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Focusing on the debut feature work of famous, and infamous, figures of film
Debut feature films of: John Ford and Emin Alper, directors
By Marilyn Ferdinand
It isn’t every day that one can watch two films in one day—one from the early days of the motion picture industry and one hot off the presses—and see such a straight line of descent from the early to the new. Add to that “coincidence” the fact that both films represent the feature debuts of one legendary filmmaker and one possible legend in the making, and the experience is all the more powerful. Lucky was I! I had the rare privilege of seeing the first in what would be a long line of iconic Westerns by John Ford, and a more genre-mixed Western by one of the rising directors of Turkey’s emerging national cinema, Emin Alper. I had not realized the strong connection between these films when I made plans to see them, but the discovery was a highly illuminating one.
Straight Shooting was the first feature to emerge from the Cheyenne Harry short-film series Ford shot for Universal. The series’ star, Harry Carey, would continue to play kind-hearted outlaw Cheyenne Harry into the 1930s, though Ford’s working relationship with Carey would largely end by 1921. After getting a few shorts under his belt, Ford knew how to get what he wanted and delivered an action-packed Western centered on a range war, with homesteader Sweetwater Malone (George Berrell) standing fast against the threats of cattle rancher Thunder Flint (Duke Lee), who illegally stakes a claim on the creek they both share and threatens death to anyone who trespasses. Of course, Cheyenne Harry, who’d rather keep himself to himself, gets pulled into the fray.
A seemingly amoral rogue who finds himself pulled into the righteous side of a conflict, often with the enticement of a sweet and beautiful girl as partial incentive, is a stock situation that has been changed up and modified over the years, but never completely obliterated. With such a conventional through line, Ford insisted on injecting more realism with a strategy he would pursue his entire career—shooting on location. He chose Monument Valley (and is credited in some places with its discovery as a filming location), away from the artificial frontier of backlots and California ranches, to people with his ranchers, homesteaders, and outlaws. I can attest that the “hideout” for outlaw Black-Eye Pete (Milton Brown) and his gang—a valley beyond a steep rise guarded by lookouts on either side of the pass—looks very much like what a real gang would use.
Going from a short to a feature-length format may have set up a tendency I’ve seen in quite a few of Ford’s films to include a comic middle act that bears very little upon the main action of the film, and, in fact, could be popped out without any loss of continuity. With Straight Shooting, that middle act takes place in a saloon/rooming house where Harry goes to strike a deal with Flint to run the homesteaders off their land. After this bit of plot is slapped into place, a non sequitur involving the lily-livered sheriff surveilling Harry and Placer Fremont (Vester Pegg), one of Flint’s men, as they get drunk and pursue some burglars provides a bit of comic relief, though I was distressed to see Harry’s horse become so thoroughly spooked by the driving rain Ford engineered that it had to be removed after its opening appearance. In fact, horses and actors in danger during chases and descending the steep path to Pete’s hideout had me on the edge of my seat almost as much as the massing of the ranchers set to attack the homesteaders gathered at Malone’s cabin. One “dead” attacker had to “resurrect” to get out of the way of a horse on a path to trampling him. Although fascinating, such scenes are sobering reminders of how wild the early days of filmmaking actually were.
There’s no question in this fictional universe that there are good people and bad people. While Straight Shooting only goes so far as to indict Flint and his men through the cowardly act of shooting Malone’s son Ted (Ted Brooks) in the back, the film does seem to show a bias for people who settle down on the farm and start families. Malone’s daughter Joan (Molly Malone) switches her affection from her misguided beau Danny (Hoot Gibson) to Harry, and the final clinch inevitably comes after Harry weighs the pros and cons of giving up his crooked, carefree ways. While I haven’t seen the Cheyenne Harry films that follow this one, I reckon Harry slipped free of the marital noose to carry on his unofficial Lone Ranger duties.
The multi-award-winning film Beyond the Hill is a horse of a different color primarily in its insistence on withholding the blood-quickening violence from the audience and siding with the ranchers. The outlines of the conflict come slowly into view, as family patriarch Faik (Tamer Levent) welcomes his son Nusret (Reha Özcan) and grandsons Zafer (Berk Hakman) and Caner (Furkan Berk Kiran) back to the family homestead in a craggy corner of Turkey that quite resembles the Western frontier. Faik has 50 sheep grazing his pasturelands and a large stand of poplars, and Mehmet (Mehmet Ozgur), his wife Meryem (Banu Fotocan), and son Sulu (Sercan Gumus) are his hired hands. Faik declares that they will kill a goat to prepare a proper feast for his family, ignoring Mehmet’s suggestion that they wait a bit. Mehmet correctly susses that Faik means to kill the goat he took from a group of nomads that have been grazing their herd on Faik’s land.
The nomads are instantly recognizable to Turkish audiences as the Kurds with whom Turkey has been fighting a protracted war for decades, and former soldier Zafer is a mental casualty of that conflict. It is also apparent from their dress and customs that Mehmet and his family are Kurds, living under the thumb of Faik in substandard quarters due to a financial debt Mehmet owes that is never explicitly outlined. The political parallels of the story may be lost on a foreign audience, but the relative position of master and servant that allows Faik to bark orders at Meryem, Caner to threaten Sulu and his dog, and Nusret to get drunk and try to assault Meryem is universal.
Unlike in Straight Shooting, the nomads are never seen. Faik assumes they are massing to attack him after he kills several of their goats for trespassing on and “destroying” his pasture—never mind that he has 50 goats of his own that put stress on the land. Like the ranchers in Ford’s West, the nomads’ argument, as communicated to us through Faik, is that they have been grazing the land since the Ottoman Empire; Faik is the newcomer/homesteader who insists on the sanctity of private property and his right to defend it in any way he sees fit, as though history began when his family settled the land.
An interesting parallel between the two films is a character that is essentially a double-agent. Danny belongs to Flint’s gang, but is courting Joan and feeding intelligence to the Malones and Harry about Flint’s impending attacks. Sulu keeps a place of his own away from the Faik compound and is frequently the messenger who speak of thefts and attacks on Faik’s livestock. The morning after Nusret accosts Meryem—whether he completed the rape or she fended him off is never known—he rouses from the spot on the floor where he passed out and goes outside. A figure with a rifle takes aim, and we soon learn from Sulu that Nursret has been shot in the ankle. A parallel scene occurs in Straight Shooting right down to the exact camera angle, similar landscape, and object of attack—the son of the patriarch. In Beyond the Hill, however, the shooter is never revealed. Nonetheless, by the end of the film, the enemy Faik locates as an outside band of intruders may, in fact, be one of his own, someone filled with resentment who may be trying to escalate the disagreement to incite violence that will drive Faik off the land for good.
In both films, the primacy of a manly code that is enforced with guns, not laws, is front and center. The sheriff in Ford’s film is cowardly and ineffectual, and the Turkish police know very well what is going on but choose to accept Faik’s lies while refusing the goat meat, religiously and legally unclean for having been stolen, he offers them. Beyond the Hill goes further in fetishizing guns, as Caner can barely keep his hands off his grandfather’s rifles, and the sound of gunfire provides a dramatic forwarding of the plot. Zafer, plagued by hallucinations of his fallen comrades, offers a corrective to the macho entitlement of his grandfather while ridiculing his younger brother for being a sissy, showing that little that is learned about the atrocity of war is passed on to the next generation. The final image set to upbeat, heroic music, the only nondiagetic music in the film, shows Faik and company marching along a ridge to meet the enemy, the half-lame Nusret dragging behind. We want to laugh, just as we laugh when Harry is domesticated by Joan, but the certainty that history will repeat itself makes for a rueful close to this eastern Western.
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By Marilyn Ferdinand
UPDATE: Terrific interview with Brian Meacham, the AMPAS scholar who discovered the New Zealand cache.
By now, most of the film world knows about the partnership between the New Zealand Film Archive and the National Film Preservation Foundation to repatriate and restore 75 American motion pictures that no longer survive in the United States. The news broke in the New York Times yesterday and has been all over the media, Twitter, and Facebook. Frankly, Farran (The Self-Styled Siren) and I were a bit miffed. We were told we should not make the announcement until this afternoon, and here comes someone to steal our thunder! But scoops are what newspapers are about, and this was a big one.
Sworn to secrecy out of deference to the New Zealand government, Farran, Greg Ferrara (who did our ads and banners), and I have known since last fall that the New Zealand archive was the next big project for the NFPF, but we had no idea what the nitrate experts would find as they examined the existing footage. The news is amazing! About 70% of the nitrate prints are virtually complete, and more than two-thirds have color tinting. Included is John Ford’s full-length feature Upstream (1927), a backstage romance involving an aspiring Shakespearean actor and the daring target girl from a knife-throwing act, and a trailer for the director’s lost feature Strong Boy (1929), starring Victor McLaglen. Maytime (1923), an early feature with Clara Bow, was found, though afflicted with the “bloom” that signals nitrate deterioration. NFPF got to this film just in time!
And then, of course, there are the films that the participants and donors in For the Love of Film: The Film Preservation Blogathon funded!
We promised the blogathoners a good film, and initially, we were to fund Moonlight Nights, a short comedy featuring child star Gloria Joy. But Annette Melville, the wonderful executive director of NFPF who has been so helpful to us, found a real treasure that helped double our money. The Sergeant is a very important short western that will be included on the Treasures V collection, thus receiving matching funds from the federal government. Here’s why it’s so unique.
The Sergeant is one of the earliest surviving narratives shot on location in Yosemite Valley. The one-reeler shows the magnificent terrain prior to the creation of the National Park Service, when U.S. Army cavalry troops kept order, and it is the military presence that provides the backdrop for the story.
The western was one of many made by the Selig Polyscope Company, the early motion picture company renowned for its action pictures. Based in Chicago, Selig sent director Francis Boggs west in 1908 to find authentic locations for westerns. Shooting films across the Southwest, Boggs made his way to Los Angeles, where he set up the city’s first movie studio. Boggs hired Hobart Bosworth, one of the first trained Shakespearean actors to crossover to the then-less-respected art of film; Bosworth appears to play the sergeant in this one-reeler, which he probably also directed.
Very little survives from Selig Polyscope, aside from Col. Selig’s papers in the Margaret Herrick Library of the Academy of Motion Picture Arts and Sciences. After the murder of Boggs on the set in 1911, the company continued on with its popular Tom Mix westerns, the early serial The Adventures of Kathlyn, and animal pictures (the Selig menagerie became part of the Los Angeles Zoo). However, the company failed to make the transition to features and ended production in 1918.
This remarkable film—part western, part travelogue—survives through the single copy shared by the New Zealand Film Archive. The original nitrate distribution print was shrunken but complete. Thanks to our funding, the print was painstakingly copied to modern black-and-white safety negative film. This transfer was made from the negative at 16 frames per second and the tints added digitally to reproduce the colors on the original print.
For the exhibition print, color film will be cut in for the red- and amber-tinted intertitles so that the film can be enjoyed today as it was originally seen by audiences in 1910. The Academy of Motion Picture Arts and Sciences is supervising the preservation and will house the nitrate source material, preservation masters, and access copies so that they will remain available for years to come.
We also raised enough funds to restore The Better Man, a 1912 film produced by the Vitagraph Company of America. It’s another western in which a Mexican-American outlaw proves himself the better man. The stills look intriguing.
The newly recovered films will be preserved over the next three years and accessed through the five major American silent film archives: the Academy of Motion Picture Arts and Sciences, George Eastman House, the Library of Congress, the Museum of Modern Art, and the UCLA Film & Television Archive, which are collaborating with the NFPF on this project. Copies of the complete films will also be publicly available in New Zealand and viewable on the NFPF web site.
We extend many thanks to Jamie Lean, Division Director, the New Zealand Film Archive/Ngā Kaitiaki O Ngā Taonga Whitiāhua, who said, “Hundreds of American motion pictures from the silent era exist in archives outside the United States. We hope that our example will encourage other international partners who have safeguarded ‘lost’ American films for decades to share their long-unseen treasures with the world community.”
Clips of The Sergeant are up on the NFPF website, and you can take a look at a list of some of the other films returning from their long hiatus here. You can also kick in some more money for the rest of the films that need preserving (not to mention shipping: Each reel has to be sent using precautions for hazardous materials!). As Gareth over at the Siren’s place said, “I’ve almost never had a sense of such concrete value coming from a donation.” Amen.
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Director: Frank Powell
For the Love of Film: The Film Preservation Blogathon
By Marilyn Ferdinand
There are a lot of legendary eyes in the history of film: the impossibly beautiful lines of Greta Garbo’s, the bedroom eyes that won Rudolph Valentino millions of adoring fans, the fathomless blue of Paul Newman’s, and Elizabeth Taylor’s musgravite eyes.
Chicago has only one set of famous movie eyes: the kohl-rimmed orbs of Theda Bara, the cinematic world’s first break-out femme fatale. Her eyes have been the symbol of the Chicago International Film Festival since its inception, looking back at the audiences that view the latest Ken Nordine CIFF trailer before each screening. The logo, in fact, is ubiquitous, appearing on programs, posters, street banners, and souvenir tee shirts. Would that we had as many frames of the rest of Theda Bara as we do of her eyes. Bara made 44 films, but only six have survived in full or in part, one of the lowest survival rates of any major star. Were it not for the fortunate survival of the film that launched her persona of The Vampire, A Fool There Was—with a crisp DVD transfer from the Killiam Collection print by Kino—we might never have truly understood what she meant to an entire generation of women, or why.
The turn of the 20th century was the vampire’s first crucible moment. Bram Stoker had just published his Dracula, the template for vampire films largely centered on a male vampire for most of the 20th century. Yet, it was a painting Philip Burne-Jones exhibited in 1897 that actually created a rage for female vampires. The painting, The Vampire, shows a rapacious woman in a flowing nightgown leaning over a handsome man sleeping in bed. The raw sexuality of the painting stirred the primal current running beneath Victorian propriety. A play about a vampirish woman called A Fool There Was hit the stage in 1909 and was adapted for the screen. Unknown actress Theodosia Goodman of Cincinnati—soon to be redubbed Theda Bara—was chosen to play The Vampire.
Burne-Jones’ painting inspired Rudyard Kipling to write a poem, “The Vampire,” that is recited episodically in title cards throughout the film:
A fool there was and he made his prayer
(Even as you and I!)
To a rag and a bone and a hank of hair
(We called her the woman who did not care),
But the fool he called her his lady fair
(Even as you and I!)
Oh the years we waste and the tears we waste
And the work of our head and hand,
Belong to the woman who did not know
(And now we know that she never could know)
And did not understand.
A fool there was and his goods he spent
(Even as you and I!)
Honor and faith and a sure intent
But a fool must follow his natural bent
(And it wasn’t the least what the lady meant),
(Even as you and I!)
Oh the toil we lost and the spoil we lost
And the excellent things we planned,
Belong to the woman who didn’t know why
(And now we know she never knew why)
And did not understand.
The fool we stripped to his foolish hide
(Even as you and I!)
Which she might have seen when she threw him aside—
(But it isn’t on record the lady tried)
So some of him lived but the most of him died—
(Even as you and I!)
And it isn’t the shame and it isn’t the blame
That stings like a white hot brand.
It’s coming to know that she never knew why
(Seeing at last she could never know why)
And never could understand.
The film illustrates this poem by presenting us with the downfall of one John Schuyler (Edward José), a prominent diplomat shown at the beginning of the film literally enjoying the dawn of a new day with his good wife Kate (Mabel Frenyear) and young daughter (Runa Hodges). Their paths cross briefly with The Vampire (Bara) and her current amour, Reginal Parmalee (Victor Benoit), whom she has just about used up. A fleeting glance passes between John and The Vampire. When we see the sun set on the day, a title card tells us it is also the end of happiness. Reading in the paper that John is about to set sail for Europe on the “Gigantic,” The Vampire decides to sink her fangs into him, a task made all the easier because Kate will be tending to her injured sister (May Allison) instead of sailing with him.
The historical details in this film are fascinating. For example, in one scene, Kate is seen being driven through the streets to John, automobiles intermingling with horse-drawn vehicles. In another, The Vampire begins her seduction by arranging to have John’s deck chair positioned next to hers. Yes, the deck chairs actually had name tags on them, something I did not know before seeing this film. When she flirts with him on deck, she drops a flower that he is obliged to retrieve for her. As he bends down, she raises her skirt just enough for him to see her ankle!
Despite this outward timidity, the film reeks of sex. John, having abandoned his work and family to live with The Vampire in Italy, considers returning. Powell juxtaposes scenes of John’s daughter being tucked into bed after saying her prayers with The Vampire, her long hair reminiscent of the ubiquitous long hair of ghost women in Japanese horror films, sliding down John’s body to lay prone at his feet, her whole body beckoning him to pounce. The longer their affair continues—he returns with her to New York and moves her into his townhouse with him—the more dissipated he becomes. He drinks heavily, his eyes become as kohl-black as hers, and his form becomes stooped and feeble; he really seems to be losing his life essence to her as though she were draining his blood like a proper vampire. Men are powerless to resist her, even when they receive warnings, as Parmalee did from a beggar whom The Vampire had ruined financially, or when offered the comforting arms of wife and child.
The wanton cruelty of The Vampire, shown in the very first image of her picking up two roses and laughingly crushing one blossom in her hand, must have thrilled the Victorian-trained women who first saw it. To be so bad, so sexual, so assertive and domineering over men must have seemed like a breath of fresh air to these disenfranchised, proper ladies. We are meant to sympathize, of course, with the destroyed family and heed the message that Kate readily consented to when contemplating divorce, “Stick, Kate, stick.” But for a whole generation of women confined to domesticity, The Vampire’s parties, lavish wardrobe, and power over men proved irresistible as well. Bara became a star overnight, fetishized by women who wanted to wear what she wore, say what she said, and do what she did. Her run of fame lasted 10 years, until a more modern version of the emancipated woman—the flapper—supplanted the vamp.
Although the vamp seems hopelessly outdated, young women seem to have retreated from the sexual hunger Bara so effectively portrayed. Although clothing styles seem to be hooker-lite these days, the most popular vampire myth for girls today is Twilight, with its utterly chaste and good heroine and her chivalrous vampire lover. Women are consumed, not consuming, on the big screen. Yet, the vamp endures. Turn on a daytime soap opera and feast your eyes on the scheming females through which today’s domestic women fantasize a more exciting, free life.
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Director: D. W. Griffith
By Roderick Heath
D. W. Griffith is a difficult filmmaker to approach. So vital to the history of cinema and so problematic in the shadows of his unforgivably racist The Birth of a Nation (1915), the irony of Griffith’s career was that he destroyed it in trying to answer the criticisms leveled at his greatest success. Intoxicated by the melodramatic swoon of Thomas Dixon’s KKK-propagandising source novel and dismayed by the forced realisation he had produced a work that offended many, Griffith was to take up the theme of prejudice and social conflict again and again: an opening title for Broken Blossoms suggests there is a warning in its tale of a cold-hearted brute that the most casual insults are essentially the same as physical assault. His sophistication in cinema accompanied an artistic sensibility solidly rooted in the sentimental codes of Victorian fiction. Broken Blossoms itself is built around the most discomforting and titillating of themes for audiences of the era—miscegenation—as a Chinese hero and an English waif are thrown together as a match more or less made in heaven.
For such a director, a triangular character drama set in a slum might have seemed a comedown from recreating and demolishing Babylon for the colossally ambitious Intolerance (1916), and yet Broken Blossoms became a landmark in the career of Griffith and its star, Lillian Gish. Initially met by producer Adolph Zukor with dismay, the film proved a huge hit that revived Griffith’s career, and it’s still a tremendously intense and provocative experience 90 years later. Griffith used his innate gifts to create a statement confirming less as more, constructing a compulsively exciting melodrama and a cultural parable out of the most minimal elements.
Griffith, though inevitably wary and teasing in portraying interracial eroticism, isn’t subtle about reconfiguring audience sympathies. Its hero, Cheng Huan, referred to as The Yellow Man (Richard Barthelmess), is a conscientious, idealistic missionary, and its villain, “Battling” Burrows (Donald Crisp), is a vicious, depraved icon of Anglo-Saxon brutality. In between them is Lillian Gish’s victimised heroine Lucy, the epitome of the endangered, fragile feminine archetype in the Victorian pantheon. Three stock figures, but also three figures of nuanced realisation play in a work that seriously interrogates the nature of humankind as both impossibly aspiring and irrevocably bestial.
The opening scenes, set in a Chinese treaty port, establish the story and the theme of a clash of cultures and peaceful and warlike impulses. Here are the clearly organised and repeated images of yearning and transcendence: the sight of a ship steaming out of Cheng’s home port, and the act of a monk ringing a temple bell. Cheng Huan’s ambition, amusingly enough, is to take the Buddhist teachings of tranquility and peacefulness to the “barbarous Anglo-Saxons, sons of toil and strife.” His religious instructor encourages his desire and implores that he remember his creed out in the world. Cheng’s first encounter with rough Western ways happens before he even gets on the boat: a gang of American sailors who are brawling playfully. Mistaking this for serious conflict, Cheng Huan intervenes and offers a quote that evokes the common ideals of Buddhism and Christianity in a variation on “Do unto others as you would have them do unto you.” Cheng Huan is immediately knocked over as the scrap continues, literally and metaphorically turning his perspective upside-down.
Several years later, Cheng’s fortunes have reduced his to a dispirited, opium-addicted “Chink store-keeper” in Limehouse. The only bright spot in his day is the sight of Lucy, who drifts aimlessly around the docks and alleys and delights at the dolls in his store, before returning home to face the relentlessly abusive Burrows, a professional boxer. Harried by his manager for his overindulgence in drink and women before a return bout against the Limehouse Tiger, Burrows is in an especially vicious mood. When he accidentally knocks a frying pan Lucy is holding to serve him supper and spills hot fat on his hand, he delivers to her a terrible beating, before departing for his training residence across the river. The physically shattered girl stumbles through the streets to Cheng Huan’s shop and collapses on the floor.
There are still very few commercial films that depict domestic violence with such unvarnished, unforgiving ferocity. “The manager’s complaint about drink and women puts Battling in a rage – he cannot take his temper out on him – he saves it for a weaker object,” a title-card puts it, explaining Burrows’ taunting of his daughter, who is so habitually unhappy she can only “smile” by pushing the corners of her mouth up with her fingers. The film is defined rhythmically by the build-up to Burrows’ two great explosions. The first, after the fat-spilling, sees father herd daughter with a whip in hand, Lucy trying to dissuade him by cowering and cleaning off his boots. She senses that her abuse can only have one end and begs her father to stop, not for her own sake, but because he’ll be hung for murder eventually. The second outburst comes, of course, after Burrows removes Lucy from Cheng Huan’s shop. Lucy, knowing what’s coming, locks herself in the cupboard, with ever-increasing terror as her father hacks at the door in a sequence that anticipates just about every horror movie ever made.
It’s Griffith’s technique that makes Broken Blossoms more than a tawdry melodrama, though his success is as manifest in the sense of realistic environment and attentiveness to the performances of Gish and Barthelmess as it is in the montage and structural showiness. Once the action shifts to London, Griffith puts us into the headspace of his three protagonists with associative flashbacks. Yellow Man, Lucy, and Burrows are introduced in their respective situations, and Griffith bends the narrative arc back to illustrate their lives: Cheng Huan reflecting on the world of vice and opium dens he’s trapped in; Burrows on his most recent pulverisation of an opponent; and Lucy on her alternatives, from the housewife with a filthy household who advises her, “Whatever you do, dearie, don’t get married,” to being “Warned as strongly by the ladies of the street against their profession.” Cheng Huan has arrived “where the Orient squats at the portals of the West,” as an intertitle puts it, scratching out a living and expending it in an opium den where the refuse of many nations congregate and, it’s hinted, copulate. “Fifteen years before one of Battler’s girls thrust into his arms a bundle of white rags – So Lucy came to Limehouse” explicates Burrows’ contempt for his daughter and her own desperate clinging to a scrap of velvet that is her mother’s only inheritance.
Although Griffith didn’t leave the backlot, there’s a documentary feel to the observation of Chinese musicians and the seamy environment of Limehouse. Griffith keeps his narrative moving, and its elements constantly interrelate structurally, such as the scene in which Burrows’s second bout with Tiger alternates with Cheng resisting his urge to make love to Lucy. Perhaps the most vital manifestation of his cinematic vision when the camera takes Lucy’s point of view in two crucial, late sequences that posit the two men who battle for her in likeness. Cheng Huan, almost overcome by his desire for Lucy in kissing her, and her father in his wrathful rage, are both photographed in looming, first-person ultra-close-up, each man rendered threatening and alien. The difference is in the resolution. Cheng restrains himself, and the title-card assures us that his love remained “a pure and holy thing.” Burrows has no such restraint. The film’s bitterness is remarkable, though leavened by an often corny, but heartfelt poeticised idealisation, in which Cheng renames Lucy with the “love-name” of White Blossom.
The narrative’s ironies extend from an opening in China where the everyday activities of the local families and promenaders are disturbed by foreigners, to Cheng’s encounter at his Limehouse shop with two friendly Christian ministers. One tells him that “My brother leaves for China tomorrow to convert the heathen.” The Yellow Man, suppressing a wry smile, offers, “I – I wish him luck,” before they give him a book on Hell, about which he already knows too much. Later, when Burrows discovers that Lucy is living with Cheng Huan, the card tells us, “Battling discovers his parental rights,” outraged at the notion of his daughter “with a dirty Chink.” The film becomes an almost cosmically realised battle of the sacred and profane, beyond the reach of the tawdry interracial dramas Sessue Hayakawa was starring in at the time. Cheng’s capacity to retain his humanism and defend Lucy’s femininity even when confronted with incredible degradation and temptation is the story’s great question; and even the peace-loving Cheng is finally driven to kill Burrows, if only in self-defence.
When Burrows’ sleazy mates discover his body and run to fetch a policeman, the bobby is discussing a story in the newspaper commenting on war news: “Better than last week – only 40,000 casualties.” It’s the only confirmation that the film is set during World War I, a virtual throwaway touch, and yet it confirms the film as a broader study of the destructive capacity of humankind in general, in which the only bulwark is Cheng’s religious and romantic idealism. Griffiths even subverts his own clichés, the climax employing his already-famous cross-cutting techniques in a race to the rescue. He ratchets up the tension as Cheng, arming himself with a revolver, dashes to Lucy’s aid as Burrows breaks into the cupboard, but he gets there too late to save her from a fatal beating. Griffith proved that manipulative cinematic techniques could be used to make tragedy as thrilling as triumph, and could then be used in a fashion that’s critical and not merely involving.
Broken Blossoms is not without faults, chiefly in some pretty overripe title cards, the presence of Cheng’s Chinese foil Evil Eye (Edward Peil Sr.), who doesn’t contribute anything to the story other than some stock ethnic sleaze, and Crisp. Crisp would develop into one of the talkie era’s more restrained actors and is physically fine for the part, but his idea of telegraphing psychotic rage is to warp his mouth in odd shapes like a grade schooler trying to be scary. That said, he does offer up a splendidly insidious touch in his final rampage of holding Gish down and repeatedly tapping the stock of his whip on her forehead in dreadful prelude. Whilst, obviously, Cheng ought to have been played by an Asian actor, Barthelmess nonetheless is splendid as the Yellow Man, particularly in the early scenes, with his resigned smile and air of cynical equanimity. He even indulges in a bit of stoner comedy when Cheng still intoxicated with opium, returns to his shop and thinks that the prostrate Lucy is a hallucination. When he and Crisp finally confront each other over Gish’s dead body, the mutual, animalistic hatred fairly vibrates. And Gish herself is quite remarkable in her understatement, whether drifting through scenes in dour misery, contending with Cheng’s attentions with a gentle, almost amused distraction, or building terrified hysteria when her father’s rages approach. She had protested to Griffith that she was too old for the part, but you’d hardly imagine it.
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Film interpretations of works by Nobel Laureates in Literature
Directors: Maurice Tourneur/George Cukor
Nobel Laureate: Maurice Maeterlinck
By Marilyn Ferdinand
In 1911, three years after he wrote and premiered his fairytale play The Blue Bird, Count Maurice Maeterlinck of Ghent, Belgium, won the Nobel Prize in Literature. The Nobel committee said in making its award, “In appreciation of his many-sided literary activities, and especially of his dramatic works, which are distinguished by a wealth of imagination and by a poetic fancy, which reveals, sometimes in the guise of a fairy tale, a deep inspiration, while in a mysterious way they appeal to the readers’ own feelings and stimulate their imaginations.”
The Blue Bird seems to be the stuff that inspires affection from generation to generation. It has been a movie at least five times over (though surprisingly not by German-occupied France in during World War II, which would seem to be a natural fit for the French-language fairy tale)—two silent versions, a 1940 version starring Shirley Temple, an animated telling in 1970, and finally, in 1976, the first U.S.-Soviet film collaboration, with Elizabeth Taylor, Jane Fonda, and Ava Gardner acting alongside dancers of the Kirov Ballet. I doubt we’ll ever see another retelling. Although the story tracks fairly closely to L. Frank Baum’s 1900 classic The Wizard of Oz—animals and inanimate objects that can talk accompanying children on a quest through various lands of enchantment, a mistaken apprehension of all witches/fairies as being ugly, true happiness found right at home among one’s loved ones—The Blue Bird has seen little but failure at the box office. What is it about this fairy tale that fails to appeal, and do the two film versions under consideration here bear the blame for their individual failures?
Maeterlinck’s play tells of a brother and sister, Tyltyl and Myltyl, who live humbly with their woodcutter father and hard-working mother, Mr. and Mrs. Tyl, their dog Tylo and their cat Tylette. One night the children observe a great celebration taking place on the other side of the woods, at a rich family’s home. When they fall asleep, they share a dream in which the Fairy Berylune, who resembles their neighbor whose daughter is sick, sends them on a quest for a blue bird that will bring happiness and ultimate power and knowledge to all humanity.
The fairy gives Tyltyle a hat with a diamond on it. When he turns the diamond, he can bring forth or dismiss the spirits of animals, plants, and things. His diamond brings forth the souls of Tylo, Tylette, Sugar, Fire, Water, Bread, Milk, and most importantly, Light. These beings will accompany the children on their quest. They will die, however, when the blue bird is found and returned to the fairy. Tylette determines to spot the children one way or another, even if it means harm will come to them. Tylo considers Tyltyl and Myltyl gods who he will protect to the end.
The searchers make several stops: the Land of Memory, where the children see their Granny Tyl and Gaffer Tyl and numerous dead siblings; the castle of Night, where Tyltyl bravely enters the many chambers the hold fearsome beings of darkness (ghosts, sicknesses, war, shadows and terrors, and finally, mysteries); the forest where the trees and wild and barnyard animals determine to kill Tyltyl to stop Man from conquering them forever. They go to the Palace of Happiness next to search for the blue bird. They encounter the Luxuries—the Luxury of Knowing Nothing and the Luxury of Understanding Nothing, the Luxury of Being Rich, the Luxury of Eating When You Are Not Hungry and the Luxury of Drinking When You Are Not Thirsty.
The troupe visits the Palace of Happiness next to search for the blue bird. They encounter the Luxuries—the Luxury of Knowing Nothing and the Luxury of Understanding Nothing, the Luxury of Being Rich, the Luxury of Eating When You Are Not Hungry and the Luxury of Drinking When You Are Not Thirsty. The Luxuries try seduce the group to stay with them, but Tyltyl turns the diamond, and the troupe ends up in the Cave of Miseries, where they do not linger, and pass into the Hall of Joys. Here the children learn of all the happinesses on earth—the Happiness of Being Well, the Happiness of Pure Air, the Happiness of Blue Sky, and most important of all, the Happiness of Maternal Love.
They pass through the Graveyard and enter the Kingdom of the Future, where the children waiting to be born work on the gifts they must take with them into the world—from the ability to achieve pure joy to leading a united solar system. The children meet their brother, who is to be born the following year and who will die quickly of the diseases he brings with him to the world.
At last, the children bid farewell to their companions, watching them fall silent again and facing fairy Berylune to tell her they failed to find the blue bird. At that moment, they see how beautiful their own home is. Of course, their parents are dumbfounded at their actions and their story about all the places they visited. Suddenly Tyltyl and Myltyl realize that their pet turtle dove is blue. Overjoyed, they run with it to the sick girl to help her feel better. She pets the bird, but it escapes. Tyltyl tells her, “Never mind…don’t cry…I will catch him again.”
Each film, with some adjustments, is surprisingly faithful to the source material. With a six-act play, some shortening was called for. The silent film omits the forest scene and moves the Land of Memory to just before the children return home. The 1976 film shortens the Land of Happiness to include only Maternal Love’s encounter with her children and omits the beasts from the forest scene.
Each version uses a great deal of the dialogue Maeterlinck wrote, preserving his lessons about the state of the world and the important things in life. In Tourneur’s film, the ghosts in the castle of Night shrivel a bit. Night (Lyn Donelson) says, “(My ghosts) have felt bored in there, every since people Man ceased to take them seriously.” In Cukor’s film, the ghosts are actually frightened by the children. Costuming is different as well, with the silent ghosts little more than sheets and the more contemporary ghosts depicting famous specters, such as the Headless Horseman.
Nonetheless, despite its sometimes stagebound scenes and more rudimentary sets and costumes, Maurice Tourneur’s The Blue Bird is much more highly regarded that the star-studding, international creation of George Cukor. I’ll hazard a few guesses why.
Perhaps most importantly, the children who play Tyltyl and Myltyl in the silent version, Robin Macdougall and Tula Belle, are much more natural and realistic as country rustics than the cloying Todd Lookinland and Patsy Kensit. A good example is one scene in which the children bring back a dozen blue birds they’ve caught in the castle of Night, only to see them die when exposed to light. Macdougall and Belle are perplexed and saddened that they got fooled into catching blue birds that were not the authentic blue bird of happiness. In Cukor’s production, these avian deaths are an excuse to rustle up a song as his camera positively oozes over the crying faces of Lookinland and Kensit. Plus, I was distracted that the latter pair spoke with American and British accents, respectively.
The music is another important difference between these films. The Tourneur version features a brilliant new score by The Mont Alto Motion Picture Orchestra that is one of the best silent film scores I’ve ever heard, bringing drama, humor, and mystery in just the right amounts, and featuring sound effects that add to the pleasure of viewing the film. Irwin Kostal, a film scorer for Disney, turns in a banal, even laughable orchestration for the few songs that made the final cut. His Russian collaborator, composer Andrei Petrov, was singularly uninspired in creating songs for this film. His ballet for the genuine Blue Bird as beautifully danced by Nadezhda Pavlova and other members of the Kirov was the lone musical highlight.
Of course, another major difference is the cavalcade of Hollywood legends that lend their talents to Mr. Cukor’s effort. Elizabeth Taylor plays several roles (Mrs. Tyl, Fairy Berylune, Light, and Maternal Love). It has become fashionable to diss Taylor’s work of the 1970s as unbearable kitsch, but I think she does a good job in this children’s film. Her mother Tyl is a bit too harsh and wooden at first, but she is, well, a luminous Light in whose care I would happily put my trust if I were Myltyl or Tyltyl. Jane Fonda as Night plays her part as though she’s always aware that she’s in a children’s film; a more natural, less wicked witch, approach would have served the film better. Cicely Tyson as Tylette is completely wasted in a highly truncated role.
There is no single star better in this film than Ava Gardner as Luxury. She is dressed beautifully in red and moves among the circus performers, gluttons, idlers, and narcissists with ironic self-indulgence. In an exchange written for the film, Tyltyl asks her which Luxury she is. Her saucy, perfect answer is, “You’ll understand more about that when you’re older.” Cukor’s hand is most evident in bringing this fun performance out of Gardner. Indeed, the entire Luxuries scene is extravagantly entertaining.
The Tourneur film, with its color tints and some effective special effects, really has the air of enchantment about it. (I’m told by a friend who saw it at the San Francisco Silent Film Festival a few years ago that it’s absolutely stunning on the big screen.) For example, in a close-up of the kitchen hearth from which Fire (S. E. Potapovitch) emerges, dancing flames are superimposed upon a writhing figure as the body of a man slowly comes into focus. It’s a great effect. Tom Corless as Tylette is absolutely wonderful, mimicking feline movements and habits with great skill and charm. It’s a shame his character is made out to be so nasty, but it certainly shows that actors have more fun playing characters that are bad rather than virtuous.
The audience reception
I was reasonably engaged with both of these films, noting how they departed from the play, yet finding those choices reasonable. I was taken by individual lines in the play that found their way to the screen. For example, in the castle of Night, only War still is a potent threat to humanity. The other spirits of the night no longer hold power. “(My ghosts) have felt bored in there, every since people Man ceased to take them seriously,” says Night. Or when Maeterlinck shows how memory keeps loved ones alive when Granny Tyl says, “We are always here, waiting for a visit from those who are alive. They come so seldom!” and Gaffer Tyl says, “Yes, we get plenty of sleep, while waiting for a thought of the Living to come and wake us. … Ah, it is good to sleep when life is done. . . . But it is pleasant also to wake up from time to time. . . .” Or when he extols the virtue of seeing beneath the surface of life, when Maternal Love says of her brilliant dress, which Tyltyl has never seen his mother wear, “No, no, I always wear it, but people do not see it, because people see nothing when their eyes are closed. . . . All mothers are rich when they love their children. . . . There are no poor mothers, no ugly ones, no old ones.”
So why has this story faded, why was the box office so quiet? The story is quite wide-ranging and a bit confusing, so that may be one problem. However, I think Maeterlinck’s philosophy of static drama, a kissing cousin to Berthold Brecht’s epic form, might be the culprit. Feeling that human beings are controlled and propelled by fate (brought out tidily in the Land of the Future episode), he preferred unemotional line readings. Certainly, the directors of these two films did not adhere to this standard, but the more global concerns of Maeterlinck meant he used his scripts as somewhat preachy bully pulpits. It seems odd that a writer who believed in fate would attempt to school people on the correct way to treat each other and the environment.
I consider these two films to be fine entertainments for children, and if you can get beyond the wretched music of the Cukor version, ones that parents might want to sit in on.