Monday, October 07, 2024

D. W. Griffith: The Man and the Woman (1908) (2017/2024 digital scan 4K)

US © 1908 American Mutoscope & Biograph Company. 
    Dir: D. W. Griffith. Story: ?. Photog: Arthur Marvin, Billy Bitzer. Cast: Linda Arvidson, Harry Solter, Charles Inslee, George Gebhardt. 
    Filmed: 17-18.7.1908 (NY Studio; Fort Lee, New Jersey). Rel: 14.8.1908.
    Copy: DCP (4K), 13'48" (from paper print, 776 ft, 15 fps); titles: ENG. 
    Source: Library of Congress National Audio-Visual Conservation Center, Packard Campus, Culpeper, VA.
    Film Preservation Society / Tracey Goessel / digital scan 2017. Given the absence of original intertitles, new ones have been written by the Film Preservation Society. 2024 edition.
    43rd Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema - The Biograph Project.
    Grand piano: Stephen Horne.
    Viewed at Teatro Verdi with e-subtitles in Italian, 7 Oct 2024.

Tracey Goessel (GCM, The Biograph Project 2024): "The Man and the Woman is the first of several melodramas Griffith would produce in which the heroine is tricked into a false marriage by a scoundrel. As such, this film serves primarily as a basis by which we can observe how Griffith grew in his storytelling skills, culminating, of course, with Lillian Gish’s abandoned mother in Way Down East (1920)."

"Still, there is already evidence that, while not yet running, Griffith is at least contemplating a crawl. As Cooper Graham (The Griffith Project, Vol. 1, p. 79) points out, Griffith’s exterior shots are closer to the actors than in his single interior."

"And in the marriage scene he has his characters leave the scene by approaching the camera instead of exiting stage left or right. His work is leaving us hints of what will come."

AA: A Sunday school play, a temperance drama, a tale of sin, betrayal and redemption.

Linda Arvidson, one of the first American film stars, and the wife (during 1906-1936) of D. W. Griffith, had already played in The Adventures of Dollie, The Bandit's Waterloo, The Helping Hand, Balked at the Altar, After Many Years, The Taming of the Shrew and A Calamitous Elopement. Quoted in The Griffith Project Volume 1: Films Produced in 1907-1908, she states: "In the beginning Marion Leonard and I alternated in playing 'leads.' She played the worldly woman, the adventuress, and the melodramatic parts, while I did the sympathetic, the wronged wife, the too-trusting maid, waiting, always waiting, for the lover to come back. But mostly I died".

I pause at this notion and the absoluteness of the film title The Man and the Woman. Expressed also in the recognizable Griffith style in intertitles: "His mother blind to everything, including his nature". And the blunt, direct way of the melodrama: right after the fake wedding ceremony, Tom starts to drink, and the first domestic quarrel begins. Father shows the door to Gladys who appears with a baby. 

Whatever we think about the artistic merits of the movie, its compactness is impressive, though far from the parables of Jesus.

A decent visual quality on the DCP, with good black levels.

...
I saw The Man and the Woman for the first time. I missed it in GCM's The Griffith Project (DWG 36), pomeriggio 13 October 1997 at Ridotto del Verdi on 16 mm at 281 ft /15 fps/ 12 min without intertitles and Edward von Past at the piano. 

Moving Picture World synopsis from Biograph Bulletin, No. 161, August 14 1908: "BIOGRAPH STORY OF A MINISTER AND HIS WAYWARD BROTHER. "Lead us not into temptation". What a sermon there is in this appeal, and this subject shows the awful result of not heeding the warning voice of Divine Providence."

"John and Tom Wilkins are brothers and most divergent in natures. John is a clergyman and a noble, upright fellow, while Tom is a scapegrace, wild, reckless and unscrupulous. Not having the parental guidance so essential in youth, his father being dead and his mother blind, he drifted into bad company, the contaminating influence deeply affecting his susceptible nature."

"Despite the earnest pleading of his brother John he sank lower in morass of transgression, spending most of his time at the ale house drinking and at cards. All this John has succeeded in keeping from his dear mother, whose blindness is almost a blessing, for a mother would rather her eyes be sightless than to view the indiscretions of her loved ones."

"So she possessed the blissful impression that her boys were both paragons of righteousness. God's mercy is unfailing; you will admit this Divine Charity. In the village there dwelt, as neighbors to Wilkins, Farmer Tobias and his wife, and their daughter, Gladys. Tom and Gladys grew up together, and were child sweethearts, which grew stronger with Gladys as time went on. So deeply did she love the handsome Tom that she put her entire trust in him, feeling sure that he would reciprocate her sacrificial devotion with the honorable obligation it merited."

"But, oh, how mistaken she was, and only after prayers and tearful entreaties does he agree to marry her, and then only upon condition that she elope. To this she consents most reluctantly, for which act she is disowned by her parents. The villainy that is wrapped up in the black heart of Tom. Truly a marriage ceremony is performed, but it is by a rowdy friend of Tom's, disguised as a clergyman, in fact, a mock marriage."

"For a time Gladys lived in ignorance of the truth, but it at last came out when Tom deserts her. Back to her home she trudged carrying her infant, and at the door she is met by her mother with open arms but when the father appears, he, still obdurate, drives her away."

"She then goes to John Wilkins, and tells her sad story. He calls Tom and demands he make immediate reparation. Tom treats the matter lightly and the brothers are on the verge of blows when the blind mother, like a ministering angel, appears, and Tom's heart is at last softened. He takes Gladys and their child to his bosom, while they receive the benediction bestowed by their priestly brother." —Moving Picture World synopsis

D. W. Griffith: The Greaser's Gauntlet (1908) (2017/2024 digital scan 4K


D. W. Griffith: The Greaser's Gauntlet (US 1908). Wilfred Lucas (José) and Marion Leonard (Mildred West). Photo: Tracey Goessel, FairCode Associates / Library of Congress.

US © 1908 American Mutoscope & Biograph Company. 
    Dir: D. W. Griffith. Story: ?. Photog: Arthur Marvin. Cast: Wilfred Lucas, Marion Leonard, Harry Solter, Charles Inslee, George Gebhardt, Anthony O’Sullivan, Linda Arvidson, Arthur Johnson. 
    Filmed: 14-15.7.1908 (NY Studio; Shadyside, New Jersey). Rel: 11.8.1908. 
    Copy: DCP (4K), 18'16" (from paper print, 1027 ft, 15 fps); Titles: ENG. Source: Library of Congress National Audio-Visual Conservation Center, Packard Campus, Culpeper, VA.
    Film Preservation Society / Tracey Goessel / digital scan, 2017. Given the absence of original intertitles, new ones have been written by the Film Preservation Society. 2024 edition.
    43rd Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema - The Biograph Project.
    Grand piano: Stephen Horne.
    Viewed at Teatro Verdi with e-subtitles in Italian, 7 Oct 2024.

Tracey Goessel (GCM, The Biograph Project 2024): "The Greaser’s Gauntlet is an ambitious film, with perhaps too many characters and plot twists for ready comprehension without explanatory intertitles. At 1027 feet, it is his longest film up to that time."

"But it also shows us that Griffith is starting to progress. Cooper Graham (The Griffith Project, Vol. 1, p. 77) points out that the director cuts, for the first time, within a shot, to give us a closer view of the protagonists. The camera again crept closer to the actors in interiors a full week before the benchmark claimed by historians in For Love of Gold."

"It also provides the first appearance (in the lead role, no less) of Wilfred Lucas, who was to become a steadfast member of Griffith’s acting troupe. Things were starting to gel."

AA: To understand the title I had to look up what the words mean. "Greaser" is a racial slur, here denoting a Mexican. "Gauntlet" means here hand and wrist armour.

A plot-driven film, a film based on the rules of classical drama, complete with anagnorisis (recognition as a turning-point), a film with a lot of action, with two races to the rescue, a film with an open and significant Christian spirit, a film with a racist title but without racial prejudice (both Mexican and Caucasian characters are complex in terms of good and evil), a film where women embody virtue. 

Mildred is the true protagonist who in the beginning rescues José from being hanged by a lynch mob, and who in turn is rescued by José in the finale. Both events are linked by José's gauntlet with a cross embroidered by his mother. The cross thus also links Mildred with the mother.

The Greaser's Gauntlet is a miracle of narrative economy. Griffith had started to direct films one month earlier. He was learning by doing, by trial and error. We are privileged to witness this rapid evolution in Pordenone. We had the opportunity already in 1997, but then the prints were often barely watchable and without intertitles. Now we at last really see them - or the best approximation.

The visual quality of the DCP on display is fair to good.

...
I saw The Greaser's Gauntlet for the first time. I missed it in GCM's Griffith Project (DWG 35) in 1997 when it was shown at Ridotto del Verdi on 16 mm at 1027 ft /15 fps/ 17 min without intertitles and with Edward von Past at the piano. [On the GCM Database the length is given as 386 ft].

...
The Moving Picture World, August 15, 1908, from Biograph Bulletin, No. 260, August 11, 1908. "Though somewhat obscure in the beginning, this subject shows the efficacy of a mother's prayer. Holy is the name Mother, and many who stray from the path of righteousness to the radiantly alluring avenues of sin and prodigality, are rescued from the inevitable end by her prayers. So it is with the hero of this story. Jose, a handsome young Mexican, leaves his home in the Sierra Madre Mountains to seek his fortune in the States."

"On leaving, his dear old mother bestows upon him her blessing, presenting him with a pair of gauntlets, upon the dexter wrist of which she has embroidered a Latin Cross. This she intended as a symbol and reminder to him of her and her prayers for his welfare. She cautions him to be temperate, honest and dispassionate: to bear the burden of life's cross with fortitude and patience."

"We next find him in a tavern on the border, where congregate the cowboys, miners and railroad construction employees, a new line from the States into Mexico having just been started. This tavern is the principal hotel of the place, and as a matter of course there is a motley assemblage in the barroom, which also serves as the office."

"Tom Berkeley is the engineer of the construction company and the affianced of Mildred West, a New York girl. Mildred, being of a romantic turn of mind, and wishing to cheer Tom's life in this sandy purlieu, consents to join him and become his wife. This is the day of Mildred's arrival, and Tom meets her and her father at the train to bring them to this hotel."

"Bill Gates, an assistant engineer, has long loved the fair Mildred, but has received no encouragement, in fact his attentions are to her odious in the extreme, for she has seen behind his veneer of gentlemanly civility the despicable brute that he is."

"Their entrance at the tavern causes quite a stir, for the pretty face or the girl makes an impression on all, particularly Jose. He is silting drinking with a friend on one side of the room, while just across the way is a party of cowboys playing poker."

"One of the boys takes a roll of money, which is done up in a bandanna handkerchief, from his hip pocket, peels off a five and puts the roll back. The Chinese servant sees this and upsetting a glass of liquor on the floor, gets down, ostensibly to wipe it up, steals the money and drops the bandanna at Joses feet, who upon rising thinks it his own, puts it in his belt and goes out."

"He has hardly left the place before the robbery is noticed and of course suspicion points to him, which seems well-grounded, upon his being brought back with the incriminating bandanna hanging from his belt. At once there is a cry of 'Lynch him!' and although he protests his innocence, and despite the pleading of Mildred, who really believes him so, he is taken out to be hanged."

"Off to the woods they drag him and placing the rope about his neck they give him one more chance to confess, but still insisting be is innocent, he asks for a chance to pray. As his eye falls upon the cross on his gauntlet his thoughts go back to her, who, no doubt, is now praying with him and for him, through a mother's intuition."

"Meanwhile Mildred at the hotel is in the extreme of commiseration for Jose, who she is sure is guiltless. Coming from her room she runs suddenly into the Chinaman in the act of hiding a roll of money under the hall carpet, and before he is aware of her presence she has snatched the money from his hands and gained the admission that he is the real thief."

"Like a flash she is off after the would-be lynchers, arriving just as Jose, taking a last glance at the cross is swung in the air. Breaking through the crowd she causes the startled cowboys to release their hold on the rope, and Jose drops to the ground uninjured. A hurried explanation and return of the money to the owner, and all start after the Chinaman, leaving Mildred and Jose on the scene."

"He cannot express the gratitude he feels for the girl, but swears that if ever she needs his help he will come to her. Taking out his knife be cuts in two the gauntlet and gives her the wrist as a token of his pledge, and as she takes it her eyes sink deep into his heart, enkindling a hopeless passion for her. She in turn promises to always keep his token with her."

"Time runs on, and Jose cannot obliterate the sweet face of the girl from his mind's eye. She has in a measure usurped that of his dear mother, hence to ameliorate his sorrow, he takes to drinking and goes to the depths of degradation. At the end of five years the railroad contracts are completed and a garden fete is given in honor of Tom Berkeley, the engineer, by the officials."

"Bill Gates, of course, is present and renews his attentions to Mildred, who is now Tom's wife. She at first mildly repulses him, but when he becomes insultingly persistent, she screams, which brings to her side Tom, who with one blow sends Gates crashing through the trellis work of the arbor."

"Gates swears vengeance and, going to a low tavern for help, comes upon Jose, drunk, of course, and with him and another greaser they waylay Tom's carriage in a lonely road on their way home from the fete. A blow on the heart puts Tom out, and Gates carries Mildred, who had fainted, to the tavern, where he takes her, assisted by Jose, to the upper floor. Jose then, at Gates' suggestion, goes downstairs for some drink."

"During his absence Mildred revives and makes a desperate struggle to escape but she is restrained by Gates, and finally falls exhausted on the cot, as Jose returns with the bottles. There upon the floor is the cross-embroidered wrist of the gauntlet, which Mildred has dropped during the struggle. Jose seizes it and the truth at once dawns upon him. "Oh, God, what have I done? Yet it is not too late to undo it.""

"So with the ferociousness of a wolf he leaps at the throat of Gates and after a terrific battle drops him lifeless to the floor, as the husband and friends burst into the room. The tables are now turned and Mildred has a chance to thank him for his deliverance. Jose at the sight of the cross makes a solemn resolution, which he immediately fulfills, to return to his dear old mother in the mountains, in whose arms we leave him, concluding a film story that is one continuous concentrated absorbing thrill." -- The Moving Picture World, August 15, 1908, from Biograph Bulletin, No. 260, August 11, 1908.

Sunday, October 06, 2024

Ikkinchi xotin / [The Second Wife] (2024 digital transfer National Film Fund of Uzbekistan)


Mikhail Doronin: Ikkinchi zotin / The Second Wife (SU-UZ 1927) with Ra Messerer (Adoliat).

Вторая жена (Vtoraia zhena) (RU) [La seconda moglie ] / Две жены (Dve zheny) (RU) [Due mogli / Two Wives] / Ikichi khanum.
    SU-Uzbek SSR 1927. Prod: Uzbekgoskino.
     Dir: Mikhail Doronin. Scen: Lolakhan Saifullina, Valentina Sobberei, from the story by Lolakhan Saifullina. Photog: Vladimir Dobrzhanskii. Des: Boris Chelli. Asst. dir: A. Dombrovskii. Asst. photog: Boris Makaseev. Cons: Nabi Ganiev. 
    Cast: Maria Griniova (Khadycha, the first wife), Ra Messerer (Adoliat), Grigol Chechelashvili (Tadzhibai), Mikhail Doronin (Sadiqbai), S. Mukhomedzhanova (Kumry), Nabi Ganiev (Umar), K. Musakhodzhiev (Aloiar), Zhenia Voinova (Saodat), Uktamkhon Mirzabaeva (mother-in-law), Zuhra Iuldashbaeva (Khallia, a neighbour), Shakhida Magzumova (dancer), Ivan Khudoleev.
    Rel: 17.4.1927. Copy: DCP, 50' (from 35 m pos. acet., orig. l. 1925 m, 22 fps); titles: RUS (recreated 1950s). Source: National Film Fund of Uzbekistan, Tashkent.
    Le Giornate del Cinema Muto (GCM) 2024, Pordenone: Uzbekistan.
    Musical commentary: Günter Buchwald, Frank Bockius.
    Viewed at Teatro Verdi with e-subtitles in English and Italian, 6 Oct 2024.

Nigora Karimova (GCM 2024): "The Second Wife is based on a story by acclaimed writer Lolakhon Saifullina (1901-1987), born Lidiya Osipovna Sivitskaya, a Polish national who took the Uzbek name Lolakhon upon marrying a Muslim and converting to Islam. Noted for her collections of poems and stories, she was also a staff member at the Sharq Yulduzi studio (the home of Uzbekgoskino) between 1925 and 1928, and wrote scripts distinguished by their sensitivity to Uzbek women’s issues. Her co-writer on The Second Wife, Valentina Sobberey (1891-1978) began at Sharq Yulduzi as a legal consultant."

"The themes they tackled here dwelt on the evils of early marriage and polygamy, which remained common practice in Central Asia despite Soviet campaigns to eradicate the practice. Director Mikhail Doronin (1880-1935), a filmmaker since 1915, avoided the Orientalizing gaze of many other directors tackling “Eastern” themes, discarding exoticism in his depiction of everyday life. Rich in details, the film is distinguished by its striking construction of shots in which one senses a persistent search for the most expressive angles. Especially noteworthy is how cameraman Vladimir Dobrzhanskii uses light, such as when a bunch of grapes, penetrated by the sun’s rays, turn almost transparent and are subsequently plucked by the heroine Adoliat (her name sounds like the Uzbek word for “justice”). As a smile plays on her sun-struck face, the camera pans to reveal that everything is filled with sunshine and beauty, but the girl’s happiness is short-lived."

"Young Adoliat is given in marriage to the merchant Tajibai as his second wife, but his infertile first wife, Khadycha, does everything to turn the newcomer’s life into a living hell. As the youngest of the wives, and from a poor family, Adoliat is burdened with all the household chores, even after giving birth to a daughter, Saodat (the Uzbek word for “happiness”). One day when Tadzhibai is away from home, his paedophile brother Sadiqbai (played by the director) steals money; Adoliat is accused and she runs away to her parents’ house. But Tadzhibai brings his rebellious wife home, where he separates her from Saodat and locks her in the basement. A fire from the hearth engulfs the basement and Adoliat dies in the flames."

"Paralleling this tragic story is a side plot involving Kumry and Umar, representatives of new Soviet youth. This binary of “Soviet = good” and “traditional = bad” is reflected in almost all films of the period, frequently expressed through the juxtaposition of an unhappy Uzbek woman oppressed by her husband and traditions, and, in contrast, a happy emancipated Soviet woman. The latter is educated and financially independent, spending free time visiting museums and clubs and sporting modern clothes and hairstyles. The endings for each film depend on whether the heroine makes the “ideologically correct choice”. Thus The Muslim Woman (Musulmanka, Мусульманка, 1925) and The Jackals of Ravat (Shakaly Ravata, Шакалы Равата, 1927) have happy endings because in each a subjugated woman turns to her Soviet comrades and is saved from her benighted husband’s oppression, whereas the passive Adoliat dies despite her Soviet comrade’s attempts to save her. The propaganda could not be clearer."

"Adoliat is played by Raisa Messerer (Rakhil Mikhailovna Messerer-Plisetskaya, known as Ra Messerer), mother of famed ballerina Maya Plisetskaya and a member of the company at the Sharq Yulduzi studio between 1925 and 1927. (After her husband Mikhail Plisetski was “purged” by Stalin in January 1938, she was arrested that March as the wife of “an enemy of the people”; once released in 1941 her career was at an end, although she lived until 1993.) The actress plays the part with extreme reserve, allowing only her eyes to capture her pain. The film’s best scene comes when Tadzhibai takes Adoliat back, as is his right under Sharia law. As he whips his horse forward, Adoliat runs ahead with her child, her burqa tangled, stumbling from fatigue. Tears roll down her sweaty face yet an indescribable beauty surrounds them: the bright sun, mountain slopes covered with a carpet of greenery, the shiny ribbon of the river beckoning, all contrast with human cruelty."

"Female roles in Uzbek cinema went to Russian and Tatar actresses, but The Second Wife marks the appearance of Uzbek actresses for the first time (Uktamkhon Mirzabaeva and Zuhra Iuldashbaeva, popular folk singers in their day). “More than 300 Uzbeks and Uzbek women took part in the shooting of mass scenes,” reported Pravda Vostoka (11.1.1927). “Many people came, thinking that they would be given some work; after much persuasion, women took off their chachvon [full face covering], revealing their faces, but when they learned they were going to be filmed, and with their faces revealed in front of unfamiliar men, they simply ran away!” Uzbek women still wore the burqa, and appearing unveiled in public places, especially on stage or on screen, could literally be a death sentence, as happened to Nurkhon Iuldasheva and Tursuna Saidazimova, young theatre performers who died at the hands of their relatives after being recognized on stage in the late 1920s."

"“What can the viewer expect from this new movie of Uzbek cinema?” asked Qizil Uzbekiston  (20.6.1927). “He will not be captivated by the picture, for its plot is primitive, too familiar, and by the end it fades away. But the clear photography of cameraman V. Dobrzhanskii successfully captured authentic fragments of daily life that will definitely make a great impression. The director Doronin, a new man for Uzbekistan, could not fully penetrate the life of Central Asia, but there is no doubt that he did not distort this life, and created something close to being authentic. The Second Wife is a picture for Uzbekistan. They will understand it. As for those in Europe, the movie will be of ethnographic interest there….”" – Nigora Karimova

AA: Directed by Mikhail Doronin, Ikkinchi xotin / The Second Wife is a remarkable movie in many ways. 

It is the tragedy of a young woman, Adoliat (Ra Messerer) in a period of great transformation from tradition to modernity which includes inevitably a promise of women's liberation. In Soviet cinema this seems to have been a major theme. The first movie in which I encountered it was Andrei Konchalovski's The First Teacher (SU 1965) set in Kyrgyzstan and based on a tale by Chinghiz Aitmatov.

The tensions start to emerge early on. The hate between the two wives. The machinations of the husband's brother to undermine Adoliat and frame her for robbery - after having tried to seduce her and frame her for adultery as well. "One should expect tenderness and safety at home", thinks Adoliat and returns to the paternal home, but her father expels her. Adoliat becomes a victim of public humiliation. The community is a den of poisonous gossip. They knew how to do that before the age of "social media". The tensions grow until they reach a boiling point.

Nigora Karimova in her brilliant program note calls Sadiqbai the husband's "paedophile brother" and she must know. Watching the film I did not recognize paedophilia but was surprised by two things. First that there is a love scene between Sadiqbai and his boyfriend. And secondly that the scene is of remarkable tenderness, exposing an appealing side of the villain. The villain is then informed to the authorities because of his sex life, although his crimes are of a quite different kind.

Ikkinchi xotin is fascinating for its vivid use of locations, and what I would presume a quasi documentary authenticity. We witness manners and mores, also the teeming street life (of Tashkent?). To balance the tragedy, we see children's games, the young mother's happiness, local tea houses and public entertainments, including breathtaking acrobatic acts on a high wire.

All this has been captured by deft cinematography, at times with a moving camera and also a beautiful tracking shot taken from a moving tram on the city street. Images like this increase in interest over the years.

The copy of this invaluable film has been processed from sources of difficult quality, sometimes low definition, sometimes high contrast. All in all Ikkinchi xotin is an engrossing experience both visually and storywise. The tragic tale is still topical in huge parts of the world, as seen also in some of this year's greatest films, including Santosh and The Seed of the Sacred Fig.

Trilby (1915)


Maurice Tourneur: Trilby (US 1915). Wilton Lackaye (Svengali) in the painting. Clara Kimball Young (Trilby), Chester Barnett (Little Billee). This scene from the original tragic ending is lost. Photo: New York Public Library for the Performing Arts. Please click on the image to expand it.

Trilby: konstnärsdrama i 5 akter (Sweden).
    US 1915. Prod: Equitable Motion Pictures Corporation. Dist: World Film Company (1915); Republic Pictures/Republic Distributing Corporation (1920). 
    Dir: Maurice Tourneur. Scen: E. Magnus Ingleton, based on the novel by George du Maurier (publ. 8.9.1894, Harper & Brothers, NY; serialized 1-8.1894, Harper’s Magazine), & the play by Paul M. Potter (3.12.1894, Park Theater, Boston; 15.4.1895, Garden Theatre, NY). Photog: John van den Broek. Des: Ben Carré. Ed: Clarence Brown. 
    Cast: Wilton Lackaye (Svengali), Clara Kimball Young (Trilby O’Ferrall), Paul McAllister (Gecko), Chester Barnett (Little Billee), ? (Taffy), ? (The Laird). 
    Première: 6.9.1915 (44th Street Theatre, NY). Rel: 20.9.1915. Copy: 35 mm, 4591 ft, 76'31" (16 fps), col. (from 28 mm, tinted); titles: ENG. Source: George Eastman Museum, Rochester, NY.
    Le Giornate del Cinema Muto (GCM), Pordenone: Ben Carré.
    Grand piano: Philip Carli.
    Viewed at Teatro Verdi with e-subtitles in Italian, 6 Oct 2024.

Thomas A. Walsh, Catherine A. Surowiec (GCM 2024): "By 1914 Ben Carré was becoming despondent, and homesick for Paris. There had been a huge fire at Éclair in March. Change was in the air. Ben recalled: “One day a man was roaming around on the stage. Étienne Arnaud came up to talk to him and they passed by me without an introduction. Later I learned that the man was a French director, and I heard that his name was Maurice Tourneur. I thought it bizarre that Arnaud did not want to speak to me of the newcomer before I met him. The next morning back at the studio I saw Tourneur sitting at a wood table on the stage reading a play. I said hello to him and went to find Arnaud only to learn that he had left for France. Shocked, I returned to the stage and went back to Tourneur to ask who was in charge now? He said ‘I am.’”"

"Such was Ben’s introduction to the director with whom he would make 34 films over the next 5 years, motion pictures which influenced the future of silent films and defined both of their careers for the remainder of their lives. It was an artistic marriage made in heaven. Tourneur had been an artist, knew Rodin and Puvis de Chavannes, and had worked in the theatre with André Antoine. He had a painter’s eye for composition and light. He and Ben understood each other."

"In 1915 finally came an exciting project that Carré could throw himself into. Trilby was the first important picture that he was to design since coming to America. The novel, written and illustrated by the artist George du Maurier (1834-1896) – a celebrated Punch caricaturist, father of actor Gerald du Maurier, and grandfather of novelist Daphne du Maurier, of Rebecca fame – was published in 1894, was a phenomenal bestseller that assumed cult status, and was quickly transformed into a hit play. It premiered to a rapturous reception in Boston in December 1895 and transferred to Broadway the following April, with Wilton Lackaye as the predatory Svengali. The English writer Max Beerbohm saw it, and told his brother Herbert Beerbohm Tree that this story of a trio of painters, the beautiful but tone-deaf artist’s model Trilby, and Svengali, the evil mesmerist who gets her in his clutches and turns her into a great singer, was “utter nonsense.” But Tree the actor-manager recognized a commercial goldmine and a meaty role, and took it to London; the proceeds funded the building of His Majesty’s Theatre. “Trilbymania” reached fever proportions. Trilby gave the world a new term, Svengali, for a person manipulating and controlling someone under his spell; the expression “the altogether,” to denote nudity; and inspired the Trilby hat."

"Surprisingly, all of this had passed Ben by, but he soon made up for it: “I had not known of the book or seen the stage play, but I finally read it without stopping and it appealed to me immensely. The people were very familiar, they were people that I knew, the story brought me back to Paris, with no time period established, it was [as] though it was yesterday. As soon as I had finished the book, I decided on my first set. I spoke to Tourneur of my intentions, and he told me to go ahead. Very enviously, in Paris I had admired those ateliers on the Left Bank and this I thought would be more appropriate for our English artists in the Latin Quarter than the Montmartre. So I put up an artist’s studio with a 16-foot wide window on the back wall to permit me to see the locale and Notre Dame.”"

"The art students who participated as extras in the classroom scenes were all recruited from New York’s Art Students League. One student with the look of a rakish matinee idol was a native of Brooklyn and a department store window dresser by day; his name was Cedric Gibbons, and he would eventually become M-G-M’s Supervising Art Director, and later Ben’s boss."

"Trilby was revived at the Shubert Theatre in New York in the spring of 1915, with Wilton Lackaye in his old role. The timing probably explains how he came to appear in the film, thus preserving his performance for posterity. Lackaye’s emoting is definitely stagebound, completely over-the-top in terms of cinema. So is his heavy makeup (those eyes!), and the beard stroking. The Jewish characterization is genuinely disturbing, on a par with Dickens’ Fagin. By this time Lackaye was in his 50s; he had played the role for over 20 years. At the other end of the scale is Clara Kimball Young, one of Vitagraph’s biggest stars, as Trilby O’Ferrall, lively as the carefree, uninhibited young model, swinging her dainty feet, and even smoking a cigarette, and ultimately passive, almost zombie-like under Svengali’s spell."

"The leading lady was also still married to actor-director James Young. Apparently the producers made some accommodation with Young that allowed him to direct the “B-camera” for Trilby, not an easy situation. Clara evidently was on Tourneur’s side. Carré’s solution was to have the carpenters build some muslin covered folding screens to separate the two sets and directors."

"Ben’s memoirs also tell us more about Tourneur’s innovations: “Maurice Tourneur did something in Trilby that the historians of motion pictures do not mention coming from him or any other. That is the succession of locations created on the stage. For that picture, we used backings, and many different backgrounds, to illustrate traveling or the mood going through a lapse of time. A few of these sets gave me lots of work but every one of them was a notable addition to the quality of the work.”"

"Equitable was a new independent, and Trilby was its first big production. Motion Picture News (4.9.1915) observed, “from what those who have seen it say, Equitable has spared no pains or expense to turn out a feature of the supreme class.” Motography’s Charles R. Condon (25.8.1915) declared, “Technically, the production is perfect.” Ben’s version of Paris also came in for praise: “The Paris scenes made in this country, are excellent examples of motion picture ingenuity.” (William Bessman Andrews, Motion Picture News, 18.9.1915)"

"The film was released in 1915, and then reissued twice, with changes. From descriptions, the original 1915 version had Trilby’s death scene, well-known from the play (seemingly free at last, she sees a portrait of Svengali, and falls dead). By the time the film was re-released in 1917, the ending was altered, perhaps with newly filmed footage: she doesn’t see the fateful portrait, and is reunited with her artist friends, destined for happiness with her sweetheart Little Billee (the final intertitle reads “A promise of good old times again.”). What we are seeing is the 1920 reissue with the “happy ending,” all that exists, preserved via a tinted 28 mm print. Other changes may have been due to censorship; one publicity photo features Clara Kimball Young in an artistic pose worthy of a life modeling class."

"The two actors who played the prominent roles of Little Billee’s artist cohorts, Taffy and The Laird, remain uncredited (an omission first pointed out in Variety’s review, 10.9.1915)."

"There were various Trilby films over the years. Tourneur’s, the first in America, was preceded by Harold Shaw’s British production of 1914, with Herbert Beerbohm Tree as Svengali. James Young directed his own version in 1923. Future screen Svengalis would include Arthur Edmund Carewe, John Barrymore, and Donald Wolfit." – Thomas A. Walsh, Catherine A. Surowiec

AA: I see for the first time Maurice Tourneur's Trilby, a film that was missing from the 1988 Maurice Tourneur tribute at Le Giornate. I have seen two other film adaptations of George du Maurier's novel: Gennaro Righelli's Svengali (DE 1927 with Anita Dorris as Trilby and Paul Wegener as Svengali) and Archie Mayo's Svengali (US 1931 with Marian Marsh as Trilby and John Barrymore as Svengali). Those films I saw in my viewing marathons for the book Musta peili: kauhuelokuvan kehitys Prahan ylioppilaasta Poltergeistiin [Dark Mirror: the Development of the Horror Film from The Student of Prague till Poltergeist] (1985, Antti Alanen & Asko Alanen) - too long ago to make a meaningful comparison.

In the same marathons I also viewed Henry Hathaway's Peter Ibbetson (US 1935 with Ann Harding and Gary Cooper) based on George du Maurier's debut novel. Its Finnish title is Ikuinen liekki which means Eternal Flame. It is about a love that transcends material boundaries and takes place in a shared world of dreams. In the centenary year of surrealism it is appealing to remember this favourite film of surrealists about l'amour fou.

A much criticized feature of George du Maurier's novel was its crude antisemitic caricature of the Ashkenazi Jew in the portrait of Svengali taking possession of the naive Shiksha. This aspect was toned down in numerous stage and cinema adaptations, but a shock in Maurice Tourneur's Trilby is the blatant openness of its anti-Jewish caricature, in direct lineage to the fabrications of Okhrana, the secret police of the Russian Empire, and Der ewige Jude in Nazi Germany. Might this be a reason why this film has not been more widely seen anymore?

The monster caricature is performed by Wilton Lackaye, who had played Svengali on stage for almost twenty years. Thanks to this background the movie is a precious document of a legendary performance, to be compared with the revelation of William Gillette's Sherlock Holmes (US 1916, D: Arthur Berthelet) in Pordenone in 2015.

The merging of the souls theme, reminiscent of Peter Ibbetson, is engagingly executed. The visual world contributes in every way to the ambience of a fairy-tale and a shared dream, as in The Blue Bird. The mise-en-scène by Maurice Tourneur, the art of light and shadows by John van den Broek, the haunting design by Ben Carré and the deft editing by Clarence Brown contribute to the grand illusion. Everything is artificial, but the deep emotion is genuine in the tragedy of Trilby (Clara Kimball Young) under the mental superpowers of Svengali.

A moving and disturbing experience.

A charming print from 28 mm origins. The toning is appealing.

D. W. Griffith: A Calamitous Elopement (1908) (2017/2024 digital scan 4K)


D. W. Griffith: A Calamitous Elopement (US 1908). Linda Arvidson (Jennie) and Harry Solter (Frank).

US © 1908 American Mutoscope & Biograph Company. 
    Dir: D. W. Griffith. Story: ?. Photog: Billy Bitzer, Arthur Marvin. Cast: Linda Arvidson, Harry Solter, Charles Inslee, George Gebhardt, D. W. Griffith, Robert Harron. 
    Riprese/filmed: 9.7, 11.7.1908 (NY Studio; exterior: 11 East 14th Street, NY). Rel: 7.8.1908.
    Copy: DCP (4K), 13'07" (from paper print, 738 ft, 15 fps); titles: ENG. Source: Library of Congress National Audio-Visual Conservation Center, Packard Campus, Culpeper, VA.
    Film Preservation Society / Tracey Goessel / digital scan 2017. Given the absence of original intertitles, new ones have been written by the Film Preservation Society. 2024 edition.
    43rd Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema - The Biograph Project.
    Grand piano: Neil Brand.
    Viewed at Teatro Verdi with e-subtitles in Italian, 5 Oct 2024.

Tracey Goessel (GCM, The Biograph Project 2024): "Here is the first film for which Billy Bitzer served as Griffith’s cameraman."

"It was an inauspicious start. This 12-minute comedy is comprised of only 5 shots (compared to 13 for The Adventures of Dollie) staged largely before theatrically painted flats, and featuring acting of the broadest comedic style."

"But, as with any Biograph, something of interest can be found. There is the joy of an early sighting of 15-year-old Robert Harron, sporting the bellhop/delivery boy uniform in which he so often appears. In the second exterior, we even get to see the entry steps to the Biograph Studio, standing in for the precinct police station."

"In the scene at police headquarters, we see Griffith the actor break a cardinal rule that he would never have tolerated as a director. Smiling, he looks directly at Bitzer and the camera. Even young Bobby Harron knew not to do this."

AA: A romance, a farce, a crime story.

Packed with action, dense with plot, jammed into 13 minutes.

The performances are so overdone that it is hard to tell where melodrama ends and farce starts.

At times it looks like amateur village summer theater or children's theater. Based on stock characters, waving in histrionic gestures, situations telegraphed in overdone gestures. Always with a sense of fun.

Frank asks for Jennie's hand, but her father shows him the door with the classic early cinema "get out" gesture: arm firmly extended, finger pointing to the exit.

Without hesitation, Frank suggests to Jennie: "let's elope".

At night a cat burglar appears at the same time as Frank and installs a rope ladder. Frank, the bungling Romeo, struggles with it hopelessly but does not give up. He brings a solid ladder and helps Jennie elope, together with her heavy trunk.

A policeman wakes up from his slumber and arrests Frank and Jennie. Bill the Burglar hides in the trunk which is also taken to the police station. Frank and Jennie are released, and the father, now convinced of the seriousness of the courtship, sends a telegram: "all is forgiven". The burglar wakes up in the trunk in the honeymoon room and robs everything that he can get his hands on.

Griffith does not seem to take this project very seriously, and that may be the most appealing aspect of A Calamitous Elopement.

...
I missed A Calamitous Elopement in GCM's Griffith Project (DWG 32) in 1997 when it was shown at Ridotto del Verdi on 16 mm at 12 min / 15 fps without intertitles and with Edward von Past at the piano.

D. W. Griffith: The Bandit's Waterloo (1908) (2017/2024 digital scan 4K)

US © 1908 American Mutoscope & Biograph Company. 
    Dir: D. W. Griffith. Story: ?. Photog: Arthur Marvin. Cast: Marion Leonard, Linda Arvidson, Harry Solter, Charles Inslee. 
    Filmed: 6.7, 8.7.1908 (NY Studio; Shadyside, New Jersey). Rel: 4.8.1908. 
    Copy: DCP (4K), 14'55" (from paper print, 839 ft, 15 fps); titles: ENG. source: Library of Congress National Audio-Visual Conservation Center, Packard Campus, Culpeper, VA.
    Film Preservation Society / Tracey Goessel / digital scan 2017. Given the absence of original intertitles, new ones have been written by the Film Preservation Society. 2024 edition.
    43rd Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema - The Biograph Project.
    Grand piano: Neil Brand.
    Viewed at Teatro Verdi with e-subtitles in Italian, 5 Oct 2024.

Tracey Goessel (GCM, The Biograph Project 2024): "As with many an early Biograph, the intertitles are required to make sense of the story, and the scenes themselves are entirely theatrical reenactments of the plot points."

"Indeed, the only real pleasure to be derived from this tale comes from watching the kidnapped Marion Leonard (playing a virtuous young Señora) stage the ruse of pretending to be a wanton woman, cleverly maintaining control of a situation that would, in true circumstances, be terrifying. There is gratification in the consideration of a woman who not only outwits all the corrupt characters around her, but is somehow sophisticated enough to smoke a cigarette and blow the smoke in the villain’s unconscious face. This early portrayal of female empowerment, if nothing else, makes this little film worth the price of admission." Tracey Goessel

Moving Picture World (via IMDb): "The Outwitting of an Andalusian Brigand by a Pretty Senora. The hills of Southern Spain were infested by a gang of lawless freebooters who terrorized the country and made travel in the mountains a hazardous pastime. They waylaid, robbed and often murdered the unwary tourist who chanced their way. In the opening of this Biograph picture a party of these Andalusian bushrangers, in command of their chieftain, are seen hiding behind a huge rock in waiting for prey. They haven't long to wait, for after having held up and relieved several pedestrians, a stylish landau approaches in which are seated an old gentleman, a duenna, and a pretty young Senora. The inevitable happens; all are relieved of their valuables, and while the gentleman and duenna are sent on their way, the girl is held a prisoner. She realizes her helplessness, and at the same time assumes that her beauty has made an impression on the chief, hence resorts to woman's wiles to captivate the bandit. In this she succeeds, but must use strategy to regain her jewels, which are still in his possession. Her subtle artifice is promising, when they are surprised by the police, who take them in hand, but the sergeant finding them possessed of so much wealth, is content to take that and let them go. From here they go to the mountain inn, where later the sergeant again puts in an appearance, so Senora bribes the waiting maid to allow her to act in that capacity, and as the sergeant does not recognize her, she having been veiled when they met in the road, he is lured to a private room, where he is overpowered, bound and gagged by the bandit, who regains the jewels, and with Senora flees to another hostelry. Here Senora piles her conquest with cajolery and wine until he falls into a drunken sleep. Now is her chance. She secures her jewelry and after leaving a derisive letter for the enamored bandit, departs to rejoin her friends, chuckling in anticipation of the chagrin of the pillager upon his awakening." —Moving Picture World synopsis

AA: "The outwitting of an Andalusian brigand by a pretty señora" is the Biograph Bulletin tagline.

Harassing female victims is standard operation procedure for bandits in Biograph's thrillers in 1908.

This time they are outwitted by their female captive, and Marion Leonard is convincing as the heroine who displays sangfroid in a desperate situation. She pretends to yield but starts to pull the strings.

In a quarter of an hour there is time for a triangle drama, as the bandit chief's regular consort is unhappy with the presence of a newcomer.

In a clever switcheroo Marion Leonard changes places with a barmaid. A corrupt police sergeant has seized the bandits' loot, but after the bandit chief seizes it back, Marion Leonard gets him drunk, collects the loot, writes a derisive letter and blows a cloud of cigarette smoke over his face.

In 1908, DWG is better outdoors than indoors. Besides real locations there are painted backdrops. 

Scanned from paper print origins, the visual quality is not great, but better than expected.

...
I missed The Bandit's Waterloo in GCM's Griffith Project (DWG 31) in 1997 when it was shown at Ridotto del Verdi on a Library of Congress 16 mm print at 320 ft /15 fps/ 14 min with intertitles missing and Donald Sosin at the piano.

D. W. Griffith: Deceived Slumming Party (1908) (2017/2024 digital scan 4K)


D. W. Griffith & Wallace McCutcheon: Deceived Slumming Party (US 1908).

US © 1908 American Mutoscope & Biograph Company.  
    Dir: D. W. Griffith, Wallace McCutcheon. Story: ?. Photog: Arthur Marvin. Cast: Edward Dillon, D. W. Griffith, Mack Sennett, Harry Solter, George Gebhardt, Charles Inslee, Anthony O’Sullivan.
    Filmed: 27.5, 14.7.1908 (NY Studio; Times Square, NYC). rel: 31.7.1908.
    Copy: DCP (4K), 8'35" (from paper print, 483 ft, 15 fps); titles: ENG. source: Library of Congress National Audio-Visual Conservation Center, Packard Campus, Culpeper, VA.
    Digital scan 2017. Given the absence of original intertitles, new ones have been written by the Film Preservation Society. 2024 edition.
    43rd Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema - The Biograph Project.
    Grand piano: Neil Brand.
    Viewed at Teatro Verdi with e-subtitles in Italian, 5 Oct 2024. 

Tracey Goessel (GCM, The Biograph Project 2024): "The production dates document that Slumming was filmed both in late May and in mid-July; therefore Griffith directed only half the film. Which half? The exteriors filmed in Times Square? Or the interiors – the three vaudeville set pieces? Given that 27 May was a warm, sunny day, and 14 July had headline-inducing rain and hail, it is likely that Wallace McCutcheon directed the exteriors in May and Griffith handled some – or all – of the interiors in July."

"It scarcely matters. The interiors are of the “locals tricking the suckers” variety, using a gag with a sausage-making machine and Asians loading dogs and cats into the grinder. Even contemporary critics agreed this was getting old."

"We are reduced to studying Griffith’s monocle-clutching performance as the comic Englishman. He does display some minor comic skills when he attempts to coach one of the Bowery boys in the sweet art of boxing, but essentially, as an actor, D. W.  Griffith is a very good director. Just not yet."

AA: I saw Deceived Slumming Party for the first time, having missed it in the Griffith Project (DWG 34) sessions of 1997 when it was shown at Ridotto del Verdi on 16 mm at 375 ft / 15 fps with intertitles missing and with Edward von Past at the piano.

Deceived Slumming Party recycles farce formulas that may have been old already in the 1890s, and they appeared not only in American comedies but also in the French ones by Lumière, Méliès, Alice Guy, et al. Deceived Slumming Party may have been seen like a meta-film at the time.

Striking here is the speed. The familiar ingredients are thrown into a speed-blender, and relevant imagery is also literally introduced in the final episode of the "Chinese" sausage machine where cats, dogs, rats, and even the curious Matilda of the sightseeing group are thrown. Fortunately there is a reverse button, and Matilda emerges intact from the doomsday machine.

The film is such a whirlwind and rollercoaster experience that it is as much an action film as a comedy. Is it a successful comedy? I was laughing.

The question of racism haunts early Griffith, in every film in a different way. This film's point is to spoof "slumming" tours in the Bowery and the Chinatown, with fake opium joints. So maybe we are meant to laugh at the non-Chinese and our prejudices about the Chinese.

Visual quality is surprisingly good for a DCP with paper print origins.

Saturday, October 05, 2024

D. W. Griffith: The Redman and the Child (1908) (2017/2024 digital scan 4K)

 
D. W. Griffith: The Redman and the Child (US 1908).

US © 1908 American Mutoscope & Biograph Company. 
    Dir: D. W. Griffith. story: ?. photog: Arthur Marvin. cast: John Tansey, Linda Arvidson, George Gebhardt, Charles Inslee, Harry Solter. 
    Filmed: 30.6, 3.7.1908 (Passaic River, Little Falls, New Jersey). Rel: 28.7.1908. copy: DCP (4K), 15'40" (from paper print, 857 ft., 15 fps); titles: ENG. 
    Source: Library of Congress National Audio-Visual Conservation Center, Packard Campus, Culpeper, VA.
    Digital scan 2017. Given the absence of original intertitles, new ones have been written by the Film Preservation Society. 2024 edition.
    43rd Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema - The Biograph Project.
    Grand piano: Donald Sosin.
    Viewed at Teatro Verdi with e-subtitles in Italian, 5 Oct 2024. 

Tracey Goessel (GCM, The Biograph Project 2024): "The Redman and the Child, like Dollie, was filmed entirely outdoors, in Little Falls, New Jersey. Being away from the studio permitted Griffith to play to his strengths. He not only brings his camera in closer to the players; he frees their movements. In the studio, actors only move straight left or right – staying in the camera’s focal range. Here they run toward and away from us; cut diagonally across the screen; and paddle along the Passaic River with absolute freedom. Griffith uses jump cuts not for trick effects but to permit such shots as our hero drowning one of the kidnappers. (Down he goes, and, thanks to the cut, down he stays.) We are even given a matted POV shot as the Indian looks through the surveyors’ telescope."

"This is advanced stuff for 1908, and the critical reception proved that Griffith had certainly hit the ground running." Tracey Goessel

Moving Picture World: "Alongside of a beautiful mountain stream in the foothills of Colorado there camped a Sioux Indian, who besides being a magnificent type of the aboriginal American, is a most noble creature, as kind-hearted as a woman and as brave as a lion. He eked his existence by fishing, hunting and mining, having a small claim which he clandestinely worked, hiding his gains in the trunk of an old tree. It is needless to say that he was beloved by those few who knew him, among whom was a little boy, who was his almost constant companion. One day he took the little fellow to his deposit vault, the tree trunk, and showed him the yellow nuggets he had dug from the earth, presenting him with a couple of them. In the camp there were a couple of low-down human coyotes, who would rather steal than work. They had long been anxious to find the hiding place of the Indian's wealth, so capture the boy, and by beating and torture compel him to disclose its whereabouts. In the meantime there has come to the place a couple of surveyors who enlist the services of the Indian to guide them to the hilltop. Here they arrive, set up their telescope and start calculations. An idea strikes them to allow the Indian to look through the 'scope. He is amazed at the view, so close does it bring the surrounding country to him. While his eye is at the glass one of the surveyors slowly turns it on the revolving head until the Indian starts back with an expression of horror, then looks again, and with a cry of anguish dashes madly away down the mountain side, for the view was enough to freeze the blood in his veins. Arriving at the old tree trunk, his view through the telescope is verified, for there is the result he improvised bank rifled, and the old grandfather of the little boy, who had followed the miscreants murdered. Picking the old man up he carries his lifeless form back to the camp, reaching there just after the murderers, with the boy, had decamped in a canoe. Laying the body on the sands and covering it tenderly with his shawl he stands over it and solemnly vows to be avenged. What a magnificent picture he strikes as he stands there, his tawny skin silhouetted against the sky, with muscles turgid and jaws set in grim determination. It is but for a moment he stands thus, yet the pose speaks volumes. Turning quickly, he leaps into a canoe at the bank and paddles swiftly after the fugitives. On, on goes the chase, the Indian gaining steadily on them, until at last abandoning hope, they leave their canoe and try to wade to shore as the Indian comes up. Leaping from his boat he makes for the pair, seizing one as the other swims to the opposite shore. Clutching him by the throat the Indian forces his head beneath the surface of the water and holds it there until life is extinct, after which he dashes in pursuit of the other. This proves to be a most exciting swimming race for a life. They reach the other shore almost simultaneously, and a ferocious conflict takes place on the sands terminating in the Indian forcing his adversary to slay himself with his own dagger. Having now fulfilled his vow he leaps into the water and swims back to the canoe in which sits the terrified boy, and as night falls he paddles slowly back to camp." —Moving Picture World synopsis

AA: Griffith reverses the racial child abduction situation of The Adventures of Dollie. White bandits abduct a little white boy, and a Sioux hunter saves him in Griffith's earliest portrait of the noble savage. 

Compared with The Fight for Freedom, Griffith clearly relishes shooting a Western on location again.

It is a violent and heartbreaking story. The bandits torture a child and murder his grandfather. The Sioux is guiding a couple of surveyors to a mountain top. They have a telescope, and the Sioux sees for the first time his home country at long distance precision. Moving the telescope "in a panoramic shot" the Sioux also witnesses the robbery of his tree-trunk treasure cache by the bandits and the murder of the boy's grandfather. This is an inspired, purely cinematic scene.

The final fight with the surviving bandit is brutal and ferocious. It ends with the bandit perishing by his own knife.

Griffith is making quick progress as a cinematic storyteller.

...
I saw The Redman and the Child in The Griffith Project (DWG 30) screening at Cinema Verdi on 15 October 1997, a 35 mm print from a Library of Congress paper print, 16 min at 15 fps with intertitles missing, with Antonio Coppola at the grand piano. I was revolted by the brutal battery of the child in the hands of the bandits. I was impressed by the point-of-view conducted bý the long distance view of the telescope. It was also startling when the little boy witnesses his kidnapper being drowned by the Sioux saviour.

D. W. Griffith: The Fight for Freedom (1908) (2017/2024 digital scan 4K)

US © 1908 American Mutoscope & Biograph Company. 
    Dir: D. W. Griffith. Story: ?. Photog: Arthur Marvin, Billy Bitzer. Cast: Florence Auer, Anthony O’Sullivan, Edward Dillon, George Gebhardt. 
    Filmed: 23-24.6.1908 (Shadyside, New Jersey; NY Studio). Rel: 17.7.1908. 
    Copy: DCP (4K), 12'58" (from paper print, 729 ft, 15 fps); titles: ENG. 
    Source: Library of Congress National Audio-Visual Conservation Center, Packard Campus, Culpeper, VA.
    Digital scan, 2017. Given the absence of original intertitles, new ones have been written by the Film Preservation Society. 2024 edition.
    43rd Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema - The Biograph Project.
    Grand piano: Donald Sosin.
    Viewed at Teatro Verdi with e-subtitles in Italian, 5 Oct 2024.

Tracey Goessel (GCM, The Biograph Project 2024): "Scholars everywhere write about The Adventures of Dollie, but Griffith’s sophomore effort gets nary a word. Determining what, exactly, was his second film requires some digging. Page 104 of Bitzer’s production log (now at the Museum of Modern Art) conveniently begins with Adventures of Dolly [sic] and documents that production dates after Dollie were devoted to The Fight for Freedom, corresponding to the release order. It is a typical 1908 product: stagey, static, and difficult to understand without explanatory intertitles. Perhaps the most interesting aspect about this (admittedly primitive) effort are the scenes in Pedro’s house. Arthur Marvin, never a careful craftsman even at his best, managed to line up the shot so that the lens of the Biograph camera is clearly visible in the mirror on the set. How one wishes for a broader view of what was going on behind the camera! At this stage of Griffith’s evolution, it would have been far more interesting than what was in front."

The Moving Picture World, July 18, 1908: "It almost makes us question the justice of fate that the innocent should suffer for the crimes of the guilty. Such, you must admit, is often the case, as will be seen in this Biograph film story. In a barroom on the Mexican border, Pedro is engaged in a game of poker with several cow-punchers. One of the party seems to be attended with remarkable luck. Pedro becomes suspicious and at last detects him cheating. A quarrel ensues, which results in Pedro laying out the crook, cold and stiff. The sheriff now takes a hand in the squabble and Pedro dives through the window, taking glass and sash with him, followed by a fusillade of 44s, several of which take effect in his body. Staggering into his home, where he is met by his wife, Juanita, and his mother, weak from the loss of blood, he recounts as best he can what has occurred. They hide him in the loft above, and none too soon, for the sheriff enters and searches the place. He is just about to leave when he is attracted by the dropping of blood on the bed. Convinced that the fugitive is above, he makes a start for the loft, but is shot by Pedro, who anticipates him. At this moment in rushes the vigilance committee, who, seeing the sheriff stretched out, accuse Juanita of the crime and carry her off to jail. The mother visits her and devises a scheme. Attiring Pedro in her clothes, she sends him to the prison with a basket of provisions. While the guard is examining the contents of the basket, Pedro, still disguised, slips a pistol to Juanita. The guard, satisfied things are all right, opens the jail door. Juanita and Pedro at once pounce upon him, bind, gag and lock him in the cell. Off they go, but have not proceeded far when their flight is discovered and they are pursued by mounted police. They go down over a rugged rocky hill, which they figure impassable for the pursuers. Hiding behind the rocks, they await an opportunity, and taking the guards unawares, cover them with their guns until they have appropriated the horses, and make good their escape. The guards, however, by a short cut through the woods, come out on the road ahead of the fleeing Pedro and Juanita and as they approach a bullet from the guards in ambush lays poor Juanita prostrate across her horse, dead, while Pedro is seized, bound and carried back to prison to meet his inevitable fate." The Moving Picture World, July 18, 1908

AA: A violent bordertown Western story. Pedro the Mexican is cheated by cowboys in a poker game. A fight starts, and Pedro kills the crook. When the sheriff catches Pedro at his home, Pedro kills him as well and hides in the attic. His wife Juanita is arrested for the murder of the sheriff. Pedro rescues Juanita from the jail in drag, dressed as his own mother. Memorable images: drops of blood give Pedro away; dexterity in the jailbreak as a pistol is quickly slipped to Juanita by Pedro. I am not sure if The Fight for Freedom can be listed among Griffith's racist stories. Our sympathy is on the side of Pedro and his family. The desperation in their situation is acute in this movie that at 13 minutes is jam-packed with plot and little breathing space for character. Visually, The Fight for Freedom is humble as Griffith's sense of open air is missing. Griffith's director credit seems to have been contested. 

...
I saw The Fight for Freedom in The Griffith Project (DWG 29) screening at Cinema Verdi on 15 October 1997, a 35 mm print from a Library of Congress paper print, 13 min at 15 fps with intertitles missing, with Antonio Coppola at the grand piano. It was difficult to understand this plot-heavy film without intertitles. Having enjoyed the open air ambience of The Adventures of Dollie I felt let down by the cardboard sets.

D. W. Griffith: The Adventures of Dollie (1908) (2017/2024 digital scan 4K)


D. W. Griffith: The Adventures of Dollie (US 1908).

US © 1908 American Mutoscope & Biograph Company.
    Dir: D. W. Griffith. story: ?. photog: Arthur Marvin. cast: Arthur Johnson, Linda Arvidson, Charles Inslee, Madeline West.
    Filmed: 18-19.6.1908 (Sound Beach, Connecticut). Rel: 14.7.1908. copy: DCP (4K), 12'04" (from paper print, 713 ft, 16 fps); titles: ENG. Source: Library of Congress National Audio-Visual Conservation Center, Packard Campus, Culpeper, VA.
    Digital scan, 2017. Given the absence of original intertitles, new ones have been written by the Film Preservation Society. 2024 edition.
    43rd Le Giornate del Cinema Muto (GCM), Pordenone: Early Cinema - The Biograph Project.
    Grand piano: Donald Sosin.
    Viewed at Teatro Verdi with e-subtitles in Italian, 5 Oct 2024.

Tracey Goessel (GCM, The Biograph Project 2024): "Here it is: the film that for those learning about silent films 50 years ago represented the alpha. (The efforts of Méliès and Porter were mere footnotes in this view. True cinema began with Griffith, and Dollie.) Subsequent scholarship has revised this simplistic school of thought, true. But there is no denying that Biograph was about to become the most innovative of studios, and it did begin here."

"Griffith sought advice from cameraman Billy Bitzer before filming. Bitzer wrote, “Judging the little I had caught from seeing his acting, I didn’t think he was going to be so hot.” (“Billy Bitzer – Pioneer and Innovator” [Part I], American Cinematographer, December 1964) We can only be grateful that Bitzer was wrong." 

AA: There is always a miraculous feeling of baptism viewing the first film directed by D. W. Griffith, similar with some early titles of the Lumière brothers and Jean Renoir's debut film La Fille de l'eau. (The) Adventures of Dollie is not a masterpiece, but there is already a genuine cinematic flow - even literally, because it is the drama of a little girl caught in a river. To a Nordic viewer there is also an affinity with our logrolling and rapid-shooting adventures.

There is something fresh and sacred in the experience. There is also a dark side. Already in Griffith's debut film a shadow of racist prejudice looms. The villains are nomadic Romani who abduct Dollie from her parents.

The print is superior to the ones we have seen before. Still struck from paper print materials, there is more nuance in the detail. For the first time I see the film with intertitles. They have been created for this edition by the Film Preservation Society with good taste and judgment.

...
I have seen (The) Adventures of Dollie a few times before, including in The Griffith Project (DWG 27) screening at Cinema Verdi on 15 October 1997. It was a 35 mm print from a Library of Congress paper print, 15 min at 15 fps, titles missing, with Antonio Coppola at the grand piano. It was a print of somewhat low contrast, yet conveying texture and detail, "the beauty of leaves trembling in the wind". I was struck by the association with the saga of Moses. And also of an affinity with Jean Renoir's first film La Fille de l'eau where the orphan girl Virginia (Catherine Hessling) finds refuge with Bohemians.

Thursday, September 26, 2024

The Outrun


Nora Fingscheidt: The Outrun (GB/DE 2024) with Saoirse Ronan.

GB/DE 2024
Festival premiere: 19 Jan 2024 Sundance.
Telluride Film Festival (TFF), 1 Sep 2024 in a tribute to Saoirse Ronan.
Love & Anarchy 37th Helsinki International Film Festival (HIFF): Spotlight Selection
Viewed at Savoy, Helsinki, Thursday, 26 Sep 2024

Greta Gerwig (TFF 2024): "I’ve had the privilege of working with Saoirse Ronan twice, in LADY BIRD (2017) and LITTLE WOMEN (2019), and have been watching her transform in front of me as an audience member since she was just a little girl. The word “prodigy” is thrown around a lot, but in her case, it is fitting. Her gift is incredibly rare, but how she’s cared for it and grown it to become the formidable artist she is today, is rarer still."

"She is a translucent actor—she somehow makes her external life transparent so we can all see her soul. But every character she plays is unique, wildly different from the others, so each soul she shows us is a new revelation. She is impeccable with every external aspect of her craft—all the bells and whistles of the character’s walk, voice, tics, and presence. That never ceases to dazzle me. But the thing that floors me is the soul change."

"In THE OUTRUN, I saw a person I’d never seen before from Saoirse, someone so specific and so particular but who also, paradoxically, felt like every single one of us. She holds the vast discomfort and ecstasy of being alive. I don’t recognize her, the Saoirse I know, in this film. But I never do. All traces of her are gone, and only the person of the character remains, and only ever the whole truth of that person. She fully inhabits this other life."

"As a director you spend a lot of time looking at your lead actor’s face. In rehearsal, then filming, and finally, in the edit. Even after months and months of sitting in the dark and staring at Saoirse, I always find something new she’s given me. She continually gifts the whole film through every detail in her performance."

"It’s a magic that she wears lightly and practically—head down, unfussy, getting on with it. I was not at all surprised when she said she wanted to do everything in movies—write and direct and produce. Because she is a mystic and a craftswoman simultaneously, I knew that she would be brilliant. She’s always considered herself a part of the crew, even when she is number one on the call sheet. I have an image of her lodged in my mind: sitting on a dolly rig while looking through the camera at a shot and laughing with the gaffer at an inside joke, immediately before going into an emotional scene. That is who she is. In one second, fully alive as Saoirse Ronan, teammate and goofball, and in the next, melting into another life."

"I still don’t know how she does it, but I am thrilled every time I get to sit down and watch her become yet again." –Greta Gerwig

Bilge Ebiri (TFF 2024): "Nora Fingscheidt’s potent and visually sumptuous drama stars Saoirse Ronan as a woman both existentially and physically submerged. Fingscheidt and Amy Liptrot adapt Liptrot’s 2016 memoir of addiction and recovery into the story of Rona, a young biologist who returns home to the Orkney islands to flee her troubled past and to regain a sense of herself. But even in relative isolation, a stable, quiet life eludes her. As Rona researches the flora, fauna, and mythology of the Orkneys, while also dealing with her own troubled family, she begins to see herself as a wayward essence—lost in both the spiritual fog of the city (seen in dreamy flashbacks) and the heady, windswept immediacy of life on the coast. Ronan, who also produces the film, offers one of the most commanding performances of her career, portraying a complex, adrift character whose restlessness is matched both by the inventiveness of Fingscheidt’s immersive filmmaking and the wildness of the ocean that surrounds her." –Bilge Ebiri (UK-Germany, 2024, 118 min)

AA: Nora Fingscheidt's The Outrun is the second film I see from her, after the extraordinary Systemsprenger / System Crasher (DE 2019), one of the greatest movies of that year and with Helena Zengel in the most powerful performance of the year with Joaquin Phoenix in Joker.

The Outrun is based on an acclaimed book, a recovery memoir by Amy Liptrot, set in Orkney and dealing with rehabilitation from alcoholism.

The magnificent landscape of Orkney, the power of the Scapa Flow and other forces of nature, such as the vicinity of communicative seals and the elusiveness of the corncrake, put human things into a larger perspective.

Saoirse Ronan, one of the greatest talents of her generation, takes new challenges as Rona, based on Amy Liptrot. whose story is a combat against forces more formidable than furies of nature. She strips all glamour and enters the heart of her character and life among the elements.

However, The Outrun does not grow into one of the cinema's unforgettable accounts of alcoholism, and Saoirse Ronan's performance is not an immortal portrait of an alcoholic. Perhaps Nora Fingscheidt did not find the right spark abroad, perhaps Saoirse Ronan failed to connect with the inner life of an alcoholic.

The Substance


Coralie Fargeat: The Substance (FR 2024) with Demi Moore and Margaret Qualley.

FR 2024
Director: Coralie Fargeat
Starring: Demi Moore, Margaret Qualley, Dennis Quaid
Languages: English
140 min
Finnish premiere: 27 Sep 2024, distributed by: Cinema Mondo with Finnish / Swedish subtitles by Outi Kainulainen / Joanna Erkkilä.
Yhteistyössä: Institut français de Finlande
Love & Anarchy 37th Helsinki International Film Festival (HIFF): Gala Films
Love & Anarchy Gala: The Substance
Viewed at Bio Rex, Helsinki, Thursday 26 Sep 2024

HIFF 2024: "This Cannes juggernaut and best screenplay-winner is a horrifically sharp body horror thriller, starring Demi Moore and Margaret Qualley."

Peter Bradshaw quoted by HIFF 2024: "Coralie Fargeat absolutely tore the place up with her feminist body-horror satire The Substance, starring Demi Moore. Fargeat did for Moore what Tarantino did for John Travolta in Cannes with Pulp Fiction." Peter Bradshaw, The Guardian

Owen Gleiberman quoted by HIFF 2024: "Shocking and resonant, disarmingly grotesque and weirdly fun, The Substance is a feminist body-horror film that should be shown in movie theaters all over the land. By that, I don’t mean that it’s some elegant exercise in egghead darkness like the films of David Cronenberg, or a patchy postmodern punk curio like Titane. Coralie Fargeat, the writer-director of The Substance, has a voice that’s italicized, in-your-face, garishly accessible and thrillingly extreme. She draws on much of the hyperbolic flamboyance that’s come to define megaplex horror. But unlike 90 percent of those movies, The Substance is the work of a filmmaker with a vision. She’s got something primal to say to us." Owen Gleiberman, Variety

Mika Siltala (HIFF 2024): "Cannes-pankin räjäyttänyt ja käsikirjoituksestaan palkittu uutuus on karmaisevan terävä kehokauhusatiiri, jota tähdittävät Demi Moore ja Margaret Qualley."

"Täydellisyyden tavoittelu tulee kalliiksi. Syöksykierteeseen joutunut hiipuva tähti Elizabeth (Demi Moore) päätyy kokeilemaan ainetta, joka takaa käyttäjälleen paremman version itsestään."

"Muutos on raadollinen. ”Parempi” minä syntyy kirjaimellisesti entisen minän sisuksista selkäpiitä riipivällä tavalla. ”Uusi” minä on nimeltään Sue (Margaret Qualley) ja saa todella saa katseet kääntymään. Kahden minän tulisi jakaa elämä tasan, mutta näin vahvoilla egoilla ei päästä tasapeliin. Syntyy rumaa jälkeä."

"The Substance räjäytti pankin Cannesin elokuvajuhlilla. Samanlaisen ilotulitusvastaanoton muistan nähneeni vain kahdesti aikaisemmin, Pulp Fictionin ja Adelen elämän vuosina. Coralie Fargeat palkittiin festivaalilla parhaasta käsikirjoituksesta." Mika Siltala

AA: Coralie Fargeat's The Substance is a remarkable contribution to what must be the most striking phenomenon in the horror genre during the last ten years: female horror. Major works include The Babadook (2014), A Girl Walks Home Alone at Night (2014), Raw (2016), The Wind (2018), Saint Maud (2019), Titane (2021) and Pahanhautoja / The Hatching (2022). In this edition of the Love & Anarchy festival we have just seen Love Lies Bleeding also with some horror genealogy.

Fargeat has an original style and a sharp sense of satire. The characters border on caricature but remain memorably original thanks to extraordinary performances by Margaret Qualley - and particularly Demi Moore in a role for the lifetime and one of the most daring performances of a film star in the history of the cinema. It can be compared with the demolition of the star image performed by Bette Davis and other veteran female stars in the 1960s, but Demi Moore goes beyond our wildest expectations... or nightmares.

The desecration of the star on the Hollywood Walk of Fame is an apt summary of the fabula.

The film is rich with influences and references, but Fargeat pursues a nightmare narrative of her own. Like in Love Lies Bleeding, the glorification of fitness is a major theme, and the satire is saturated with imagery from fitness videos, commercials and music television clips. Like the aerobics show where it all starts, we seem to be mentally stuck in the early 1990s, although 2020s gadgets are on display.

The great tradition of fiction that The Substance draws upon is that of the Doppelgänger - the double. In cinema, it was most vigorously pursued in German cinema, Weimar, pre-Weimar and post-Weimar, in The Student of Prague and The Other, but also in Faust (old Faust and young Faust) and Metropolis (Maria and Robot Maria). Other Doppelgänger traditions are also relevant: The Picture of Dorian Gray and Dr. Jekyll and Mr. Hyde. 

We are also reminded of Snow White and the Seven Dwarfs: "magic mirror on the wall / who's the fairest of them all?" The monster seems to be inspired by the Wicked Witch and the substance by the poison apple, but The Substance goes further.

The finale is a magnificent New Year's Eve Special. The greatest spectacle turns into an epic bloodbath in an unexpected sense of the word.

Perfection in all departments. The special effects, the visual effects and the monstrous transformations are brilliantly executed. The monster is something we have never seen before. It all serves the main subject of the satire - the cult of youth and the beautiful surface. Schein instead of Sein. It is a timeless subject, but in the age of social media it has grown into bigger than ever proportions.

I would grant Demi Moore an Academy Award for courage. Demi Moore is a lovely and attractive actress with charisma and character. In Striptease (1996) I was amazed by her determination to transform her body into an armour. Undressed she seemed dressed. I lived in Los Angeles at the time and saw on the week of its premiere a restored Gilda at UCLA Melnitz Hall and Striptease at AMC Burbank. I wrote a letter to the editor of Los Angeles Times and wondered that Rita Hayworth removing a single glove felt more sensual than Demi Moore revealing everything. Demi Moore is at least as gorgeous as Rita Hayworth, but cinema had turned inhospitable to genuine sensuality. Nudity was offered as a substitute.  G.I. Jane (1997) was a logical step in the "body armour" aesthetics, parallel to the overdone muscleman cult of Stallone & Schwarzenegger. We strayed far from the ideals of classical harmony.

The Substance takes the breath away. It would be better if it were an hour shorter. Horror is a genre that works best in shorter duration, because it is by definition preposterous and prone to excess. And our daredevil star takes no Demi measures as long as we keep asking for Moore.

The T.A.M.I. Show


Steve Binder: The T.A.M.I. Show (US 1964). The poster from IMDb. Please click on the image to expand it.

Pop! Pop! Pop! [release title in Finland].
Teen-Age Command Performance [UK title].
    US © 1964 Electronovision Productions, Inc. PC: Screen Entertainment Co. / Screencraft International / Theatrofilm. P: Lee Savin. EX: Bill Sargent (as William Sargent Jr.).
    A Theatrofilm by Electronovision in association with Screen Entertainement Co. recorded before a live audience at the Santa Monica Civic Auditorium, Santa Monica, California.
    D: Steve Binder. Cin: Jim Kilgore - Electronovision  - video - released on 35 mm - b&w - 1:1,85. Technical supervisor: Robert J. Ringer. Technical director: Charles W. La Force, Jr. Video engineer: Carl Hanseman. Technical facilities by Mark Armistead T.V. Inc. under the supervision of Joseph E. Bluth. Electronic film recording by RCA. Film processing by Technicolor. PD: Franklin Swig. Cost: Wallace A. Harton. Fashions from Corky Hale, Hollywood. CH: David Winters, assisted by: Toni Basil. S: Lionel St. Peter. S editor: Ronnie Ashcroft. ED: Bruce B. Pierce, Kent Mackenzie. 
    M arranged and conducted by: Jack Nitzsche.
    Loc: Santa Monica Civic Auditorium - 1855 Main Street, Santa Monica, CA - 28-29 Oct, 1964.
    123 min
    Los Angeles premiere: 14 Nov 1964 - distributed by American International Pictures (AIP).
    US premiere: 29 Dec 1964.
    Helsinki premiere: 15 Oct 1965 Adams - released by Parvisfilmi Oy at 113 min
    LIST OF PERFORMERS in order of appearance + SET LIST (from Wikipedia):
Jan and Dean (Over credits) "(Here They Come) from All Over the World" - The T.A.M.I. opening credits theme song written by Steve Barri & Phil Sloan
Chuck Berry
"Johnny B. Goode"
"Maybellene"
"Sweet Little Sixteen"
"Nadine"
Gerry and the Pacemakers:
    * Gerry Marsden - vocals, guitar
    * Les Maguire - piano
    * Les Chadwick - bass
    * Freddie Marsden - drums, backing vocals
"Maybellene"
"Don't Let the Sun Catch You Crying"
"It's Gonna Be Alright"
"How Do You Do It?"
"I Like It"
The Miracles:
    * Smokey Robinson - lead vocals
    * Bobby Rogers - tenor vocals
    * Ronnie White - baritone vocals
    * Pete Moore - bass vocals
    * Marv Tarplin - guitar
"That's What Love Is Made Of"
"You've Really Got a Hold on Me"
"Mickey's Monkey"
Marvin Gaye (and The Blossoms):
    * Marvin Gaye - vocals
    * Fanita James - backing vocals
    * Darlene Love - backing vocals
    * Jean King - backing vocals
"Stubborn Kind of Fellow"
"Pride and Joy"
"Can I Get a Witness"
"Hitch Hike"
Lesley Gore
"Maybe I Know"
"You Don't Own Me"
"You Didn't Look Around"
"Hey Now"
"It's My Party"
"Judy's Turn to Cry"
Jan and Dean:
    * Jan Berry - vocals
    * Dean Torrence - vocals
"The Little Old Lady from Pasadena"
"Sidewalk Surfin'"
The Beach Boys:
    * Brian Wilson - bass, vocals
    * Mike Love - vocals
    * Al Jardine - guitar, vocals
    * Carl Wilson - guitar, vocals
    * Dennis Wilson - drums
"Surfin' U.S.A."
"I Get Around"
"Surfer Girl"
"Dance, Dance, Dance"
Billy J. Kramer and the Dakotas:
    * Billy J. Kramer - vocals
    * Mike Maxfield - guitar
    * Mick Green - guitar
    * Robin MacDonald - bass
    * Tony Mansfield - drums
"Little Children"
"Bad to Me"
"I'll Keep You Satisfied"
"From a Window"
The Supremes:
    * Diana Ross - Lead vocals
    * Florence Ballard - backing vocals
    * Mary Wilson - backing vocals
"When the Lovelight Starts Shining Through His Eyes"
"Run, Run, Run"
"Baby Love"
"Where Did Our Love Go"
The Barbarians:
    * Jerry Causi - bass, vocals
    * Ronnie Enos - guitar, vocals
    * Bruce Benson - guitar
    * Victor "Moulty" Moulton - drums
"Hey Little Bird"
James Brown and the Famous Flames:
    *James Brown - vocals
    *Bobby Byrd - vocals
    *Lloyd Stallworth - vocals
    *Bobby Bennett - vocals
"Out of Sight"
"Prisoner of Love"
"Please, Please, Please"
"Night Train"
The Rolling Stones:
    * Mick Jagger - vocals, maracas
    * Keith Richards - guitar, vocals
    * Brian Jones - guitar, backing vocals
    * Bill Wyman - bass, backing vocals
    * Charlie Watts - drums
"Around and Around"
"Off the Hook"
"Time Is on My Side"
"It's All Over Now"
"I'm Alright"
"Let's Get Together"
Viewed on YouTube, Helsinki, 26 Sep 2024, as "The T.A.M.I. Show 1964 - Full HD Original Electronovision Version", under the on-screen title "Teen-Age Command Performance", 113 min

AA: I just saw for the first time a quasi complete version of The T.A.M.I. Show - a film that has been on my bucket list since the 1980s. I had seen great clips from it for instance in Sweden in Jerry Williams's program Rockrullen and even screened at the Finnish Film Archive a strange hybrid cut when no copies of the full version were available.

Technically it is a pioneer work, one of the first movies shot on video to be released theatrically on 35 mm. It is a straight performance record - but what performances and performers they are. There had never been a better lineup in a popular music movie. 

In jazz, there had been Jazz on a Summer's Day, and in folk, there would be Festival. Then, in pop music, came the classics Monterey Pop and Woodstock. My brother Asko, the music expert in our family, registers the delightful balance between Black and White artists. 

The key star is Chuck Berry, not only in his own numbers but also in covers by The Beach Boys and The Rolling Stones. The Beatles is absent yet present in "Bad to Me" credited to Lennon & McCartney, with John Lennon as the primary creator. We hear also an original performer to a great song The Beatles (with Lennon as lead singer) covered: Smokey Robinson & The Miracles with "You've Really Got a Hold on Me"

My favourites include: "Maybellene" (Chuck Berry), "You've Really Got a Hold On Me" (Smokey Robinson & the Miracles), "Stubborn Kind of Fellow" (Marvin Gaye), "You Don't Own Me" (Lesley Gore), " I Get Around" (The Beach Boys), "Where Did Our Love Go" (The Supremes), "Please, Please, Please" (James Brown - the highlight of the movie) and "Time Is on My Side" (The Rolling Stones).

As simple as can be, and all about the joy of music and dance.