| THE NEW SCHOOL |
FILM SERIES 64: Program #3 |
February 16, 1990 |
TWO RARE EARLY SILENTS: PIANO ACCOMPANIMENT ARRANGED & PLAYED BY STUART ODERMAN
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| THE PASSING OF THE THIRD FLOOR BACK |
(Herbert Brenon Productions, 1917; released by First National, 1918) Produced and Directed by Herbert Brenon; scenario by Brenon and George Edwardes-Hall from the play by Jerome K. Jerome; photographed and edited by Roy Hunt; 70 mins. |
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| With Joan Forbes-Robertson (The Stranger); August Haviland (Mrs. Sharpe); Molly Pearson (Stasia); Alfred Hickman and Germaine Bourville (Stasia's parents); Ben Graham (Major Tompkins); Grace Stephens (Mrs. Tomkins); Kettey Gallanta (Vivian); Robert Fischer (Joe Wright); George La Guere (Christopher Penny); Sydney Goldin (Jape Samuels); Thornton Bation (Harry Larkom). |
To all intents and purposes, The Passing of the Third Floor Back is one of those curiosities that doesn't officially exist. The British seemed to think that it was American (it was) and didn't list it in any of their reference books despite its British orientation; the Americans assumed it was British, and didnt list it in their reference books. It was never copyrighted, never got a NY first-run (hence no NY Times review) and the only basic US reference source to acknowledge it (still without giving it a nationality) was Variety. Actually it was an American film, made independently in New York, and probably starring a theatrical troupe who might have been playing in, or touring with, the play. None of the names, other than Robertson's, are familiar - - except perhaps for Thornton Bation, who as J. Thornton Bastien was the villain in the likewise East Coast produced Down to the Sea in Ships. It was done at an interim period in Brenon's career, with the big Annette Kellerman spectacles behind him, and his best period (Peter Pan, Beau Geste, A Kiss for Cinderella) a few years away. Although he admitted at the time to having made a few changes in the story "to use the greater freedom of the screen" he doesn't really seem to have done so, apart from a few cutbacks and allegorical tableaux, which would not have been impossible on stage either. It is a resolutely theatrical production, confined to interior sets, and keeping its star off-screen until well into the narrative. Yet is not a slow film, and as the tempo of the story picks up, camerawork becomes striking1y more dramatic in its lighting. The story is of course of the Christ-like figure who comes to a house of discord and brings peace and contentment before he leaves. The theme, in one form or another, has been popular with film-makers from the early days (Biograph's Pippa Passes, Edisons Annie Crawls Upstairs) through such silent and sound variations as A Chapter in Her Life, Strange Cargo and Halfway House. Next to Hamlet, it was John Forbes-Robertson's most famous stage role, and some critics felt that deprived of his melodious voice he wasn't nearly as effective in silent film. Actually his persona is such that he is remarkably effective and moving in this film, even though he does look rather old and sometimes in close-up looks more sinister than wise. The British sound remake with Conrad Veidt, oddly enough, was far less effective. Although opened up a good deal with some exterior sequences, it seemed to have no power and little point, despite a strong cast. Mostly it was so badly watered down - the explicit discourse on anti-Semitism in the silent version was totally removed for example -- that the Stranger's influence was virtually unexplained. This original version, and we are fortunate in having an excellent print, is surprisingly moving on its own rigidly theatrical manner, and it's a pity that Brenon never remade it, perhaps with H.B. Warner, with whom he worked so well in Sorrell and Son.
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-- 10 Minute Intermission --
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KAMPFENDE HERZEN (BATTLING HEARTS)
(also known as Four Around a Woman and Four Men and a Woman; DIE VIER UN DIE FRAU) |
Decla-Bioscop, 1920. Directed by Fritz Lang; Scenario by Thea Von Harbou and Fritz Lang from a story by Rolf E. Vanloo; Sets: Ernst Meiwers, Hans Jacoby; Camera, Otto Kanturek; 70 mins. |
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| With: Carola Toelle (Florence); Herman Botcher (Her father); Ludwig Hartau (Yquem); Lilli Lohrer (The Maid); Rudolf Klein-Rogge (Upton); Anton Edthofer (Werner and William Kraft); Robert Forster-Larringa (Meunier); Lisa von Marton (Margot); Gottfried Huppertz (Head Waiter); Harry Frank (Bobby); Paul Morgan (The Fence); Gerhard Ritterband (newsboy); Hans Lupschutz (Vagabond); Edgar Pauly (Prostitute). |
GERMAN SUBTITLES with live English translation.
Gradually the pre-Destiny Langs - both those written and those directed by him - are beginning to emerge. This film was reconstructed in Berlin a few years ago, and oddly has never been shown in New York until now. All that was known about it until then were the sketchy details to be gleaned from original reviews cited in Lotte Eisner's book on Lang - reviews that were contradictory in praising it for its ingenuity and condemning it for its confusion, though consistent in applauding its strong visual sense. Confusing it most certainly is, and the titles (re-written into German from Spanish titles!) dont always help. There are more titles than are really needed, and if we occasionally skip a title it will only be because it is redundant. Nevertheless, for Lang devotees, it's a real find if an uneven one. It's the kind of melodrama that would have been made by Douglas Sirk in the late 30's with Zara Leander starring. But Lang ignores the fact that it is supposed to be about the woman, and concerns himself far more with the sub-plots and underworld characters (including good old Rudolf Klein-Rogge), constantly threatening to turn it into Dr. Mabuse. He never does, but that threat is what keeps it so visually interesting - especially in a well-preserved and color-tinted print. (We don't have an Archive Night program this session; perhaps tonight's program should have been so designated, but both films are so interesting in their own way, and so unlikely to be shown again in the near future, that we didn't want to risk losing part of an already specialised audience). |
--- William K. Everson
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Program finishes 10.10.
Discussion follows. |
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