaps history would be entirely different.
I think this is a kind of film that couldn't have been done half so effectively with sound. It's a great example to show to people who want to know what the big deal with silent cinema is.
Of course, it's also a propaganda film for Lenin. Lenin had been dead for three years by the time it was filmed, but it was probably in large part thanks to him that the Soviet film makers of the 20's were allowed to flourish and develop the art to its full potential. Lenin knew the importance of film, as art and as propaganda for his cause.
One of the things I find deeply sympathetic about The End of St. Petersburg is that it doesn't actually indulge in any icon-worship of Lenin and Stalin, as Soviet art later would. That shows a fundamental difference between 1920's Russia and 1930's Russia I think: In the 20's, Soviet art still focused on the high ideals of Communism - modernity, equality, comradeship. In the 30's these ideals were dropped. You can see it in paintings as well, they go from modernistic to being pure propaganda paintings about the ideal farmers, and Stalin depicted as Jesus in ancient Russian icon-style. In a biography of Mayakovsky, Bengt Jangfeldt talks about the 20's as the Communist dream, and the 30's as the Communist nightmare. Of course I think the nightmare had probably already begun in the 20's. But still, the thought of what is to come makes viewing The End of St. Petersburg very poignant today.
The main twist is of course that Hamlet is played by a woman, the great Asta Nielsen. That was nothing new in 1920, Hamlet had already been played by Duse and Sarah Bernhardt. But in Sven Gade's Hamlet, not only the actress but the character is a woman, which adds a new spin on her relationship with Horatio, for instance.
The point of the film seems to be that the gender confusion Hamlet suffers from is the main explanation for why he/she is so tormented, and behaves so erratically. Hamlet is really unhappy because he/she doesn't know what to make of herself, she is doomed to a half life as a girl pretending to be a boy. Aaand of course, her father was killed by his brother, who went on to marry her mother. I might be reading too much into the gender-bending thing. Maybe it was just an excuse for Asta Nielsen to sink her teeth into a great role.
Asta Nielsen is the real revelation in this film. She's both tortured, mad, mischievous and very intelligent. She's very reminiscent of Garbo in Queen Christina, although this film is more daring and Asta acts out more. It's so rare to see a woman get to play a role like this. It made me want to see more of her films, and wish Hamlet was available on DVD.
As a matter of fact, Hamlet has recently been restored, so there might be a DVD. I can hope.
I also saw The End of St. Petersburg yesterday, thanks to Alison. It's a silent Soviet film about the events leading up to, and the immediate effects of the October revolution in 1917. When people talk about the Russian revolution they tend to lump the two revolutions together, but as a matter of fact the Russians had a few months of failed democracy in 1917, before the Bolsheviks seized power in October. The film makes the claim that the first revolution only switched the power over from the Czar to the capitalists, who enjoyed a life of decadence similar to what is depicted in German films of the Wiemar era. There is something in that. If only the power had fallen into more capable hands then, perhaps history would be entirely different.
I think this is a kind of film that couldn't have been done half so effectively with sound. It's a great example to show to people who want to know what the big deal with silent cinema is.
Of course, it's also a propaganda film for Lenin. Lenin had been dead for three years by the time it was filmed, but it was probably in large part thanks to him that the Soviet film makers of the 20's were allowed to flourish and develop the art to its full potential. Lenin knew the importance of film, as art and as propaganda for his cause.
One of the things I find deeply sympathetic about The End of St. Petersburg is that it doesn't actually indulge in any icon-worship of Lenin and Stalin, as Soviet art later would. That shows a fundamental difference between 1920's Russia and 1930's Russia I think: In the 20's, Soviet art still focused on the high ideals of Communism - modernity, equality, comradeship. In the 30's these ideals were dropped. You can see it in paintings as well, they go from modernistic to being pure propaganda paintings about the ideal farmers, and Stalin depicted as Jesus in ancient Russian icon-style. In a biography of Mayakovsky, Bengt Jangfeldt talks about the 20's as the Communist dream, and the 30's as the Communist nightmare. Of course I think the nightmare had probably already begun in the 20's. But still, the thought of what is to come makes viewing The End of St. Petersburg very poignant today.
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Ann Harding
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
The brand new restoration of Hamlet was broadcast on Arte 2 years ago. It's a fascinating feature. The German Film Museum is planning to release it on DVD.Synnove wrote:As a matter of fact, Hamlet has recently been restored, so there might be a DVD. I can hope.
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charliechaplinfan
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
I'm glad you enjoyed it Hedvig. I thought you'd appreciate it's themes.
Hamlet sounds worth checking out, I've seen it many times as a man, never by a woman as a woman. I look forward to a release of this film.
Hamlet sounds worth checking out, I've seen it many times as a man, never by a woman as a woman. I look forward to a release of this film.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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feaito
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
When a some days ago I read Birdy's post about "When Ladies Meet" (1933), I immediately remembered that I had this film on tape for many years and that I hadn't yet seen it, which was quite a shame, because I was so anxious to see it for decades and when I finally got it I shelved it!....as so many others! especially films taped off TCm & other channels... Well, the VCR has been out of my room since I bought the DVD-R and I don't feel that comfortable in the smaller room where I placed the VCR.... but I have so many eccellent, rare films only on taped on VHS...
"When Ladies Meet" is one of those "precious", "rare" films, because of what I've read about them, their reputation and their Pre-Code nature. I haven't seen the 1941 remake with Crawford-Garson-Taylor-Marshall, which I've read is quite inferior.
Well, to much blah-blah...I loved every minute of "When Ladies Meet". A sterling cast; sterling performances; a clever & adult plot; it shows its stage origins but it's cleverly translated to the screen; smart dialogue; interesting characters; etc.
Ann Harding shines in a role worthy of her huge talents. She glows every time she's on the screen. She's so unjustly forgotten by today's audiences; I thank TCM and the DVD-VHS Era for having been able to discover her, rather than only reading about her and watching her in photographs. She's superb, divine, magnificent! And Myrna Loy is also very good -It's the second time I've seen them together in a great Pre-Code film ("The Animal Kingdom" 1932 is the other one). The scene where they are talking together in Myrna's bedroom and Ann realizes Myrna is her husband's current conquest is amazingly well done and honest. I dount Joan and Greer played it any better and I bet that the restrictions of the Production Code did not do any good to the 1941 film.
Frank Morgan plays again a philandering husband married to Ann (the first time I saw them was in "Enchanted April" (1935) also directed by Harry Beaumont, but at RKO not at MGM -and which wasn't as good as this one). Bob Montgomery is very fine too, but the show really belongs to the ladies.
Alice Brady is very amusing as a dizzy, lovable character quite reminiscent of the one she played in "My Man Godfrey" (1936). Luis Alberni plays Alice's funny chef.
A delight! I'd love to see this one officially released on DVD!!
Thanks Birdy to your review I made up my mind about watching this gem from the Pre-Code Era.
"When Ladies Meet" is one of those "precious", "rare" films, because of what I've read about them, their reputation and their Pre-Code nature. I haven't seen the 1941 remake with Crawford-Garson-Taylor-Marshall, which I've read is quite inferior.
Well, to much blah-blah...I loved every minute of "When Ladies Meet". A sterling cast; sterling performances; a clever & adult plot; it shows its stage origins but it's cleverly translated to the screen; smart dialogue; interesting characters; etc.
Ann Harding shines in a role worthy of her huge talents. She glows every time she's on the screen. She's so unjustly forgotten by today's audiences; I thank TCM and the DVD-VHS Era for having been able to discover her, rather than only reading about her and watching her in photographs. She's superb, divine, magnificent! And Myrna Loy is also very good -It's the second time I've seen them together in a great Pre-Code film ("The Animal Kingdom" 1932 is the other one). The scene where they are talking together in Myrna's bedroom and Ann realizes Myrna is her husband's current conquest is amazingly well done and honest. I dount Joan and Greer played it any better and I bet that the restrictions of the Production Code did not do any good to the 1941 film.
Frank Morgan plays again a philandering husband married to Ann (the first time I saw them was in "Enchanted April" (1935) also directed by Harry Beaumont, but at RKO not at MGM -and which wasn't as good as this one). Bob Montgomery is very fine too, but the show really belongs to the ladies.
Alice Brady is very amusing as a dizzy, lovable character quite reminiscent of the one she played in "My Man Godfrey" (1936). Luis Alberni plays Alice's funny chef.
A delight! I'd love to see this one officially released on DVD!!
Thanks Birdy to your review I made up my mind about watching this gem from the Pre-Code Era.
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charliechaplinfan
- Posts: 9040
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
I watched Garbo's first movie, my thoughts on The Saga of Gosta Berling, is that it's beautiful film, well acted and well scripted. It's easy to tell it's filmed from a novel because there are quite obviously missing backstories on some of the characters but Stiller did well with his adaptation. It does move a little slowly at the beginning but after that it gains pace. I would have liked to have seen a couple of more scenes between Gosta and Elisabeth before the race across the lake, to build up even more longing.Greta does shine so brightly in this, she's dressed in white and it's so becoming, lending her an innocence that is missing from her later pictures. Gerda Lundequist was the other female that stood out for me, a great actress. Lars Hanson played the title character very well, he shines here as he would in Hollywood in The Scarlett Letter and The Wind.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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myrnaloyisdope
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
feaito, I'm a big fan of When Ladies Meet too. I think it's one of Myrna's best performances. Ooh, and The Animal Kingdom is great too.
charliechaplinfan, I haven't seen any Asian silents save for I Was Born, But... which really impressed me. I hope to delve into some more Ozu and Mizoguchi silents, as well as checking out early Chinese cinema too.
As for me, here's what I've watched in the last few days:
West of Zanzibar - I'm really starting to dig Lon Chaney, he's a heck of an actor, and I really like the macabre and grotesque storylines of his films. This one was not different...Chaney as a crippled magician in the Congo, drugging and degrading the daughter of his long lost rival. It's got voodoo, violence, and Warner Baxter. Once I get through my silent fix, I'll definitely check out the pre-code remake Kongo.
Last of the Mohicans - This is the most visually stunning silent I've seen. Wonderful photography, stunning composition...very painterly as you said Christine. One very striking thing was the use of deep focus 20 years before Gregg Toland...or at least I think it's deep focus. The use of foreground and background was really striking. I'm excited to see more Tourneur. Oh, and perhaps someone can explain Clarence Brown's involvement to me?
A Florida Enchantment - Early gender-bending comedy from 1914, that I'd read quite a bit about in regards to homosexuality on film. Edith Storey stars as a jilted fiance who discovers a seed that changes women to men and vise versa. She takes the seed and mayhem ensues as she flirts with men and women alike...all the while doing a very impressive turn as a man. Her mannerisms are really astute, as her posture and composure change dramatically. It's really quite an inspired performance. The payoff of the film is when her fiancee, played by the director Sidney Drew, takes the seed and turns into the prototype pansy that would proliferate film in the 1930's.
The film isn't great by any stretch, and there's a bunch of blackface characters that are woefully unfunny, and put a damper on things, but the film is quite fascinating, and certainly a must see for anyone with an interest in gender and sexuality in film.
Rapsodia Satanica - Early Italian melodrama (1915) by Nino Oxilia, essentially a retelling of Faust, with Lyda Borelli as an aging countess who makes a deal with devil to regain her youth: she has to give up love. So with her youth regained she lives the high life, attending lavish parties, and doing a coquette routine, flirting with and rejecting every man she meets. Trouble of course ensues when one of the rejected shoots himself, and the countess of course understands her folly.
The style of acting in the film is very melodramatic, and perhaps a bit off-putting, though my understanding is that it was the Italian style of the "tail coat" film, with actors and actresses going to dramatic lengths to make themselves the focus. The set design is very lavish, with ornate furniture, and the costuming is equally lavish. The whole film seems a showcase for Borelli. The other noteworthy thing about the film is the use of color tinting, with several sequences being filmed "in color" so to speak. This is mostly done to highlight the color of Borelli's outfits, but looks striking.
charliechaplinfan, I haven't seen any Asian silents save for I Was Born, But... which really impressed me. I hope to delve into some more Ozu and Mizoguchi silents, as well as checking out early Chinese cinema too.
As for me, here's what I've watched in the last few days:
West of Zanzibar - I'm really starting to dig Lon Chaney, he's a heck of an actor, and I really like the macabre and grotesque storylines of his films. This one was not different...Chaney as a crippled magician in the Congo, drugging and degrading the daughter of his long lost rival. It's got voodoo, violence, and Warner Baxter. Once I get through my silent fix, I'll definitely check out the pre-code remake Kongo.
Last of the Mohicans - This is the most visually stunning silent I've seen. Wonderful photography, stunning composition...very painterly as you said Christine. One very striking thing was the use of deep focus 20 years before Gregg Toland...or at least I think it's deep focus. The use of foreground and background was really striking. I'm excited to see more Tourneur. Oh, and perhaps someone can explain Clarence Brown's involvement to me?
A Florida Enchantment - Early gender-bending comedy from 1914, that I'd read quite a bit about in regards to homosexuality on film. Edith Storey stars as a jilted fiance who discovers a seed that changes women to men and vise versa. She takes the seed and mayhem ensues as she flirts with men and women alike...all the while doing a very impressive turn as a man. Her mannerisms are really astute, as her posture and composure change dramatically. It's really quite an inspired performance. The payoff of the film is when her fiancee, played by the director Sidney Drew, takes the seed and turns into the prototype pansy that would proliferate film in the 1930's.
The film isn't great by any stretch, and there's a bunch of blackface characters that are woefully unfunny, and put a damper on things, but the film is quite fascinating, and certainly a must see for anyone with an interest in gender and sexuality in film.
Rapsodia Satanica - Early Italian melodrama (1915) by Nino Oxilia, essentially a retelling of Faust, with Lyda Borelli as an aging countess who makes a deal with devil to regain her youth: she has to give up love. So with her youth regained she lives the high life, attending lavish parties, and doing a coquette routine, flirting with and rejecting every man she meets. Trouble of course ensues when one of the rejected shoots himself, and the countess of course understands her folly.
The style of acting in the film is very melodramatic, and perhaps a bit off-putting, though my understanding is that it was the Italian style of the "tail coat" film, with actors and actresses going to dramatic lengths to make themselves the focus. The set design is very lavish, with ornate furniture, and the costuming is equally lavish. The whole film seems a showcase for Borelli. The other noteworthy thing about the film is the use of color tinting, with several sequences being filmed "in color" so to speak. This is mostly done to highlight the color of Borelli's outfits, but looks striking.
"Do you think it's dangerous to have Busby Berkeley dreams?" - The Magnetic Fields
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charliechaplinfan
- Posts: 9040
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
I'd recommed the Silent Ozu set, I still have Passing Fancy to see. I was born but... is very much like one of his later films Good Morning, he uses children very effectively in that film too.
For Mizoguchi I'd recommend anything that's on the market, I've loved all of his movies a good start would be Ugetsu or SAnsho the Baliff or The Fallen Women collection.
I've begun to appreciate Lon Chaney, I think I had the general impression that he was a horror film actor until I read an article about him. West of Zanzibar and The Unknown are my favorites.
For Mizoguchi I'd recommend anything that's on the market, I've loved all of his movies a good start would be Ugetsu or SAnsho the Baliff or The Fallen Women collection.
I've begun to appreciate Lon Chaney, I think I had the general impression that he was a horror film actor until I read an article about him. West of Zanzibar and The Unknown are my favorites.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
feaito -
So glad I passed on a spark to your fire.
You've given me so many great ideas. I have a list of things from you I'd like to watch but it's so long I'll never get to them all! I occassionally try to order some from libraries but the best ones aren't available so I just keep my eye on TCM for things to record. Like you, I have a collection of Vids and DVDs and the machines in two separate places. The DVD player in my bedroom quit working so now I'm back to watching my favorite old Vids to go to sleep. The upside is I'm enjoying a lot of my old favorites that I don't have on DVD yet. The downside, I'm watching my DVDs less since that's my favorite time to watch movies. (Snore blockage.)
Thanks for sharing all the movies you see and your opinions. How do you see so many different ones?
B
So glad I passed on a spark to your fire.
You've given me so many great ideas. I have a list of things from you I'd like to watch but it's so long I'll never get to them all! I occassionally try to order some from libraries but the best ones aren't available so I just keep my eye on TCM for things to record. Like you, I have a collection of Vids and DVDs and the machines in two separate places. The DVD player in my bedroom quit working so now I'm back to watching my favorite old Vids to go to sleep. The upside is I'm enjoying a lot of my old favorites that I don't have on DVD yet. The downside, I'm watching my DVDs less since that's my favorite time to watch movies. (Snore blockage.)
Thanks for sharing all the movies you see and your opinions. How do you see so many different ones?
B
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feaito
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Thanks for your kind words Birdy.
I've obtained so many great ideas & films from so many friends here, at the TCM Boards, when I regularly posted there (2003-2006) and from other boards I've participated and I'm very grateful for all that. I have also contacted some collectors who have shared their rare films with me and have bought many films on VHS and DVD in my country, in the USA and in Europe too. I regularly record from Cable TV channels. I have access to contemporary films I can be interested in and also have been gathering many Silents. So there's a quite big variety in what I see. My tastes can be quite eclectic.
Internet has been pivotal in my life in this aspect, because without it I wouldn't had been able to meet so many great people and know so much about films -plus the books on film & actors I have bought. In my country I haven't been able to meet someone with similar tastes in films to mine; and very little people know about the Classics, the '30s, the Pre-Codes, the Silents et al.
BTW, You know what? Today I was watching and old VHS taped off TCM circa 2003 -specifically "Wise Girl" (1937), an enjoyable comedy with Ray Milland and Miriam Hopkins- and the TV set began to falter; it seems that its screen is not working right- so in my case, I probably won't be able to watch my ole' tapes until I replace the defective Tv Set!
I've obtained so many great ideas & films from so many friends here, at the TCM Boards, when I regularly posted there (2003-2006) and from other boards I've participated and I'm very grateful for all that. I have also contacted some collectors who have shared their rare films with me and have bought many films on VHS and DVD in my country, in the USA and in Europe too. I regularly record from Cable TV channels. I have access to contemporary films I can be interested in and also have been gathering many Silents. So there's a quite big variety in what I see. My tastes can be quite eclectic.
Internet has been pivotal in my life in this aspect, because without it I wouldn't had been able to meet so many great people and know so much about films -plus the books on film & actors I have bought. In my country I haven't been able to meet someone with similar tastes in films to mine; and very little people know about the Classics, the '30s, the Pre-Codes, the Silents et al.
BTW, You know what? Today I was watching and old VHS taped off TCM circa 2003 -specifically "Wise Girl" (1937), an enjoyable comedy with Ray Milland and Miriam Hopkins- and the TV set began to falter; it seems that its screen is not working right- so in my case, I probably won't be able to watch my ole' tapes until I replace the defective Tv Set!
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drednm
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
WISE GIRL is a hoot..... Hopkins and Milland were good together.
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feaito
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
I agree Drednm it is a small gem and it surprised me in many aspects. I was glad to tape it!
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drednm
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Hopkins was an unlikely comedienne but she was very funny in a lot of films....
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myrnaloyisdope
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Miriam Hopkins is among faves. I haven't seen much of work post-1934 save for her incredible performance in 1951's The Mating Season, and in The Heiress, though I must confess I didn't know who she was when I watched it.
As for me, well more silents this week:
Stella Maris - well this was my first Mary Pickford, and I was pretty disappointed. The storyline was really convoluted, and distracted from what potentially could have been something great. Pickford was decent enough as a girl who can't walk, and is isolated from the real world, by the people in her life who bring only smiles and fantasy when they enter her room. Essentially everyone lies to her out of pity. When she has an operation that allows her to walk she is exposed to the real world, and is shocked to find that things aren't quite so rosy. The idealism she believes so innately in, is challenged by the discovery of war, deceit, selfishness, and evil. Now that's the interesting part of the film, unfortunately it gets glossed over in about 5 minutes, and the rest of the film deals with an aristocrat, his alcoholic wife, and a yobbish orphan girl who gets more screen time than Pickford.
All in all the film really wasn't much of an intro to the world of Mary Pickford. I'll soon have a copy of Poor Little Rich Girl, which hopefully works out a little better.
Dr. Mabuse, der Spieler - well I've been reading a fascinating bio on Fritz Lang, so I'm slowly revisiting some of his silent works. I'd seen this one before and was pretty underwhelmed by it. Lo and behold a second viewing still left me underwhelmed. for a 4.5 hour serial-esque thriller about a mind-controlling madman, not a lot happens. There's some neat stuff with mind control, a couple car chases, and about a billion disguises for Dr. Mabuse. But the middle 3 hours is mostly occupied by static scenes of people talking. It also lacks the sense of fun of a Louis Feuillade serial, which Mabuse is obviously indebted too.
Tabu - Another rewatch, though this time the second viewing left me very impressed. I'd forgotten how bleak that ending was, what a great but oh so depressing final sequence. The cinematography is wonderful, and the performances by the two leads, both amateurs were strikingly good. They had a naturalistic quality, which shines inspite of Murnau's very deliberate choreography. Just a great film, further reinforcing that the death of Murnau shortly before the film's release is one of cinema's greatest losses.
The Penalty - More Lon Chaney goodness. He gives an incredible performance as a legless underworld boss seeking revenge on the surgeon who cost him his legs. Chaney spends virtually the entire movie in leg harnesses, with his legs bent backward at the knee. The physicality of the performance is remarkable, as Chaney seems entirely natural walking on his knees with the help of crutches. Take that Gary Sinise, Chaney don't need no CGI. It's remarkable how convincing he is, there's never any doubt from the moment you see him. The storyline isn't especially strong, and I really didn't like the payoff, but Chaney is the reason you watch the film.
As for me, well more silents this week:
Stella Maris - well this was my first Mary Pickford, and I was pretty disappointed. The storyline was really convoluted, and distracted from what potentially could have been something great. Pickford was decent enough as a girl who can't walk, and is isolated from the real world, by the people in her life who bring only smiles and fantasy when they enter her room. Essentially everyone lies to her out of pity. When she has an operation that allows her to walk she is exposed to the real world, and is shocked to find that things aren't quite so rosy. The idealism she believes so innately in, is challenged by the discovery of war, deceit, selfishness, and evil. Now that's the interesting part of the film, unfortunately it gets glossed over in about 5 minutes, and the rest of the film deals with an aristocrat, his alcoholic wife, and a yobbish orphan girl who gets more screen time than Pickford.
All in all the film really wasn't much of an intro to the world of Mary Pickford. I'll soon have a copy of Poor Little Rich Girl, which hopefully works out a little better.
Dr. Mabuse, der Spieler - well I've been reading a fascinating bio on Fritz Lang, so I'm slowly revisiting some of his silent works. I'd seen this one before and was pretty underwhelmed by it. Lo and behold a second viewing still left me underwhelmed. for a 4.5 hour serial-esque thriller about a mind-controlling madman, not a lot happens. There's some neat stuff with mind control, a couple car chases, and about a billion disguises for Dr. Mabuse. But the middle 3 hours is mostly occupied by static scenes of people talking. It also lacks the sense of fun of a Louis Feuillade serial, which Mabuse is obviously indebted too.
Tabu - Another rewatch, though this time the second viewing left me very impressed. I'd forgotten how bleak that ending was, what a great but oh so depressing final sequence. The cinematography is wonderful, and the performances by the two leads, both amateurs were strikingly good. They had a naturalistic quality, which shines inspite of Murnau's very deliberate choreography. Just a great film, further reinforcing that the death of Murnau shortly before the film's release is one of cinema's greatest losses.
The Penalty - More Lon Chaney goodness. He gives an incredible performance as a legless underworld boss seeking revenge on the surgeon who cost him his legs. Chaney spends virtually the entire movie in leg harnesses, with his legs bent backward at the knee. The physicality of the performance is remarkable, as Chaney seems entirely natural walking on his knees with the help of crutches. Take that Gary Sinise, Chaney don't need no CGI. It's remarkable how convincing he is, there's never any doubt from the moment you see him. The storyline isn't especially strong, and I really didn't like the payoff, but Chaney is the reason you watch the film.
"Do you think it's dangerous to have Busby Berkeley dreams?" - The Magnetic Fields