Crainquebille (1922)

The Cinema Museum logo As part of the regular monthly ‘Kennington Bioscope’ night, this feature was presented along with a number of short films, with an intermission between them. Piano accompaniment was provided by organisers Lillian Henley and Cyrus Gabrysch for the shorts, and by renowned silent film accompanist and concert pianist Costas Fotopoulos for the feature.


SPECIAL SCREENING FILM REVIEWS | Seen at Cinema Museum, London, Wednesday 26 March 2014

Crainquebille (1922) || Director/Writer Jacques Feyder (based on the novel by Anatole France) | Cinematographers Léonce-Henri Burel and Maurice Forster | Starring Maurice de Féraudy | Length 76 minutes || My Rating 3.5 stars very good

© Pathé

The more silent films one watches, the more one realises there’s a huge range of expression beyond the kind of hyperactive slapstick we’ve at length come to associate with the era (though some of the shorts, see below, fulfil this function more than adequately). Instead with this film, we see Belgian director Jacques Feyder expressively try his hand at a kind of proletarian social realism, with moustachioed Maurice de Fléraudy playing an honest working class protagonist ground down by the unfeeling, pettifogging machinations of the authorities. In this respect, it’s not unlike, say, Bresson’s L’Argent (1983), in which a chain of minor events build into tragedy, but the film I’m most minded of is Fassbinder’s Händler der vier Jahreszeiten (The Merchant of Four Seasons, 1971), which also centres on a street peddler pushing around a cart of groceries.

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The Return of Draw Egan (1916) / The Lighthouse by the Sea (1924)

The Cinema Museum logo These two full-length features (albeit short by modern standards) were presented with a short film and some amusing historical anecdotes by the film historian Kevin Brownlow to a packed audience of avid silent film fans at South London’s Cinema Museum, part of the regular ‘Kennington Bioscope’ night. Piano accompaniment was provided by Lillian Henley for ‘The Passer-by’, Cyrus Gabrysch for William S. Hart western ‘The Return of Draw Egan’, and John Sweeney for the Rin Tin Tin adventure ‘The Lighthouse by the Sea’. Although on such a sweltering Summer evening it was warm in the room, the evening was enjoyable enough that any discomfort was almost forgotten. As these were prints from Brownlow’s private collection they may not have been in the best condition (and their running time may have differed from the times given below), but all were projected very capably by the Cinema Museum staff. I should be clear that my ratings and reviews below are a rather futile attempt to judge the films like any others I’ve seen this year, and though they may have been hoky melodramas, the evening was superbly enjoyable and I’m glad to have seen all three.


SPECIAL SCREENING FILM REVIEWS | Seen at Cinema Museum, London, Wednesday 4 September 2013

The Return of Draw Egan (1916) || Director William S. Hart | Writer C. Gardner Sullivan | Cinematographer Joseph H. August | Starring William S. Hart | Length c50 minutes || My Rating 2.5 stars likeable

© Triangle Distributing

By the time this Western was made, a couple of years into his film career, William S. Hart was already in his 50s but also one of the biggest box office draws in the country. Of course, the ‘Draw’ which is his character’s nickname in this film is less to do with his popularity, as with his quick-draw skills. Despite this, the life of an aging gunslinger is a solitary one, and Hart basically inaugurated the kind of weathered frontier cowboy image that would become a staple of the genre, tracing a direct line through to — taking some random examples — Randolph Scott’s collaborations with Budd Boetticher in the 1950s, or Clint Eastwood’s hard-bitten outlaw in Unforgiven (1992).

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