Tag Archives: Harald Schwenzen

Le Giornate del Cinema Muto 2014: Pordenone post No 2

Das Frauenhaus von Rio (1927)
Das Frauenhaus von Rio (1927)

How much excitement can one person handle on a Sunday morning? For myself, the opportunity to see – finally – Raoul Walsh’s classic crime drama Regeneration (1915) and on 35mm no less, with music by John Sweeney, was more than reason enough to get out of bed. That it was preceded by a film packed with vice and violence (and fabulous clothes), made this a far-from gentle Sunday morning. But the biggest surprise of the day was to come later in the afternoon. Call that a cliffhanger, if you will.

To the vice and violence first, with Hans Steinhoff’s Das Frauenhaus von Rio (1927), a German crime saga adapted from a novel by Norbert Jacques. That the film is set mostly in Hamburg rather than Rio, and barely in the “Frauenhaus” (a particular kind of lady, a particular kind of house, if you get my meaning) at all, is hardly false advertising. Concerned with what was called the white slave trade in those days, and also that silent-movie staple, international jewel theft, Frauenhaus was florid, schlocky and tremendously good fun – and very niftily directed. French actress Suzy Vernon made a winning heroine, although Ernst Deutsch as a puckish chancer and Vivian Gibson as a tigress of a villain stole the show.

Regeneration (1915)
Regeneration (1915)

But Regeneration was the main event of the morning, and it did not disappoint. This story of a tenement toughie reformed by a guilt-stricken socialite soars past your cynicism, because it is so exquisitely, tenderly photographed. It’s realism, but editorialised. And those performances! Rockliffe Fellowes has the best name in showbiz, hands down, and is reminiscent of a young Brando here as the angsty hero. Anna Q Nillsson (yes, a “waxwork” from Sunset Boulevard) puts in a heartfelt turn as his goodhearted ladyfriend. And oh, the photography, those truncated tracking shots and oh, the ensemble cast of characterful and possibly threatening faces. Everything Scorsese ever did is here, and it’s compelling, enthralling to watch.

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