Tag Archives: Alan Crosland

Sound Barrier: Neruda & The Beloved Rogue (1927)

In episode two of the Sound Barrier podcast we wax poetic, with two films about poets – specifically poets in exile. The two films we will discuss – one new release and one silent classic – are Pablo Larrain’s Neruda and The Beloved Rogue (1927) starring John Barrymore. The two films may appear to be very different, but they have a lot in common, as we discover …

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Le Giornate del Cinema Muto 2014: Pordenone post No 7

The Beloved Rogue (1927)
The Beloved Rogue (1927)

You know it’s Pordenone when you’re still having a conversation about melodrama, cliché and the difference between parody and sendup as you turn the key in the lock of your door at midnight. Or maybe that’s just me and the people I choose to hang out with. Still, I think it’s telling, because the penultimate day of the Giornate had plenty for us to chew on, get lost in and provoke the temper too.

But first, let me lay the scene: a medium-sized town in northern Italy, it’s Friday, spitting with rain. Interior: a bell rings, it’s nine am in the auditorium and it is clear that quite a few people in attendance have that Friday feeling. You know, the one was manifests itself in a splitting headache and grey circles under the eyes? But if there is one thing that we have learned this week, it is that Yakov Pratazanov is worth getting out of bed for.

Chiny I Liudi (1929)
Chiny I Liudi (1929)

And Chiny I Liudi (Ranks and People, 1929), a portmanteau film comprising adaptations of three Chekhov short stories, was another great “serious comedy”, leading me to kick myself that I missed last night’s Don Diego I Pelageya (1928). Each story deals with the problems of living in a rigorously stratified society: a clerk fears he has offended a high-up and apologises to death; an officer is caught between asserting his authority and sycophancy to a general; a poor woman marries a heartless rich man, but has her head turned when she experiences high society. It was all beautifully done, as witty as it was tenderly heartbreaking. A false perspective frame of the clerk approaching his senior’s desk, and a high-angled shot pretty Anna admiring herself in her finery were particularly memorable. I’m more keen than ever to see tomorrow morning’s sound-era Pratazanov. Another 9am Soviet film, just how I like it.

Russian cinema, but not as we know it, before the midday break without a curio from Germany: Panzerkreuzer Potemkin (1930). This is the “talkie” adaptation of Eisenstein’s classic, of course, featuring the Meisel score (in his own arrangement) and a lot of dubbed dialogue. All the intertitles apart from act breaks have been removed from the body of the film and historical explanations tacked on either end, read out in a thumping German voiceover. So it runs shorter than the original, but for me slightly less smoothly, which I freely admit may simply be due to my familiarity with the rhythms of the silent original. It seems strange to hear the men mutter their complaints rather than seeming to rise instinctively to a collective understanding of their circumstances. And because the film was conceived without so much dialogue, a lot of what we hear in this version is simply redundant. There’s an interesting, unintentional effect whenever dialogue runs over a montage cut, actually, as when an officer shakes a sailor awake or another sailor throws that fateful plate. But anyway, it would be very hard to kill the majesty of this movie – the images speak so eloquently that even if Stephen Horne were to reprise his kazoo routine from yesterday, the audience would still be moved. And of course, for a native German speaker, this may be the Potemkin they have always imagined. See what you think (please excuse the “Verdi tidemark”):

Today was a tale of two Fairbankses, both of them Douglas Sr, and of two Barrymores, both of them John, whom I think we can all agree was a bit of a beloved rogue. In the film of the same title, which came first today, he plays a gadabout poet in a 15th-century Paris so smothered in snow that it looks like a Christmas card. And this is Barrymore a la Fairbanks, just to confuse you, leaping from rooftop to rooftop with a goblet of wine in his hand and a jaunty feather in his cap. You just know that he is going to save France (despite the best efforts of feeble-minded King Louis XI, played creepily by Conrad Veidt with a finger up his nose), win the heart of a fair lady (Marceline Day as a poetry-loving aristo), complete some audacious stunts and compose lots of jaunty (terrible) verse on the spot. There is also a completely gratuitous loincloth scene, for the keener Barrymore fans among us. The Beloved Rogue (Alan Crosland, 1927) is total bunkum, but much more fun than, say When a Man Loves. The only way to enjoy this sort of thing is to commit totally to it, and we were helped along by sparkling accompaniment from not one musician but four: a harmonious grouping of Donald Sosin, Elizabeth-Jane Baldry, Frank Bockius and Romano Todesco.

Beau Brummel (1924)
Beau Brummel (1924)

But John won’t win my heart that way: I crave romance, and splendour, and something beautiful to soothe my fevered brow. Beau Brummel (Harry Beaumont, 1924) will do the trick nicely thank you. It’s gentler, and more tender than the other JB films we’ve seen this week, even if equally as preposterous. Barrymore is the foppish captain deemed too lowly to marry his lady-love (an excellent, if teenaged, Mary Astor), who therefore plots to take obscure revenge on “society” by insinuating himself into the Prince Regent’s inner circle and fighting the system from within, yeah. But dear me, he does it in style. Skinny britches, umpteen rows of frogging, diamond buttons on his frock coat and a powdered wig – and still all you can concentrate on are those flashing eyes and his wicked comic timing. Preening in front of the mirror, practising his poses, or repeating the same lines to another pretty woman until he almost believes them himself … ah he’s a belov-able rogue here too all right. And in the end, it’s very touching, if both overdone and overlong. Stephen Horne was there for the duration (the Giornate showed the fullest print possible, of course), with a light touch on piano, flute and accordion bringing out the best of the comedy and plucking on our collective heartstrings. Good for the soul.

The Good Bad Man (1916)
The Good Bad Man (1916)

Douglas Fairbanks is just as reliable a star as JB, if a simpler proposition all round. We were lucky enough to see The Good Bad Man (Allan Dwan, 1916) today, a western that went about its business as swift and straight as an arrow. Fairbanks is a Robin Hood cowboy, stealing from the rich-ish and giving to illegitimate children. Is there a dark secret in his past? Will he discover it, have his vengeance and live to make eyes at Bessie Love another day? I thought he just might – but was I right, kids? Kudos to London-based musician David Gray who accompanied the movie with verve and accuracy – he has been partaking in the Giornate’s musical masterclasses all week and this show marked his graduation.

Our second sighting of Dougie was far more epic. The evening show brought another eye-popping collection of two-strip Technicolor treats, including a bizarre set of out-takes from The Gaucho (1927): a reel of attempts to shoot Mary Pickford as a vision of the Virgin Mary on a rockface. Shimmering loveliness its very self until an assistant hovers into view with a clapperboard. Fairbanks showed his face, and his biceps for the main feature, the unstoppable force that is The Black Pirate (Albert Parker, 1926): as gruesome as it is gorgeous and grand, this is a hard film to take against. If only because that dagger-down-the-main-sail makes you catch your breath each time. And in case you were wondering, John Sweeney can even make a sea shanty sound elegant. Classy stuff.

Verdi curves #gcm33

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Almost time to turn in, and Whoozit (Harold L Muller, 1914) was our first bedtime story. Now, if a whole Charley Bowers movie makes very little sense at all, then I think it’s fair to say a single rediscovered reel will be a puzzler indeed. Great larks though: oysters with eyes humping across the bathroom floor, a teddy bear growing a beard, magic spectacles and an ogre sharpening a giant razor. Deeply enjoyable, brilliantly surreal.

One last thing before we go. The return of Sidney Drew, paired up here with Clara Kimball Young, to prove that the silent movies were spoofing silent movies long before pesky 21st-century scamps thought to do so. I thought Goodness Gracious; Or Movies as They Shouldn’t Be (1928) was ragged, but good clean fun, with hapless Gwendoline careering through loopy scenarios while chomping on her chicklit and waiting for her “brave youth” Cornelius to rescue her from another poorly framed misadventure. Undercranked and overegged and mad as a box of oysters. But a wiser soul than I caught up with me and raised a valid question: if this is the parody what is the original? Especially bearing in mind that this was made in 1928. Hmmm …

Corpse of the day: Bessie Love’s dear old pa in The Good Bad Man, God love him. Flat out on his front porch and breathing like a freshly landed fish.

Absurd romantic metaphor of the day: Home is where the hearth is for John Barrymore and Marceline Day in The Beloved Rogue – “Your eyes have swept my heart clean and kindled a fire there that will outlast me.”

Tiny things I love about Pordenone No 36: When the logo appears before a film and a group of dedicated colleagues cheer their own archive. Adore it.

  • My blog from the first day of the Giornate is here.
  • My blog from the second day of the Giornate is here.
  • My blog from the third day of the Giornate is here.
  • My blog from the fourth day of the Giornate is here.
  • My blog from the fifth day of the Giornate is here.
  • My blog from the sixth day of the Giornate is here.
  • For more information on all of these films, the Giornate catalogue is available here