Any day that closes with a Pola Negri film is a good day, and Sunday was a very good day. La Negri, my personal favourite silent movie star and the owner of the best peepers in the pictures, bar none, features in three films in the official Giornate programme this year (plus a schools matinee of The Wildcat). I knew artistic director Jay Weissberg was a fan, but well, consider me chuffed.
Tonight’s Negri film was Der Gelbe Schein (1918), often known as The Yellow Ticket. Negri plays a young medical student with a melodramatically plotted backstory that slowly unfurls as the film progresses. Suffice it to say that aside from some nice location shooting in Warsaw and the very striking image of a champagne glass full of coins in a brothel scene, this film lives and dies by Negri’s mesmeric performance. She radiates emotion, from those incredible eyes to her fluid posture, and even this early in her career she has the “star quality” that divides actors from icons. We saw the film tonight with a klezmer-tinged folky score from Alicia Svigals that worked very well, giving he melodrama enough room to breathe and softening the edges of a film in which structure runs the risk of overwhelming character.
Back to the beginning, though, and there is nothing like breathing fresh mountain air first thing in the morning. While Pordenone may not be as rural as all that, we were in the hills today, with A Norway Lass (1919), part of the Swedish Challenge strand. No one I spoke to denied that this film proceeded at a sedate, almost glacial pace, but all agreed also that it was astonishingly beautiful, romantic, inventive, charming and felt far more advanced than many 1919 movies. Two youngsters on neighbouring farms fall in love, but he, Thorgbjorn (Lars Hanson) is a hothead and so she, Synnöve (Karin Molander) must wait for him to grow and earn her love. Although, he’s clearly a good guy from the start, and sometimes it seemed as if the more passionate relationship was that between Synnöve and Thorgbjorn’s sister Ingrid (see below), especially when they danced in the high pasture. An excellent portrayal here of a slow-burning romance set in a place torn between puritanism and paganism, with contrasting Midsummer rituals. Also, a rather mischievous, gargoyle-faced young farmhand was busy persuading Thorgbjorn of the existence of a troll family in the valley (cue excellent inserted troll feasts) when he was the only goblin in sight and all too human at that.