The Sunday Intertitle: Not Me
Strange title card from SHOOTING STARS (1928). This one has strange credits, also — it has a scenario by one John Orton, it’s directed by one A.V. Bramble, but it has in addition a non-specific authorial credit — “By Anthony Asquith.” Since Asquith is known to us a director, one tends to ascribe him credit, but heaven knows how the workload was actually divided.
I like A.V. Bramble because his name is A.V. Bramble.
Sad to say, the astounding A COTTAGE ON DARTMOOR is unique in the Asquith oeuvre, a Germanic, doomladen, yet quirky drama. A late silent, it contains a naughty parody of early talkies — and then Asquith plunged into talkies himself and immediately came to embody the British tradition of quality, making respectable, theatrical, well-acted movies which are kind of D.O.A. from a cinematic perspective. I don’t know, I have a vague plan to attempt to watch THE V.I.P.S sometime, just to see if it’s really as dull as I remember (I remember it as eight hours long and entirely composed of actors in an airport doing their income tax. Possibly this is a distorted memory.)
But if COTTAGE is the one supernova in Asquith’s career, UNDERGROUND has quite a lot of verve and makes London’s subway into an epic adventure setting, and SHOOTING STARS is the other lively one, with much to commend it. (I’d be very interested to see his other silent, THE RUNAWAY PRINCESS if that ever becomes possible.) Like UNDERGROUND this has the star quality of the underrated Brian Aherne, and character actor Donald Calthrop (Hitchcock’s BLACKMAILer), and its setting behind the scenes of the British film industry immediately endears it to silent movie buffs. The fact that we’re introduced to the crew as they shoot a western just makes it better. British westerns are so scarce that there’s no slang name for them — “fish and chips western” has occasionally been bandied about, but apart from CARRY ON COWBOY there’s very little to apply it to (HANNIE CALDER and A TOWN CALLED BASTARD are the others that come to mind. “The crookedest film I ever did,” was Dudley Sutton’s verdict on the latter).
There are a few moments where Asquith runs mad, creatively, too, such as his subjective camera swinging-from-a-chandelier shots…