Heaven at Either End

Fiona declares these to be cinema’s best sunglasses.

Thursday’s other screenings:

The one film in the John Stahl series we didn’t see was WHEN TOMORROW COMES, which has a cast of our favourite people… we’ll see it post-Bologna and report back.

The Marcello Pagliero season passed me by, except that I wasn’t about to miss LES AMANTS DE BRASMORTS since it was billed as a misty, melancholic drama about the lives of barge workers. It’s my view that you can’t make a bad film on a barge. You may not do it. This one was very fine, apart from a slightly confused happy ending. Barge movies, like films noir, are generally stronger when they turn out bleakly, though even when they don’t, they sort of do, because your lovers’ reconciliation is, after all, being staged on a fucking barge.

Friday started at the more civilized hour of 9.30 am with the stone-cold masterpiece that is LEAVE HER TO HEAVEN, screened in a vintage (sixties) Technicolor print. In sert the words lustrous, lambent and amber into the following paragraph at random. Leon Shamroy’s cinematography didn’t look as intensely-coloured here as it has on home viewings, but the size, the audience response and the atmosphere added to the movie’s power.

That movie filled our whole morning, meaning, for example, that we couldn’t see Boorman’s LEO THE LAST, which also a very beautiful show, with the richest assortment of browns I’ve ever seen. I bet the big-screen experience would have been wonderful, even if the movie itself has problems. It shows why Marcello Mastroianni was never a big star in English-language films.

Then we bumped into Angela Allen, John Huston’s favourite continuity girl, and had lunch with her, where she was fabulously indiscreet. I’d first inveigled my way into her confidence last year, and was thrilled to meet her again. But I won’t dish the dirt. Angela was planning on seeing LIGHTS OUT OF EUROPE, newly restored by MOMA, a 1940 documentary by Herbert Klein, partially shot by a young photographer named Douglas Slocombe. Alas, Slocombe passed away at 104 before he could see this magnificent restoration of his first movie.

We’d been thinking of seeing Rene Clair’s LES DEUX TIMIDES, which has been very well received, but we switched to the Klein film to hang out with Angela, and couldn’t regret it. Extraordinary footage, gather by Slocombe in hazardous conditions — he’d gone to Danzig in 1939 to film conditions, and was there when the Nazis invaded, getting out by the skin of his teeth. Had he not done so, somebody else would have had to shoot IT ALWAYS RAINS ON SUNDAY, KIND HEARTS AND CORONETS, THE SERVANT, THE MUSIC LOVERS and RAIDERS OF THE LOST ARK.

The movie screened with Joris Ivens’ LA SEINE A RECONTRE PARIS, scripted by Prevert. I now have to see everything Ivens ever made. I was impressed, let’s say.

Then we saw Bette Davis’ assistant giving an interview and plugging her new book, which we’re told Bette commanded her to write. Well, better write it then. What took you so long? One wouldn’t want Bette’s shade performing a vengeful haunting, would one? Well, maybe just a little.

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via GIPHY

Fiona ran out of juice at this point and hit the hay, or what passes for hay at our modest pensione. I went on to Buster Keaton’s THE SCARECROW and GO WEST, with music from Neil Brand (piano) and Frank Bockius (percussion, slide whistle et al). While the day’s final show was highly emotional and had a magnificent score, it was this screening that brought a tear to my eye. There’s a lot of discussion about whether GO WEST is chaplinesque sentiment or a parody thereof. I think it’s something different from either — Keaton invites you to laugh sympathetically at his character’s misfortunes, and the whole first act is misfortunes. It’s closer to what Harold Lloyd does with THE FRESHMAN. He doesn’t stop the comedy in order to aim for tears, as Chaplin will (with lightning-fast transitions of tone). When Keaton, bilked of everything he owns, sits down next to a dog, and tentatively pats its head, and the dog turns tail and walks off, we’re meant to laugh, not cry.

The emotional whammy, which had never happened to me on previous screenings, came when Keaton finally makes a friend, Brown Eyes the cow. By playing this moment TRIUMPHANTLY, Brand and Bockius unleashed all the sorrow of the previous scenes which Keaton had suppressed. It took me by surprise, which is always a good way to disarm. I blinked away a manly tear, stinging with sun-block.

Then I was off to the Teatro Communale — pictured — Bologna’s epic opera house — for SEVENTH HEAVEN, likely to remain the highlight of this fest. A great silent movie in a new, Foxphorescent restoration and an orchestra playing Timothy Brock’s new score and a spectacular setting and the company of Meredith Brody and Gary Meyer are a hard combination to beat. I hope to say more about this experience, but right now words fail me, as they must always do when the subject is a Frank Borzage masterpiece.

 

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5 Responses to “Heaven at Either End”

  1. Marcello was never a big star outside of Italy and France (and at the last Portugal) because our childish audiences cannot countenance a passive male protagonist. Marcello’s ability to sit back and observe as the world whirls around him is a key to his art. “Leo the Last” is a sorely neglected masterpiece.

  2. Vincent Price’s shades in The Tomb Of Ligeia are pretty awesome too.

  3. Agree re Price.

    With Marcello, there’s also the fact that his accent was VERY strong in English. And he wasn’t always passive: in Lucky to be a Woman he’s quite the go-getter, though he never gets anywhere with Loren until the final shot (the poster for Il Cinema Ritrovato this year).

  4. Ivens is magnificent. I actually saw a huge collection of his stuff earlier this year, courtesy of this boxset available at the nearby library system (https://www.amazon.com/Joris-Ivens-Collection-1912-Rotterdam-Europoort/dp/B006UTC01C). It includes shorts with english subtitles and on occassion english VO. It includes a number of his major stuff (not complete but about 60%) and since Ivens’ made mostly shorts and his features aren’t long, it’s not time consuming to clear out at all. My favourites include The Seine Meets Paris, Pour le Mistral, The Spanish Earth, The 400 Million, A Valparaiso (with Chris Marker providing text).

    Ivens also made some films in Maoist China during the Cultural Revolution which manages to be compelling human achievements despite all the baggage that involves. The Pharmacy #3 is a great documentary in every sense.

    His masterpiece is his last film, co-directed with Marceline Loridan, A Tale of the Wind. It’s not a pure documentary or essay film but it’s one of a kind.

  5. Hours of fun ahead of me!

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