WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

[jdb1]

Nando, I think that this earlier version of An American Tragedy is truer to the book than the Clift/Taylor version, which has its own merits.

The Clyde of the book is clearly a dissatisfied young man, yet part of his dissatisfaction with his lot in life stems from the fact that he doesn't know what he wants. He is as false a lover to his working-class girlfriend as the rich girl is to him. I think it's clear in the book that the rich girl is only amusing herself with Clyde; although she does "like" him, she doesn't "love" him, and he is deluding himself by thinking she would ever marry him.

The title of the book, An American Tragedy, has several levels of significance, and does not refer only to the crime committed by Clyde. (The basic plot of the story is based on a true incident, which fascinated the author, Theodore Dreiser. Clyde, however, has a lot of the young Drieser in him.)

[feaito]

Nando, I think that this earlier version of An American Tragedy is truer to the book than the Clift/Taylor version, which has its own merits.

The Clyde of the book is clearly a dissatisfied young man, yet part of his dissatisfaction with his lot in life stems from the fact that he doesn't know what he wants. He is as false a lover to his working-class girlfriend as the rich girl is to him. I think it's clear in the book that the rich girl is only amusing herself with Clyde; although she does "like" him, she doesn't "love" him, and he is deluding himself by thinking she would ever marry him.

The title of the book, An American Tragedy, has several levels of significance, and does not refer only to the crime committed by Clyde. (The basic plot of the story is based on a true incident, which fascinated the author, Theodore Dreiser. Clyde, however, has a lot of the young Drieser in him.)

Thanks for your feedback Judith. I had read that this first movie version was more faithful to the book. I agree with your assessments. In the movie I feel that the only character who truly "loves" is Sylvia Sidney's. The others are just having fun. I feel that Frances' character is just being capricious in relation with Clyde. Clyde does not love her either. She's just a mean of obtaining social position, money et al. Very different to the 1951 version, which depicts a more idealized relationship between them.

[drednm]

Yes I agree.... I read the novel by Theodore Dreiser (one of the great American novels) and the Phillips Holmes version is much closer to the book. I really like AN AMERICAN TRAGEDY because of Holmes and Sylvia Sidney but the 50s version is much better known, more cinematic, and beautifully cast. Montgomery Clift is great.

Still the 30s version deserves to be seen because of Holmes' touching performance.

[Synnove]

I watched The Immigrant at a local silent movie theater with decor from 1914. They show Chaplin films there once every year, when there is a culture festival in town. The film showings are always packed with people. Luckily they show the same program until 12 o'clock, so it's always possible to get in sometime.

I think this is one of Chaplin's most interesting early films. It's true that the structure is a bit odd - it's like two movies, one set on a boat and one set in a restaurant. But it still works. It's not only hilarious, but it's engaging. I also think this is one of the films where the Tramp is the most inventive and likeable. His interaction with Edna is touching and quite sweet. Even though Edna takes on a passive role in many of Chaplin's films, I think she has a nice screen presence.

I love how, seeing it on a big screen, I notice the little changes of expression on Chaplin's face that I somehow miss on television. He was a great physical comedian, and I sometimes forget what a subtle actor he could also be. It's really funny to just watch the way he reacts to certain things happening to him.

The audience laughed a lot, and the atmosphere in the theater was wonderful. It was an uplifitng experience. I had a great time.

[charliechaplinfan]

Today I wathed Ernst Lubitsch's Eternal Love I'm not a massive fan of the silent John Barrymore, I do find his pairings with Camilla Horn the best of what I've seen. She's remarkably beautiful, maybe she should be i Gagman's thread of most beautiful actresses of the twenties.

[Synnove]

The John Barrymore's silents are so high-flown (is that a word?) and romantic. They are really of their era. I haven't seen any of his pairings with Camilla Horn, because I have sometimes wondered if they are going to be a bit too much. Camilla Horn is a very beautiful and striking actress though, isn't she? I liked her in Faust, particularly at the end when she gave a moving performance. She really seemed to belong in the medieval world.

I'm re-watching Intolerance. I still have a lot of wonderful rare films to see that friends have given me, but I just feel so tired at this moment. Between studying for exams and working, these last few days have been pretty intense. I'm actually watching Intolerance for the comfort factor. It gets better every time, though. I might have had trouble getting into the story at first, if it hadn't been for my fascination with 90-year old images. The first time I saw it, I thought it was slow-moving, and didn't really get exciting until the very end. Now I'm beginning to enjoy every moment of it. It's a rich movie with many details, and many images that will burn themselves into your memory. I wish Griffith wouldn't mention intolerance in almost every title card, and let the images speak for themselves. Still, I'm beginning to see the point he wants to make more, so the story doesn't seem so fractured to me as it did at first. Before I thought, apart from the French one, what have all these stories got to do with intolerance? What Griffith wants to show in the modern story is the effect of the intolerance of moralizing, though, and that's important. People who appoint themselves as moral guardians can't tolerate when other people behave like humans. It's not what I would associate with intolerance now, but it still fits the definition of the word. Griffith even predicts prohibition here, and the dangerous effects of bad moonshine.

I'm still not sure what the Babylon story has to do with Intolerance, since a title card clearly states that lust for power is behind the priest Cyrus's treachery, rather than his religious views. Does anyone know?

After next week's exam I'll try to watch some newer older movies...

[Gagman 66]

Alison,

Camilla Horn is on my Top 10 list. Checking in at number 9. The trouble is, I have not been able to find any photo's of her??? I was going up-date the entire Top 10 with photo's of each actress selected, but I have been unable to do so, without one good picture of Camillia? Here is a recap of the list again.

Gagman's Patented Hubba-Hubba Rating's Scale:

TOP TEN SILENT SCREEN BEAUTIES LIST:

1. Corinne Griffith

2. Dorothy Janis

3. Jacqueline Logan

4. Olive Thomas

5. Delores Costello

6. Marceline Day

7. Mary Philbin

8. Esther Ralston

9. Camilla Horn

10. Vilma Banky

[charliechaplinfan]

I watched Le Million 1931 a marvellous film by Rene Clair. Comparing this film to the films that Hollywood was making at the same time it seems very innovative. I know that Hollywood combined music and talkies but this film seems more fluid than Hollywood's early efforts.

[Synnove]

All Quiet on the Western Front is a really good, filmic movie which was also made at that time. That one came from Hollywood. The more stagey talkies of that period just don't compare to it. I think the situation seems a bit similar to the early 1910's, when the audience might happily watch stage-bound films like Queen Elisabeth and Cleopatra of 1912, at the same time as Griffith was making fast steps forward in developing film techniques.

[charliechaplinfan]

I have yet to watch All Quiet of the Western Front, I loved the novel, sometimes I feel that movie versions of my favorite books just won't do the original work justice. I've heard a lot of good things said about All Quiet on the Western Front, I will have to watch it one day.

It's a very valid point comparing the early talkie movies to the early tens movies. Techiniques developed so quickly and were adopted by other movie makers who then pushed the envelope further in both eras.

Gagman, I missed your reply. I'm glad Camilla Horn rates in your top ten, I can see why

[myrnaloyisdope]

Applause I holds it's own agains Le Million, even if it's somewhat self-consciously innovative. By that I mean, Mamoulian seems at times to be just trying things out to see how far he can take things, rather than trying to tie them into the story. I still love it though. I do think Love Me Tonight captures the pure fun and spirit of Le Million while being very innovative as well, but aside from the early-Mamoulian pictures, I can't think of anyone in the early talkies who was pushing the envelope quite like Rene Clair, with such flair, competence and pure enjoyment.

And CCF you really ought to check out All Quiet..., which I think does great justice to the novel, and is a pretty remarkable achievement for an early talkie. It still holds its own today too. It's probably my favorite war film along with Paths of Glory and The Big Parade

[Synnove]

I agree with you, myrna. I've both read the novel and seen this film, as well as the 70's remake. I think the Lewis Milestone film is much better at capturing the feeling of the book. It's also very cinematic for such an early talkie, and the battle scenes are intense. Applause also sounds like a film worth seeking out.

Yesterday I went to the Stockholm Cinematek to see Victor Sjöström's early film, The Outlaw and his Wife.

This film is made a year later than Terje Vigen/A Man There Was. Yet I think Terje Vigen has a better, tighter story structure. The Outlaw and his Wife takes a little bit too long to get going. The story is certainly not dull in the beginning, with many character-establishing scenes, but I watch it with detachment, not with the kind of emotional involvement which I usually feel when watching even the earliest Victor Sjöström films. A lot of film writers tend to say Outlaw is better than Terje Vigen, but structurally, I think Terje Vigen is better, because you are involved in the story from start to finish. Outlaw doesn't really involve me until halfway through. Then, of course, it begins to leave its mark.

As a matter of fact, the time that Outlaw spends in establishing the characters and setting pays off during the final section of the film, when the lovers Halla (pronounced 'Hadla') and Eyvind have moved up to the mountains to live as outlaws. In the end, their story becomes all the more moving because you know just how much they've been through together.

The mountain scenery is dramatic and beautiful, helping to give the film the kick it needs. This is also where the actors come into their own. Victor Sjöström and Edith Erastoff's exaggerated 1910's ways of expressing themselves don't seem out of place in the wild mountains. There, Edith Erastoff's beauty also shines through in a different way - and I'm not just thinking of the cleavage shot, which must have been very daring for 1918. I like Edith Erastoff in this role. Not only is her chemistry with Victor and the baby really strong - naturally, since she was expecting his child in real life - but she has her own inner strength and passion, just like the character Halla should have.

The copy we were shown at the Cinematek was described in my programme as a new one, which I took to mean that it had been recently restored. It didn't look that great, which is a shame for such a strikingly photographed film. I wonder what the Kino DVD is like? Has anyone here seen it? If not, it's worth looking for. I cannot recommend the Victor SJöström silents highly enough, both his Swedish and his American ones. They hold a consistently high quality. His earlier movies have more of an old fairytale-like style though.

Finally, a few SPOILERS:

MicheganJ was surprised that I thought Victor Sjöström's films were positive and carried hope for the future, since many of Sjöström's films in fact have tragic endings. I thought about that while I watched Outlaw. The ending of this story is indeed tragic, yet it still seems hopeful to me. Why? Well, for one thing, I have obviously never actually been deprived by death, and so can't appreciate the tragedy in full. But I also see the ending as a final conflict between the tragedy of the couple's situation, and the love they feel for each other. They die in each other's arms, which means that love has triumphed. It sounds like melodramatic ending when I write about it like this, but if anyone could pull it off and make it feel real, Victor Sjöström could. Anyway, that's why none of his movies seem depressing to me, in spite of their often tragic endings.

[MichiganJ]

Synove,

I can’t fathom seeing any Sjöström film on the big screen, let alone The Outlaw and His Wife. I bet the second part, where nature really becomes a major character, was amazing. Color me green with envy!

I watched this film sometime in the spring, and find myself still musing over its themes, as well the magnificent scenery (I recently watched The Dragon Painter, and the scenery in that immediately brought to mind The Outlaw and his Wife). The film certainly has “staying” power.

Lots of spoilers! (sorry)

I suppose I’m still “surprised”, though, that you find the film carries a hope for the future. I still see The Outlaw and His Wife as fatalistic, in that the fates of both the Wife (Halla) and especially the Outlaw (Ejvind) are inevitable. This is reinforced by the lengthy first part of the film, which I rather like, allowing us to see much of Ejvind’s motivations as well as the building of the relationship with Halla. It’s inevitable that Ejvind’s “crime” will come to haunt him, chasing him and Halla to the (breathtakingly beautiful) mountainside, where they get to live their Eden-like existence, until the inevitable comes a-calling again. Even after the two escape again (after the shocking, horrific--and rather unmotivated “tragedy” [one of two “flaws” in the film. The un-satisfying passage of time being the other]), their fates are completely sealed. The final sequence, while heartbreaking, is not necessarily tragic. Again, I see it as inevitable. In regards to love triumphing, as I recall, Halla sends Ejvind out to get more fire wood, and then she leaves the shelter, obviously going to her death...alone. It’s unclear whether she thinks that her actions are somehow going to help Ejvind, and the fact that the two were having a (very believable) spat just before, simply muddies the issue more. It’s Ejvind who finds Halla frozen on the ground (I’m unsure if she’s already dead or not), and then nestles up next to her, succumbing to the elements. Nature certainly triumphs, but I’m not so sure about love (especially given the “sacrifice” the two endured earlier).

I completely agree that, although it sounds melodramatic, The Outlaw and his Wife is anything but. One of its greatest strengths is its realism. In any event, I don’t find The Outlaw and His Wife depressing at all. It’s thoughtful, beautiful, and, I still think its also fatalistic, which makes it all the more compelling.

I have the Kino laserdisc of the film, but have not yet picked up the Kino DVD. I hope the DVD print is better, or, at the very least, slows down the title cards enough to allow one to read them (many whip by on the laserdisc). This DVD and Kino’s A Man There Was/Ingeborg Holm are high on my (ever expanding) list to pick up.

[Synnove]

You've got a good point about the fatalistic theme. It's even specifically pointed out in a title card that "no man can escape his fate". From the very beginning, you know how how it's going to go.

I wonder about the Kino DVD. A couple of reviewers at amazon and IMDb (or is it the same person) have pointed out that it's shorter than the existing print of the film, so the "new copy" I saw at the cinematek might have been a longer print. I don't know, I'll have to look into that. I can strongly recommend A Man There Was/Ingeborg Holm. I've also seen them both on the big screen.

Spoilers!

Halla is still alive at the end, as far as I can recall. She looks at Eyvind, and her expression suggests that she has forgiven him, and he has forgiven her. I guess I see life as ultimately fatalistic, so if someone can at least make peace with it, it's enough to make the ending - not necessarily happy, but okay. I recently finished a series of novels about that theme, so it has probably coloured my thinking a bit. The ending of Outlaw seems to go hand in hand with the ending of Terje Vigen and the ending of The Phantom Carriage, because it has the same theme of forgiveness. To me it just demonstrates that love is stronger than anything else. Sorry for speaking clichés again.

[feaito]

Thanks to Jeff I watched the very senstive Clarence Brown vintage Silent "Smouldering Fires" (1925). It's the first time I've seen Pauline Frederick on screen and she's excellent as the shrewd businesswoman who falls for the younger Malcolm McGregor. Laura La Plante also gives a good performance as Pauline's much younger sister. Tully Marshall is Pauline's right hand at the office.