Two-dimensional chess

Raymond Bernard’s original THE CHESS PLAYER beats Jean Dreville’s remake hands-down, even though the remake has Conrad Veidt and is ace. It’s not because, unlike Dreville, Bernard understands the left-to-right rule and can apply it. But many of the bits of the remake that are faithful to the original but don’t quite work, like the intercutting of two climaxes, work like gangbusters in RB’s silent.

Veidt is a great uncanny presence for Dreville, but Bernard has Pierre Blanchar and Pierre Batcheff, a cheekbones-and-chin combo that could kill at a distance. Plus the creepy Charles Dullin, far less ingratiating than Veidt but very effective in his stealth sympathy. And Édith Jéhanne, very lovely and more interesting than in her other big film, Pabst’s THE LOVE OF JEANNE NEY.

As in the later LES MISERABLES, Bernard breaks out the hand-held camera for his battle scenes, a technique that seems to have been part of the French cinematic pallette — see also LA MERVELLEUSE VIE DE JEAN D’ARC — only to be forgotten until Welles reinvented it for CHIMES AT MIDNIGHT.

Almost certainly the best film about automata and Polish independence.

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