After some genre-defining silent films (which we’ll get to much later on in the Criterion Collection), Austro-Hungarian émigré director Josef von Sternberg did a run of films with Marlene Dietrich — the first in Germany (The Blue Angel, 1930) but the rest in the United States. In some ways these defined something else in cinema, every bit as important as a narrative structure, which is a sense of the fetishisation of the actor as icon. Obviously there had been stars before Dietrich, but the quality that Sternberg gets across in his run of films with her is something else, something more profound, something almost magical. His penultimate film with her was The Scarlet Empress, and alongside the shimmering beauty of Dietrich — the burnished close-ups, the flamboyant dress — this must rank as some kind of masterpiece of set design. Every image is crammed with baroque detail, every shot framed by grotesque sculptures presiding creepily over the action. This latter largely revolves around Dietrich on her road to becoming the Empress Catherine II, “Catherine the Great”, married into Russian nobility (the mad Peter, played with wide-eyed intensity by Sam Jaffe) and learning the ways of the court and methods of extending her power. The camerawork and lighting is bravura, but it’s those stylish set touches that only heighten the film’s giddy campness and emphasise how much Sternberg has given to the cinema in the 20th century. Stars would never again shine quite as brightly.
FILM REVIEW: Criterion Collection Director Josef von Sternberg; Writer Manuel Komroff (based on a diary by Catherine II Екатери́на Алексе́евна); Cinematographer Bert Glennon; Starring Marlene Dietrich, John Lodge, Louise Dresser, Sam Jaffe; Length 104 minutes.
Seen at a friend’s home (DVD), London, Sunday 31 July 2016 (and earlier on VHS at home, Wellington, April 2001).
Sunday 16 October was the last day of London Film Festival, sadly, and I only had two films to see, at a fairly leisurely pace, so I even got to sit down for lunch.
A Woman of the World (1925, USA, dir. Malcolm St. Clair, wr. Pierre Collings, DOP Bert Glennon)
It’s not perfect, and moves all too easily into broad melodrama, but there’s a lot of genuine charm to this Pola Negri vehicle. Small town hypocrisy has always (always) been an easy target, but Negri with her — shock! — continental smoking ways and skull-shaped tattoo is a delight. She’s clearly a great actor for sly sideways glances and eye rolls at the ridiculousness of everyone else, but there’s a bumbling old chap with an enormous moustache and a great tattoo reveal of his own to match her in the later stages. Definitely good fun.
Women Who Kill (2016, USA, dir./wr. Ingrid Jungermann, DOP Rob Leitzell)
A sort-of-indie-comedy sort-of-thriller, this film attempts a difficult balance of competing tonal registers. I don’t think it always succeeds, but it has a dry humour, not to mention the presence of Sheila Vand, who proved she could do a darker character in A Girl Walks Home Alone at Night, hence she’s well cast here. In truth I was expecting something more along the lines of Jungermann’s web series The Slope (set in the gentrified Park Slope area of Brooklyn) and its co-creator Desiree Akhavan’s Appropriate Behavior. That it didn’t quite do the same thing is hardly a criticism — there’s only so many brittle takes on Brooklyn lesbian hipsterism one needs (though I adored Appropriate Behavior) — and it does revisit some familiar terrain in the Co-Op, but overall the horror-tinged mystery aspect is I suppose a fertile metaphorical terrain for dealing with post-break-up anxieties. Plus the leads nail their NPR/Serial-style podcasting voices for their premise.
A lot of the more prominent films that Hollywood made at the outset of the sound era, before the enforcement of the Production Code, dealt with such outré topics as sexuality and violence. These are the ones that still grab the column inches, whether it’s the amoral bloodshed of Scarface (1932) or the sexual liberation of Baby Face (1933). However, Gabriel Over the White House manages to be an equally outrageous film without any of these more saleable elements, but instead uses the allure of autocracy to transform its vision of America. In his Roosevelt-like reforming zeal, the President played here by Walter Huston looks brazenly towards dictatorship to push through the necessary reforms following years of Depression. It’s the kind of plot outline that reads like satire, but presented here as divine inspiration (hence the title), the film seems totally onboard with the proposed ideas, as the President bypasses Congress to push through his bold measures. That said, it’s a patchy piece of filmmaking and modern audiences will struggle to take it as seriously as the filmmakers, but then we have the benefit of hindsight.
SPECIAL SCREENING FILM REVIEW Director Gregory La Cava | Writer Carey Wilson (based on the novel Rinehard by Thomas Frederic Tweed) | Cinematographer Bert Glennon | Starring Walter Huston, Karen Morley, Franchot Tone | Length 86 minutes || Seen at BFI Southbank (NFT1), London, Friday 23 May 2014