If you are the kind of fool who thinks a programme of Soviet travelogues sounds a bit dry, then you are the same kind of fool as I am. However – as I once advised on this site, when you’re at Pordenone watch one thing that scares you everyday. So I was in the Verdi for the 9am travelogues and boy was I smug about it afterwards. Pamir. Krishna Mira (The Roof of the World, Vladimir Yerofeyev, 1927) was an absolutely fascinating journey through remote mountainous Kyrgyzstan, with just the right balance of intriguing domestic minutiae and awe-inspiring geographical grandeur. One series of intertitles pithily explained: “The women do all the chores … the men mostly do nothing … Occasionally they go hunting.” Actually, there was more to it than that. The men also whittle, weave, smoke opium, traverse perilous mountain passes and even perform very watchable partner dances in costume: the horse and the rider, the old man and the young girl, the fox and the marmot.
Photographed in regions where the air is so thin that water boils at 86 degrees Celsius or so cold that film itself can freeze, this can’t have been an easy documentary to shoot, but if offers a vision of another world, and now, I would guess, one that is almost entirely lost. I am sure that Günter Buchwald’s meticulous accompaniment on piano and violin was key to the success of this screening, providing a silk thread through the film’s essentially episodic structure.
From raw ethnography to dream-factory fantasy, with another parcel of early Euro westerns. These are rather slight things, but the devil, or rather the joy, is in the detail. Le Railway de la Mort (Jean Durand, 1912) was a kind of compact Greed – no, really, with a not dissimilar ending, augmented by a ferocious, red-tinted explosion. And before that, a series of train stunts that Hollywood, in any era, would have been proud of. In Italian western Nel Paese dell’Oro (1914) the star was not a gunslinger, but Toby the faithful dog, who helped to build barricades, did his level best to throttle the villain, and even rescued a lost tot from kidnappers and cold water, Rescued by Rover style. A canine who can.
Happily, I had the chance to return to Shima No Musume this lunchtime and what a pleasure it was. This melancholic drama is a little like a Japanese Borzage movie, with an unrepentantly sorrowful conclusion. Suffering is a woman’s lot, so just tough it out for the sake of your loved ones, be they living or dead. Sensitive performances, sharp dialogue, nuanced photography … such a surprise that it was one of four films rushed out to capitalise on a surprise hit single, and such a shame that the director, Hotei Nomura, a Japanese film pioneer, died a year later.