The Sunday Intertitle: Dramatis Personae
Reading about cinematographer and effects artist Eugenio Bava in Tim Lucas’ magisterial study of his son Mario encouraged me to look at the 1912 QUO VADIS?, which he shot. It begins, in a manner familiar from many silent films but relatively new at the time, with the cast, represented by title cards and then by portrait shots, allowing the audience to know who they were watching. Very early silent films had no titles, but the audience’s appreciation of certain stars led to a demand to know who they were. Nowadays, it seems like everybody from the caterer to the wallpaper designer gets a credit, but in fact this is not show — really big movies still leave out the names of probably half the people who worked on them. Thank God.
Each of the portraits in QUO VADIS? starts with the actor looking off screen right, then each thesp slowly turns until they are looking right at the camera. The effect is of scanning the movie audience for a particular face, and then stopping once they’ve located US. After a while (cast of thousands = long title sequence), this started to creep me out very slightly. I’m not normally bothered by the fact that movies are populated by dead people, but these ambulatory corpses seemed to know too much. And they were being a bit over-familiar, if you ask me.