This is probably my final Asta Nielsen-related post for a while. I am delighted to be able to tell you that I was a guest on the Folger Shakespeare Library’s podcast, Shakespeare Unlimited, to talk about Nielsen and her Hamlet.
I had a long chat with Shakespeare Unlimited host Barbara Bagaev about the film, and its context in Nielsen’s career. You can access information about the podcast here and listen to my episode and read the transcript here. You can also find Shakespeare Unlimited wherever else you find your podcasts.
Hamlet is a woman! At least she is in this German feature film, Hamlet: A Drama of Vengeance (1921). And not just any woman, but the inimitable Danish diva Asta Nielsen.
From Sarah Siddons to Maxine Peake, many actresses have played the Prince of Denmark, and a fragment of Sarah Bernhardt’s stage interpretation of the role was even captured in a short film shown at the Paris Exposition in 1900. However, the distaff twist in this film was prompted, or at least justified, by Edward P Vining’s scholarly 1881 book The Mystery of Hamlet: An Attempt to Solve an Old Problem, which makes the case for Prince Hamlet being so feminine a character that his contradictory nature is best explained by imagining that underneath the black tunic he’s really a woman. The film also draws on Danish history and a German play from 1704 called Fratricide Punished. The gender-swap allows for an intriguing new take on Shakespeare’s text, recasting his hero/heroine’s relationships with Ophelia, Horatio and Gertrude in fresh moulds.
Happy 10th birthday to our favourite friends north of the border, The Hippodrome Silent Film Festival! This annual Bo’ness bonanza of silent cinematic goodness has pulled out several stops for its 10th anniversary edition, which runs from 18-22 March 2020, and features great movies, brilliant musicians, special guests and apparently, a barrage of custard pies.
Still mooning about the goat-herder? Another Giornate blogpost will take your mind off it, Marion.
One of the beauties of Pordenone is the fact that the programme is so omnivorous, ranging far and wide over the first four decades of film history, and the audience are equally diverse. No doubt the main attraction of today, the headline act as it were, was the Hollywood comedy double-bill that played this evening. While I enjoy Marion Davies and Laurel and Hardy as much as the next silent cinema blogger, like everyone here I have my own particular passions that draw me back to the Verdi every year.
So it was that I woke up this morning most excited to see an eleven-minute film playing in the middle of the morning: Gerolamo Lo Savio’s 1909 Otello. Yes, I am a silent Shakespeare fan and this was my treat for the day. Stencil-colour, Venetian location shooting, a passionate but hardly Moorish Othello (I think it was the divine Michelle Facey sho said that meant he was surely “lessish”) and a nicely malevolent Iago made this a Shakespeare to savour, even if inevitably one had to devour it in one small mouthful. The colour was especially memorable here – notably a brief bloom of scarlet at Othello’s throat as he dies. An attractive and unexpected gory entry in the silent Shakespeare canon. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 4→
I love early cinema in all its wild and strange glory, but there is a special place in my heart for Shakespeare adaptations, especially those earliest examples from the 1900s and 1910s. The British Film Institute produced a video, many moons back, called Silent Shakespeare, featuring wonderful examples of films adapted from Shakespeare’s plays from around the world, dated between 1899 and 1911, with gorgeous scores by Laura Rossi. I loved it. The VHS tape was subsequently rereleased on DVD and is still available from the BFI shop, priced £19.99.
Now there is another way to watch these truly gorgeous films – they are streaming on the Globe Player, an online service from the people who run Shakespeare’s Globe on the South Bank in London – just a few yards away from the venue formerly known as the National Film Theatre, but several centuries away in spirit. You can rent the bundle of seven films for £5.99 or buy it outright for £9.99. Here’s the link.
The films in the Silent Shakespeare set are:
King John (GB 1899 2 min) the first Shakespeare film ever made, released both as a film in variety theatres and as a peepshow Mutoscope on the same day as Tree’s production of the play opened at the Her Majesty’s Theatre, London.
The Tempest (GB 1908 12 min)
A Midsummer Night’s Dream (USA 1909 12 min)
King Lear/Re Lear (Italy 1910 16 min)
Twelfth Night (USA 1910 12 min)
The Merchant of Venice/Il Mercante di Venezia (Italy 1910 10 min)
Richard III (GB 1911 23 min) a condensed version of one of the Stratford productions mounted by the F.R. Benson Company.
The glimpse of Herbert Beerbohm-Tree as King John is really something, and the hand-stencilled colours of Re Lear are sumptuous, but I must confess I do have a favourite: the charming, ingenious version of The Tempest, directed by Percy Stow for the Clarendon Company in 1908. It’s just sublime – and Michael Brooke calls it “comfortably the most visually imaginative and cinematically adventurous silent British Shakespeare film”, so I am in good company. Try another of my favourites, the 1911 Richard III on for size.
Frank Benson had been playing Richard III for decades at this point, and his ease in the role really shows, especially during these haunting scenes from Bosworth field.