Tag Archives: Renée George

Le Giornate del Cinema Muto 2013: Pordenone post No 3

Die Unehelichen (Gerhard Lamprecht, 1926)
Die Unehelichen (Gerhard Lamprecht, 1926)

An outstanding day at the Giornate: a varied programme of astonishing films, and excellent musical accompaniment. So while it was drizzly and grey outside, inside the Teatro Verdi all looked bright, even if most of the films tended towards bleakness. After the delightfully sugary surrealism of Felix Trips Thru Toyland (1925) for breakfast, the Giornate hit us with some heavy emotional dramas today – and I relished them.

Felix Trips Thru Toyland (1925)
Felix Trips Thru Toyland (1925)

The slow but seductive tearjerker Förseglade läppar (Sealed Lips, 1927) is the title track of the Swedish strand and it was a real beauty, directed by Gustaf Molander. Karin Swanström, director-star of Flickan i Frack pops up again (all too briefly as a jealous wife) in this Italian-set romance between a convent schoolgirl and a married English painter. Misunderstandings, emotional repression and heartbreak reverberated against a backdrop of stunning scenery, and with a nuanced, textured score by Stephen Horne too. All I spoke to agreed that the show was stolen by Stina Berg (also seen in Polis Paulus Paskasmäll) as the snuff-snorting nun Sister Scolastica – at her best when engaged in a comedy double-cat with a recalcitrant donkey. The opening sequence, in which Scolastica attempts to take her young charge to the train station was a beautifully simple idea, warmly and expertly played out.

Förseglade läppar (Sealed Lips, 1927)
Förseglade läppar (Sealed Lips, 1927)

The second Swedish title of the day came with a warning attached: it starts slow, cautioned the Giornate programme, but soon warms up. Did it ever. In Den Starkaste (The Strongest, 1929) two sailors compete for the hand of the skipper’s daughter, and despite her clear preference for one, and via many complications, they take their macho competitive streaks out into the Arctic Ocean where they are hunting on rival vessels. Blood is spilt on the glaciers, most of it belonging to seals – and in the staggering last reel, polar bears. Polar bears! The Arctic photography is crisp and gorgeous (especially when soundtracked by John Sweeney on the piano), and comes courtesy of expert Swedish cinematographer Axel Lindblom – who is also said to have photographed A Cottage on Dartmoor, more of which tomorrow.

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