Pour Don Carlos (For Don Carlos, 1921)

This 90-minute feature may have been cut down from a much longer original, but even what survives has had to be painstakingly put together by a team of restorers from various Cinemathèques, resulting in what was presented at Il Cinema Ritrovato as a work-in-progress. Truthfully I found the historical drama aspects difficult to follow, and there’s a lot that writer/director/star Musidora attempts to fit into this story of a political conflict over bringing Don Carlos (Charles VII) to the Spanish throne in the 1870s. However, Musidora clearly had a love affair with Spain (just as the camera has with her), as she returned to that setting for other films she made in the 20s. Here, she plays a supporter of Don Carlos called Allegria, and for much of the first half of the film is dressed resplendently in a military uniform, cutting quite the gloriously dashing figure. There’s a second section where she’s a poor peasant woman trying to free a colleague from captivity, which comes on rather suddenly, and wasn’t quite as compelling, but Musidora remains a charismatic screen presence.

A lady is accosted by a military officerCREDITS
Directors Musidora and Jacques Lasseyne; Writer Musidora (based on the novel by Pierre Benoît); Cinematographers Frank Daniau-Johnston and Léonce Crouan; Starring Musidora, Stephen Weber; Length 90 minutes.
Seen at Cinema Lumière (Sala Mastroianni), Bologna, Wednesday 26 June 2019.

Les Vampires (1915-16)

The silent film serial is sort of like a precursor to the modern TV mini-series, but feels like it must have its roots in the serial publication of novels so popular in the 19th century. Les Vampires, too, was wildly popular in its time (although not with the contemporary critics, who dismissed its vulgarity), and it’s still possible to make out some of that excitement even through the almost hundred years of distance from us. Indeed much of its frontal staginess now seems quaintly archaic, though Feuillade was no slouch at composing his shots, even when writing and filming at such speed. There’s some great use of depth, as well as occasions when the camera is unmoored to present such scenes as a car chase through suburban streets. There’s a good use of location filming in and around Paris, as well as a formal playfulness, as our journalist-detective and hero Philippe (Édouard Mathé) and particularly his put-upon sidekick Mazamette (Marcel Lévesque) break the fourth wall to gesture towards the audience when things are getting particularly heated. To try and summarise the plot of 10 episodes’ worth of cinema would be futile, suffice to say it involves the titular criminal gang, who are not in fact vampires, but rather masked hoodlums — not just literal masks as frequently modelled by one of their key associates, Irma Vep (the delightful Musidora), not averse to prowling around Catwoman-like, but also the masks of respectable society figures like lawyers and aristocrats. The gang has inveigled itself into polite society, where it is causing particular havoc. The focus on this piercing of middle-class respectability hints at a political undertow on the part of Feuillade, who has a critical eye cast towards society’s entitled plutocrats and which is no doubt part of what resounded with popular audiences at a time of European war (and perhaps raised the hackles of establishment critics). However, even without this layer of social commentary, it’s still an enjoyable watch once it gets going for all its mystery thriller twists and turns, though not one perhaps for which you’d want to clear seven hours in one sitting.

Les Vampires film posterCREDITS
Director/Writer Louis Feuillade; Cinematographer Manichoux; Starring Musidora, Édouard Mathé, Marcel Lévesque; Length 417 minutes (in 10 episodes).
Seen at home (DVD), London, Saturday 25 October 2014.