Archive for October 3, 2021

The Sunday Intertitle: Blackmail and Female

Posted in FILM, MUSIC with tags , , , , , , , , , on October 3, 2021 by dcairns

Pordenone Festival of Silent Film has started, and we’re attending virtually, which means we don’t get Lubitsch’s LADY WINDERMERE’S FAN, but I guess that’s OK as I’ve seen it. We do get the very interesting JOKEREN/JOKER, from 1928, a Danish production from Nordisk with a German director, Georg Jacoby (known for his Nazi era operetta-films) and multinational stars including Brits Henry Edwards and favourite Shadowplayer Miles Mander, the human knitting needle.

The intertitles are a bit blah, and they’re also modern reconstructions with no attempt at period style. The dialogue is stuff like “I was in love with a young woman, but she left me for the rich Sir Herbert,” while the narrational titles just describe what we’re about to see, which is shockingly primitive for a 1928 film.

A shame, but a minor one, because the film itself is very sophisticated, even louche. Set in Nice at carnival time, apropos of Jean Vigo, it benefits greatly from the colourful, somewhat surreal location, with tragic scenes enacted by men in pantaloons and false noses.

Miles Mander is the whole show in my opinion, an actor you can really HEAR in silent films, whether you’ve heard him in talkies or not. Ideally cast here as a skeezy lawyer who’s bankrupted himself over an unfaithful mistress and now resorts to extortion to square the bills, he’s also quite smellable as he awakens in dirty shirt and braces, sprawled over his desk in a cat-infested office. Anyone who brings such sensory overload to a soundless film is aces in my book.

Of course it’s not really soundless because multi-instrumentalist Stephen Horne provides marvelous accompaniment.

In the title role, Henry Edwards cuts a dashing figure, so unlike Joaquin Phoenix. IMDb has bifurcating him, attributing this sole credit to a separate Mr. Edwards from the rest of his filmography, which is British — he turned up in films from the teens to the fifties — OLIVER TWIST, GREEN FOR DANGER, good things like that. Here, in his youth, he’s what I’d call a proper matinee idol, while at the same time his bony, beaky features do suggest the titular playing card, or perhaps Mr. Punch. If that sounds not quite attractive, he’s a British leading man of the early twentieth century, what do you expect? His performance emerges from under a glistening pomaded carapace. But he can do soulful.

This was my first Jacoby film, I think — he doesn’t move the camera* but his shots are lovely. Without the ability to screen-grab from Pordenone’s streaming platform, I can’t show you any though. I’m keen to see Jacoby’s silent QUO VADIS with Emil Jannings as Nero, and I should check out his Hitlerian musical output sometime.

Pordenone is superb value, whether in-person (impossible for me at the start of the new teaching year) or online — check it out!

  • STOP PRESS – Jacoby does do some simple but elegant walk-and-talk shots.
  • Gabriel Gabrio, a kind of tuxedo breeze-block, is Sir Herbert Powder, his physique suggesting that he must be quite a convincing Jean Valjean in Henri Fescourt’s LES MISERABLES.
  • Elga Brink, another victim of IMDb bifurcation, is an elegant and sympathetic heroine.