Hello my little carts before the horse, I’ve still got a ton of editing to do so here are some original, silent Surrealist and Dada films. Toodle pip!
Directed by Rene Clair (though multiple people worked on the project), this was first shown during the intermission of a Swedish ballet at the Theater of Champs Elysées in Paris. Erik Satie provided the music for this and the ballet on the night.
Directed by Teinosuke Kinugasa, Jujiro (Crossroads) was the most successful Japanese export to the West before Rashomon. Kinugasa belonged to the Dada and Surrealist influenced art collective Shinkankakuha (New Sensationalists).
I couldn’t find a copy with English subtitles, sorry!
The Life and Death of 9413 A Hollywood Extra (1928)
I’m fascinated by the dark side of Hollywood (aren’t we all?) so this might be my favourite. Directed by Robert Florey and Slavko Vorkapić, the film was inspired by Florey’s own Hollywood experiences and features early use of Vorkapić’s film-making invention, the montage. Made in America, it was very successful.
The Seashell And The Clergyman (1928)
Touted now as the first surrealist film, Germaine Dulac’s film was overshadowed at the time by Un Chien Andalou, made a year later, and was not well received. Dulac’s films often featured feminist themes.
Emak Bakia (1926)
Man Ray is one of my favourite surrealists, possibly because of his amazing fashion photos. Kiki of Montparnasse (Alice Prin) makes an appearance, the artist’s model, nightclub singer, memoirist, painter and all round fabulous 1920s bohemian. Emak Bakia means Leave Me Alone in Basque.
Oh my God…it’s too hot…forgive me for not being my usual witty, raconteur self (what do you mean? Yes I am) but it’s just too hot to think.
You’d be forgiven for thinking the silent film era consisted entirely of Hollywood flappers and prat-falling comedians, but you’re WRONG! Not that I don’t love those films too, but there’s more you may not have seen.
Raja Harishchandra (1913)
This is officially India’s first feature length film. The footage starts with a bit of info about director Dadasaheb Phalke (D.G. Phalke) including scenes of him directing, before launching into the legend of a king, a wise man, and loads of sacrifices.
Within Our Gates (1920)
Oscar Micheaux is considered to be the first African American feature film director. Within Our Gates is a massively important film because it looks at life for the black American in times of lynching and other atrocities, leading you to question how far we have really come, making it the perfect antithesis to D W Griffith’s Birth of a Nation.
A Page of Madness (1926)
This film is beautiful insanity, quite literally. A man goes looking for his wife in an asylum, and…you know, I’m not too sure as there are no intertitles, but it’s really worth watching.
It was made by an artist collective called The Shinkankakuha (or School of New Perceptions). No one else knew of it’s existence until it was found in a warehouse in 1971.
The Goddess (1934)
Wait, you say, 1934?! The Chinese film industry transitioned to sound a lot later than other countries, thus actress Ruan Lingyu, known in Western parts as ‘The Chinese Garbo,’ remained silent for much of her career. Sadly she committed suicide at only 24.
Written and directed by Wu Yonggang, this tale of a prostitute trying to raise her son was his directorial debut.
Barsoum Looks For A Job (1923)
This Egyptian comic short is the epitome of independent film making, as director Mohamed Bayoumi did pretty much everything but star in it. Aside from being a simple story of friends competing for jobs amidst comic misunderstandings, it’s interesting for having a Christian actor play a Muslim and Muslim actor playing a Christian. I think he was making a point there about tolerance.
Flush with newfound wealth and stardom they partied hard – to the chagrin of studio moguls keen to raise movies from a penny arcade novelty into a viable business. In the late twenties the onset of sound was used against performers if there was so much as a whisper of bad press. “Her voice wasn’t right,” was the general excuse for firings, “people would have laughed.”
These books pick through that era of dread and anxiety, beauty and art. It’s my top 6 books on silent movie scandals!
Each character and the part they played in both the murder and Hollywood at large is vividly explored from a low down blackmailer to madly ambitious mogul Adolph Zukor, and we really get into their heads without straying too far into fiction. Recovering cocaine addict and scandal magnet Mabel Normand is entertaining to read all by herself, as is Taylor’s manservant Henry Peavey. What he suffered at the hands of the press because of his skin colour is appalling, though sadly not surprising.
All in all, if I did a rating system (probably using kittens), this would be high up there. If you’re after further reading the author cited the Taylorology site as a useful resource.
Here’s a brief overview of the case and those involved:
2. Lulu in Hollywood by Louise Brooks.Lousie Brooks was an actress and dancer with a keen observational eye. In this collection of articles she wrote for film magazines she takes us on a sparkling tour of the twenties, a world where producers were offended if an actress wouldn’t sleep with them for a part (which I’m sure still happens) and talking pictures were an impending boogyman.
Hollywood had a low opinion of starlets and you can imagine the egos shattered by a conversation with straight-talking Louise. She wasn’t a girl to fawn over someone just because they could advance her career, which proved her downfall. Her story highlights how unfair a closed rank system can be.
However, luckily for us, she made a clutch of dark European movies. Pandora’s Box by GW Pabst was one of them, a film deemed so scandalous that, after cutting, only ten minutes was shown in some American cinemas. It’s the story of her own life, she says, from carefree nymph to lonely derelict.
After a few years attempting a comeback and wandering the earth as a regular person, she found her voice as a really wonderful writer who makes you feel as if she’s popped round with some bathtub gin for a chat. Her wit and humour lightens this sort-of autobiography in which she candidly shares Pabst’s frustrations at her flightly nature as well as thoughts on the stars and moguls of the day, including Charlie Chaplin and Clara Bow.
However the book is a little unclear when remarking on creator Benjamin Christensen’s personality. Here’s a little example: “Christensen had always believed that actors must immerse themselves in their roles. What then might the Devil demand of young, attractive witches in exchange for Supernatural favours? …They would do anything for a pile of gold. What would they do in real life for the pile of gold of becoming famous movie stars?”
He may well have exploited young women but with evidence like that who knows? There’s no quotes from actresses or anybody else. You could as easily say that anyone working in a cake shop will definitely store cakes around the back and stuff them into their mouths late at night whilst weeping (that’s in no way autobiographical).
Despite this there are some amusing stories, such as the old lady (Maron Pederson) almost fainting when entering Christensen’s office and finding him painted as the Devil for his role in the film. Maron Pederson was a ‘real’ superstitious woman Christensen had met selling flowers and brought in for authenticity. When I watched the torture scene I felt sad and upset for her and perhaps now I know why. Actor Ib Schonberg said on witnessing the scene being filmed that the director had fastened a leash onto the woman’s leg which “he pulled in order to get her to move toward or away from the camera.”
The entirety of filming seems to have been an extreme and hallucinatory experience. Actress Alice O’Fredericks said “I was 17 years old and involved in that shocking scene in which thirty or forty nuns went amok…Afterwards, when we were all level-headed again, we found it all to be extremely upsetting. We were really bizarre.”
The polarised reactions are also examined, from accusations of “Satanic perversity and gruesomness” to simply being “gloomy.” No-one had ever seen anything like it. Academics and the later Surrealists, however, praised it and a version was released in the 60s with William Burroughs providing commentary. The general opinion now is that it’s the high point of his career.
The writer clearly loves silent film and it shows, with many chapters serving as a background to the burgeoning industry and the careers of Roscoe “Fatty” Arbuckle and Buster Keaton.
Both Roscoe and Virginia Rappe quite probably (nobody can ever really know what happened for certain) wound up as victims when an unfortunate night turned scandal of the decade because of those with their own agendas. First were the would-be blackmailers who arrived at Roscoe’s hotel room for a party, and secondly was the Temperence Society determined to clean up the ‘sinful’ moving pictures using the incident as an example. The reputations of Roscoe and Virginia have suffered unfairly, from Virginia’s denouncement as a ‘carrier of venereal disease who died of a botched abortion’ to ‘Fatty the Destroyer of Women.’ Room 1219 is sensitively written and cuts through both both myths.
Clips of Virginia Rappe in His Musical Sneeze 1919
It doesn’t only focus on silent films, instead branching out into Marlon Brando’s mumbling and Bogart’s affair with Lauren Bacall among others, but I think we can agree classic Hollywood is classic Hollywood and each tale of misdeeds is as interesting as the next. One of the silent chapters looks at the hapless Clara Bow in greater depth, a woman Petersen describes as “so … MODERN. Like she could be a star today. It’s her movement, her eyes, the way she flirts with the camera.”
Unfortunately her time at the top was hampered by a tendency to be honest about her humble New York beginnings as well as a penchant for men, alcohol and gambling. It shouldn’t have been a problem, really, as long as she was making films people enjoyed, but even today people have a strange demand for abstinence from their stars. Things came to a head after the crash of 1929 and a series of high profile accusations leading to a court case.
Here’s a clip from her 1927 hit It (so named after author Elinor Glyn was asked by publicists to say that Clara had “it,” or sex-appeal, thus making her the first ‘it girl’):
6. Ruan Ling-Yu: The Goddess of Shanghai by Richard J Meyer. I must confess I haven’t read this book on tragic Chinese actress Ruan Ling-Yu, or “The Chinese Garbo” as she was known in Western parts, so I can’t really recommend it. However I will get it when my budget allows. She committed suicide at just 24 after a flood of bad press regarding her extra marital relationship (she was seperated from her gambling husband) and her acting and films were critized. The Goddess is probably her most famous film.