When the history of the dramatic early development of motion pictures is written, Lois Weber will occupy a unique position.
Thus spoke a journalist in a 1921 Motion Picture Magazine article. At the time, Weber was one of the most familiar and respected directors in the film industry–and the most prominent of the few female directors overall. Today, from our vantage point of nearly a century later, it may seem like that journalist’s prediction hasn’t quite come true. Weber certainly does have a unique place in cinema history, but that place has been largely overlooked for many decades.
However, thanks to new restorations of her work being shown at film festivals and a wealth of online resources for film scholarship, Weber’s slowly but surely being restored to her place in the early filmmakers’ pantheon–a place she had certainly earned, with the goal of nothing less than the moral uplift of mankind. Continue reading →
For decades, silent star Marion Davies was known mainly for two things: for being the mistress of uber-powerful newspaper magnate William Randolph Hearst, and for supposedly being the inspiration for the untalented Susan Alexander in CitizenKane. Well, the latter isn’t true–Susan was based on the wife of a different uber-powerful magnate (as Orson Welles himself finally revealed). And as for the former, while Marion was certainly part of a faithful “arrangement” with Hearst right up until his death, it didn’t define her. A look at her films proves that she was a warm, hardworking, immensely talented woman who likely had the charisma to make a name for herself in Hollywood without Hearst’s help. (I’d say she was mighty lucky to have him on her team, but she was already working on her acting career before he swooped in with 5-gallon buckets of money.)
“I only fell in love once with a movie actor. It was Conrad Veidt. His magnetism and his personality got me. His voice and gestures fascinated me. I hated him, feared him, loved him. When he died it seemed to me that a vital part of my imagination died too, and my world of dreams was bare.”
Quoted from one of the documents compiled in British Cinemas and Their Audiences by J.P. Mayer.
He had a lean, chiseled face that could’ve belonged to a regal nobleman, a sickly poet, or a sinister villain. His blue eyes could burn with the fury of a madman, or grow wide and distant as if trying to forget terrible secrets. But they could become warm and friendly too, especially if you were chatting with this tall, distinguished man about his greatest passion: dramatic acting. “I must have the dramatic, the ecstatic,” he told an interviewer in 1928, “something with great mental force.”
Known today for such horror classics as The Cabinet of Dr. Caligari and The Man Who Laughs, Hans Walter Conrad Veidt (nicknamed “Connie”) came from a quiet and sensible background. Continue reading →
It’s during these warm days of summer, when the humid, greenery-scented air brings back nostalgic memories, that I find myself turning to Tol’able David (1921). A masterpiece of Americana, it’s also arguably one of the great masterpieces of the cinema. It’s also one of my absolute favorite silent movies.
I’m guessing that many of you have seen silent films from a number of countries, like Germany, France, Italy, Sweden, and possibly even Japan. But have you ever watched one from Ireland?
Sure and there are Irish silents, indade! And they captured snapshots of traditional rural life in Ireland several years before the famous Easter Rising. Thanks to Trinity College in Dublin, several Irish dramas are available for your viewing pleasure on their official YouTube channel. Continue reading →
Making most lists of the top ten greatest films ever made is Carl Theodor Dreyer’s The Passion of Joan of Arc (1928). And indeed, you suspect a spot had always been reserved for it. A critic from as far back as 1929 was moved to declare, “It makes worthy pictures of the past look like tinsel shams.”
Those unacquainted with The Passion might not be prepared for it. It doesn’t lead you from plot point to plot point, but throws you into an experience. It’s intensely, harshly realistic, but within a mildly expressionistic setting. We’re meant to contemplate Joan’s ordeal, linked thematically with the most widely contemplated ordeal in history. A critic I admire said it best: “I know of movies more theologically profound or more pious, but none more evocative of what it means to share the sufferings of Christ.” Continue reading →
D.W. Griffith’s massive, dramatic, beautiful 1916 epic Intolerance, to this day one of the most ambitious film projects ever devised, is a century old today. On September 5, 1916 its world premiere was held at the Liberty Theater in New York. This is arguably one of the biggest milestones in cinematic history. It’s partyin’ time.
In 1958 Buster Keaton (who parodied the film in The Three Ages) reminisced: “Griffith’s Intolerance was] terrific…It’s a beautiful production. That was somethin’ to watch then. You weren’t used to seein’ big spectaculars like that.”
I’ll be devoting some posts to this cinematic masterpiece later this month, so until then, have a celebratory banner.