Frau Illa Meery as Frau Jeanne de la Motte, stills from "Cagliostro; Liebe Und Leben Eines Grossen Abenteurers" (1929) By Richard Oswald.

"Cagliostro; Liebe Und Leben Eines Grossen Abenteuers" (1929) By Richard Oswald

Herr Richard Oswald was an Austrian film director who was responsible for many silent films in different European countries; his “Cagliostro; Liebe Und Leben Eines Grossen Abenteurers” (1929) is an excellent example of his international work and also demonstrates the many qualities and artistic values that can be seen throughout Herr Oswald’s silent career.

“Cagliostro” was an European film co-production that involved different nationalities of the old continent: the film was directed by an Austrian, performed by German actors, who played in a story about a magician, alchemist and adventurer during the times of the French king Louis XVI and Frau Marie-Antoinette, and with a frenchified  film crew (including Herr Marcel Carné ) and finally was produced by “Film Albatros”, a film company supported by Russian émigrés in France.

Such varied artistic backgrounds resulted in a film done with great care; unfortunately it cannot be fully enjoyed because “Cagliostro” has survived only in an abridged form; the restored version available nowadays is a “Pathé-Baby” 9.5 mm copy that represents half of the original footage, a fact this that obviously affects the film continuity and the development of many characters of the picture.   In spite of this, “Cagliostro” can still be enjoyed by silent film fans due to its powerful images and thrilling sequences.

The most evident aspect of the film is its conventional film narrative, perfect for an epoch film production which balances doses of adventure with stylish film elements borrowed from other genres.  An example of the latter can be found in the sequences wherein Cagliostro the magician demonstrates his powers and tricks in front of a shocked audience in shots full of the mystery and darkness of Expressionist shadows.  In contrast is the French royal court where everything is luminous and at the same time decadent, a court full of hypocrites and opportunists with corruption and ambition everywhere.  The set design provides a perfect background for all this and Herr Oswald’s direction catches the mood of the times.

Especially remarkable is the last part of the picture wherein Herr Cagliostro, who has to flee to Italy due his involvement in the Queen’s Necklace affair, is imprisoned along with his wife Frau Lorenza.  They are condemned to death and their devotion to each other is poignant and moving.  It ends happily with their escape (a thrilling sequence and the beautiful cinematography of Herr Maurice Desfassiaux und Herr Jules Kruger is particularly striking in these moments).

“Cagliostro” is an excellent depiction of a careerist and adventurer as well as being a social portrait of the decadence of the Royal French court, a dark film  full of intrigues and action, a remarkable achievement whose virtues shine through splendidly even in this abridged form.

And now, if you'll allow me, I must temporarily take my leave because this German Count must warn Frau Marie-Antoinette not to lose her mind (  and her head ) over this Herr Graf.

Herr Graf Ferdinand Von Galitzien

-/-

Herr Richard Oswald fue un director austriaco responsable éste de numerosos filmes silentes rodados en diferentes países europeos; con tan gran capacidad de diversificación y adaptación, un filme como “Cagliostro; Liebe Und Leben Eines Grossen Abenteurers” (1929), es ciertamente un buen ejemplo de tal aseveración aristocrática, econtrando además en dicho filme todas las cualidades y valores artísticos propios de la etapa silente de Herr Oswald.

“Cagliostro” es una gran coproducción europea en donde tomaron parte diferentes nacionalidades del viejo continente; la película fue dirigida por un austriaco, interpretada por actores alemanes en donde se retrata la historia de Herr Cagliostro, un mago, alquimista y aventurero durante los tiempos del rey francés Louis XVI y Frau María Antonieta; afrancesados también era el equipo técnico que participó en el filme ( entre ellos Herr Marcel Carné ) y, finalmente, dicha producción silente fue llevada a cabo por la productora “Film Albatros”, una compañía financiada por refugiados rusos en Francia.

Con tan peculiares artísticas credenciales  el interés y cuidado que recibió dicha producción estaba más que garantizada, un hecho éste que se puede disfrutar solamente en parte pues desafortunadamente “Cagliostro” ha sobrevivido hasta éstos tiempos modernistas gracias a una copia reducida de 9,5 mm de la “Pathé-Baby” y cuya duración es la mitad del metraje original, un hecho éste que obviamente afecta a la continuidad del filme y la profundidad de alguno de sus personajes.

El aspecto más evidente de “Cagliostro” es su convencional narrativa cinematográfica, perfecta desde luego para un filme de época con equilibradas dosis de aventura, un lenguaje cinematográfico clásico que tiene destacados elementos de estilo que toma prestados de otros géneros, como puedan ser, por ejemplo, las secuencias en donde Cagliostro muestra sus habilidades y trucos como mago ante un público atónito, planos repletos de oscuridad y misterio, preñados éstos de sombras Expresionistas.

En la corte real francesa todo es luminoso y al mismo tiempo, decadente; un escenario en donde la dirección artística brilla especialmente adecuándose perfectamente a dicho ambiente, una corte repleta de hipócritas y arribistas en donde la corrupción y la ambición se hallan por doquier, todo ello sabiamente expuesto de forma subrepticia por Herr Owald.

Especialmente destacable es también la última parte del filme cuando Herr Cagliostro, el cualo ha tenido que huir a Italia con su mujer Frau Lorenza, debido a un asunto en el cual están implicados un caro collar y Frau María Antonieta, serán ambos encarcelados y condenados a muerte, secuencias éstas especialmente conmovedoras y dotadas de un cierto lirismo romántico, sin olvidarse igualmente de su trepidante ritmo durante la huida de la prisión, destacando en todas ellas la luminosa fotografía a cargo de Herr Maurice Desfassiaux und Herr Jules Kruger.

“Cagliostro” es el excelente retrato de un arribista y aventurero, un retrato social también de la decadencia de la corte real francesa, un oscuro filme repleto de intrigas y acción, un excelente filme en una palabra, el cual a pesar de haber sobrevivido hasta nuestros día de forma parcial, todos los méritos artísticos conseguidos por el hábil y multilingüe equipo europeo involucrados en el mismo, se exhiben de forma espléndida.

Y ahora si me lo permiten, les tengo que dejar momentáneamente, pues este conde germánico tiene que prevenir a Frau Maria Antonieta de que no pierda la cabeza por éste su Herr Graf.

Herr Graf Ferdinand Von Galitzien

"Lonesome" (1928) By Paul Fejos

The big city was a very important inspiration for many silent directors who were infatuated with the thrill of its streets, the skyline and the daily life of its inhabitants.  This subject resulted in peculiar and fascinating city symphonies in many important European and Amerikan avant-garde oeuvres.

“Lonesome” (1928) can be considered too as a kind of city symphony, a beautiful film wherein a young couple will experience their special epiphany; a splendid oeuvre directed by Herr Paul Fejos, a European film director with an erratic and not very fortunate career.  Undoubtedly “Lonesome” is his masterpiece.

In “Lonesome”, as in other big city films, the course of daily life is depicted in detail.  This is especially true of the early scenes of the picture with its shots of industry at work and the continuous camera movement that mirrors the busy, on the go existence of the people and the movie’s characters. The young couple in the film led ordinary lives and work in mundane jobs, always looking forward to the afternoon off that will ease their stress. 

Herr Fejos uses the camera in an astonishing way especially in the fairground sequence ( Coney Island’s old Luna Park ).  Double exposures, imaginative camera angles, moving close-ups, camera constantly on the go, color scenes and alas!... even some fragments with sound!... The latter scenes make up the worst part of the picture throwing off its pace and emotional build-up ( this Herr Graf watched “Lonesome” many years ago without such sound fragments and  enjoyed the film very much more).  These weak sound scenes are an ominous portent of the end of the Silent Era and its magic.

Anyway, at this point is necessary to say that the longhaired youngsters at “Criterion” did a superb work of restoration with “Lonesome.” This Herr Graf hopes that such exemplary and laudable labor continues through the next years.

But such sound interludes don’t excessively harm the achievements and extraordinary strength of the images of “Lonesome.”  There are many emotionally moving scenes wherein the main actors, Frau Barbara Kent as Mary und Herr Glenn Tyron as Jim do splendid work full of sentiment and expressing the joy of living, a young couple alone in a big city desperately needing to find each other and share their lives and hopes forever. In this excellent picture Herr Fejos lyrically expresses their feelings and the need for hope in a soulless environment.

And now, if you'll allow me, I must temporarily take my leave because this German Count needs the companionship ( and the personal fortune ) of one of his rich Teutonic heiresses.

Herr Graf Ferdinand Von Galitzien

-/-

Las grandes ciudades han sido siempre motivo de gran inspiración para numerosos directores silentes los cuales quedaron prendados por la frenética actividad de sus calles, las siluetas de sus edificios y la vida cotidiana de sus habitantes, peculiares y fascinantes sinfonías urbanas que inspiraron numerosos e importantes filmes vanguardistas tanto europeos como americanos.

“Lonesome” (1928) también puede ser considerada como una peculiar sinfonía urbana silente, un bello filme en donde una joven pareja vivirá su particular epifanía; una espléndida obra dirigida por Herr Paul Fejos, director europeo de errática y no demasiado afortunada carrera, siendo “Lonesome”, dentro de su filmografía, su gran obra maestra.

En “Lonesome”, tal y como acontece en esos filmes en donde la gran metrópoli es un personaje principal, se refleja la vida diaria de esas enormes urbes, quedando reflejado de forma especial ya en el mismo inicio del filme en donde se muestran planos de su actividad industrial y el frenético deambular de los habitantes en sus calles, ilustrando así el exasperante ritmo del lugar en donde la pareja protagonista viven sus anodinas vidas, mostrando la rutina diaria tanto en sus apartamentos como en su lugar de trabajo, estresadas jornadas laborales que anhelan una tarde libre.

Herr Fejos utiliza la cámara de forma extraordinaria reflejando el envolvente torbellino de la frenética actividad diaria de una gran urbe, así como el ansiado tiempo libre que nuestra joven pareja pasará en la playa y especialmente en un parque de atracciones, un segmento éste en donde el director muestra su especial maestría para generar recursos tanto técnicos como dramáticos.

Imaginativos e emocionantes primeros planos, escenas coloreadas, sobreimpresiones, una cámara en continuo movimiento e incluso, ¡oh, maldición!, algunos fragmentos ¡con sonido!... ciertamente la peor parte ésta del filme al restar dichas secuencias emoción y ritmo a la historia del filme ( éste Herr Graf pudo contemplar “Lonesome” hace ya muchos años sin esos dichosos fragmentos sonoros y desde luego el filme fue recibido igualmente con el mismo entusiasmo ), o la evidencia de que la llegada del cinema sonoro puso un terrible final a la magia y forma de cómo se elaboraban los filmes silentes.

A pesar de ello, es necesario destacar que los jóvenes melenudos de “Criterion” han hecho un magnífico trabajo de restauración con “Lonesome”, esperando éste Herr Graf que tan ejemplar trabajo continúe a lo largo de los próximos años.

Pero esos interludios sonoros no dañan en exceso los grandes logros y la extraordinaria fuerza de las imágenes de “Lonesome”, un filme repleto de innovadores recursos técnicos complementados éstos con emocionadas escenas en donde los actores principales, Frau Barbara Kent como Mary und Herr Glenn Tyron como Jim, elaboran un espléndido trabajo repleto de sentimiento y alegría de vivir, una joven pareja que se encuentra sola en la gran ciudad y busca de forma desesperada a alguien con quien compartir para siempre su vida y esperanzas.

“Lonesome” es una excelente película moderna, una maravillosa pieza de arte silente en donde se refleja de forma ejemplar la soledad y desamparo del ser humano en la gran ciudad y sus deseos por encontrar un alma gemela, consiguiendo Herr Fejos transferir a la pantalla silente de forma ciertamente extraordinaria tan poderosos sentimientos repletos éstos de lirismo y esperanza.

Y ahora si me lo permiten, les tengo que dejar un momento, pues este conde germánico necesita de la compañía ( y fortuna personal ) de una de sus ricas herederas teutónicas.

Herr Graf Ferdinand Von Galitzien

Georges Méliès's Robinson Crusoé Film Resurfaces In Pordenone

     Any silent film fan worthy of the name, should never give up hope about the possibillity of finding some of those silent nitrates hiding in the cellar of some of your grandfathers...

  

Georges Méliès's Robinson Crusoé film resurfaces in Pordenone

Spreading his wings … Georges Méliès in a film in which he turns a sleeping woman into a butterfly. Photograph: Hulton Getty

Wednesday 10 October 2012

Restored on 35mm and with a new score, this ambitious piece tells us much about the director and his methods

     
One hundred and 10 years ago, though, Méliès was a worried man. In the first place, he was dismayed by the pirate copies of Voyage that were being shown in the States. American film-maker Thomas Edison had his technicians make copies on the sly, which he then distributed without paying any fee to Star Film, Méliès's studio. It was a worrying development, and one that contributed ultimately to Méliès's bankruptcy in the following decade. Added to his financial worries, Méliès had the pressure of creating a followup that could contend with Voyage's indelible image of a rocket spearing the eye of the man in the moon.

In today's cinematic landscape of sequels, prequels and trilogies filmed back-to-back, Méliès' decision seems a bold one: his next film wasn't science fiction, nor was it really like anything else he ever made. Les Aventures de Robinson Crusoé is an adaptation of Daniel Defoe's classic novel, and while it features trick photography, pyrotechnics and elaborate set design, they are here put to work in telling the story, rather than for their own colourful sake: this, Méliès said, was a "cinematographic play" rather than a series of "fantastic tableaux". "It's really an exceptional piece of narrative for that period," says Robinson.

For more than a century, all we have been able to see of Crusoé is a short black-and-white scrap, but last year a near-complete hand-coloured version was found in a donation of nitrate reels made to the Cinémathèque Française. The 4k restoration of Crusoé (12 and a half minutes of the 15-minute original) debuted on 35mm at the Giornate del Cinema Muto in Pordenone with a new score by Maud Nelissen – and it has much to tell us about Méliès and his methods.

The story plays out across 25 scenes, culminating in an "apotheosis" sequence; the inspiration for the film's design comes from Grandville's classic 1840s illustrations for the novel, although Méliès enlivens these with colour. As Robinson explains: "Never have we seen a Méliès film with the colouring so intact, and not just ordinary colouring but colouring which is used in a really dramatic way: for the gunshots, the lightning and things like that."

Painted on by hand, meticulous brushstrokes add skin tones, foliage and even the vivid plumage of a tiny parrot. The garishly coloured costumes of the cannibals who attack Crusoe and Friday, the flames with which the traveller attempts to attract help, a sunset and the aurora that surrounds our heroes in the final frame all invigorate the story – and these rich or delicate colours are also beautifully translucent when projected on film. The anonymous colourists used the same aniline colours that were used to decorate slides for magic lanterns, one of the cinema's closest ancestors.

The combination of elaborately designed and constructed sets, populated by actors and animals and overlaid with coloured ink, brings to mind a picture book come to life – it's very similar to the impact of modern films that combine live action with animation or CGI. But opposed to the supposed perfection of digital enhancements, there is an extra frisson in being able to see the stray splashes of paint. Watching Crusoé, you can marvel at the effects, and the work that went into them.
And make no mistake, Méliès has no intention of hiding his light under a bushel, or of being ripped off again. The copyright difficulties he encountered on his previous film are sidestepped by a cinema history first: the practical, if inelegant, innovation of placing the studio trademark in the film itself.

There are no dialogue captions or intertitles here, so the Star Film logo is displayed prominently in the scenery, nestled among the trees on Crusoe's island, or perched on the wreck of his ship.
Méliès plays the lead too, though his features are all but hidden by a wild, shaggy wig and beard. An unknown actor plays Friday in blackface, tumbling and bumbling through a performance that strikes an inevitably unpleasant note.

One of the most fascinating aspects of this restoration, however, is that the narration that would have accompanied the film at its screenings has survived also. The commentary for Voyage also exists, but is rarely performed. The "boniment" was probably written by Méliès, and while it narrates the onscreen action ("the ship returns Robinson and Friday to the port of Southampton amid cheers from the crowd"), it also immodestly digresses to highlight the film's achievements, and the genius who created them.

At the Giornate, the commentary was delivered, in an English translation, by Paul McGann, and as Robinson says, it is not just entertaining, but a historic document from the era of the cinema of attractions, and one of the many aspects that makes Crusoé such a precious find: "Here is someone actually saying: 'I am making a play.' No one was making a play [on film] in 1902."
Méliès is also keen to draw attention to his technical innovations: "A thunderstorm breaks forth and dazzling lightning illuminates the rocks and landscape. This new effect in cinematography is obtained by an entirely new method never before utilised, and is of the most strikingly realistic character, the flashes of lightning being an exact counterpart of those in nature, and lends a wonderful sense of realism to the picture."

It may be an overstatement, and it raised a ripple of chuckles at the Pordenone screening, but it's not just vanity – that's the sound of a man trying to maintain his reputation, and to defend his livelihood.

• The 31st Giornate del Cinema Muto continues until Saturday 13 October.

Published in "The Guardian".