Archive for Nahum Tate

The Sunday Intertitle: A Fellow of the Self-Same Colour

Posted in FILM, Theatre with tags , , , on July 16, 2017 by dcairns

This 1910 Italian KING LEAR is gorgeously hand-coloured, and Time has enhanced its beauty with little golden bullet-holes of decay, a form of decomposition I’ve never previously encountered — a cross between golden snowflakes and dancing stigmata.

Giuseppe de Liguoro stars and directs.

We’re in the era when the intertitle held illimitable dominion over all — each scene is synopsised by a title card before it redundantly unspools. Cramming Shakespeare’s masterpiece into fifteen minutes is still quite a trick, but this approach (summary–gesticulations–summary–gesticulations…) does let them race through the plot. All they lose are the Gloucester-Edgar-Edmund subplot, all the emotional effect and absolutely all the poetry. But the delicate tinting does produce a poetry of its own.

Those unfamiliar with the play would likely be lost: Kent is banished and reappears in unrecognizable disguise but the fellow writing the captions doesn’t see fit to mention him for three scenes. But confused Italian audience members at the time would be compensated by the spectacle of vigorous, beefy types facepalming themselves to express high emotion, IN LIVING COLOUR. Where else could they see that, apart from outside?

The colour runs out just before the last scene, so it plays a bit like the desaturated shoot-out in TAXI DRIVER. You can feel trouble coming.

I was surprised we don’t get Nahum Tate’s happy ending along with the rest of the bowdlerisation (a storm scene was evidently considered too expensive or difficult, so Lear rants at a handy rock instead). But the very end of the film has dropped off at some point in the last hundred and seven years, so Lear is still alive at the end, just barely, despite his prophecied-by-title-card demise. He doesn’t look happy though, so we can definitely say it’s a tragedy.

From the BFI’s excellent SILENT SHAKESPEARE.