Archive for The Last Laugh

Update

Posted in FILM with tags , , , , , on February 7, 2021 by dcairns

I was going to quickly grab an intertitle from A NIGHT OUT, Chaplin’s second Essanay production, but THERE ARE NONE. It’s like THE LAST LAUGH, only with more actual laughs. Actually it starts like THE ROUNDERS and turns into MABEL’S STRANGE PREDICAMENT, continuing Chaplin’s habit of remaking early Keystones in more sophisticated ways.

I’ll write about it properly in about a week. Right now I’m still absurdly busy. After the weekend I will only be disastrously busy, as I’m going from a feature-length documentary compressed into a silly amount of time, to a regular video essay compressed into a silly amount of time. Looking forward to the relief.

Joseph Keaton Jnr. and Friedrich Wilhelm Plumpe

Posted in FILM with tags , , , , , on November 16, 2016 by dcairns

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Recently received.

I made video essays for both of these fine collections from Masters of Cinema. With Timo Langer as editor I created THAT’S SOME BUSTER!, riffing on ideas from Walter Kerr’s magisterial The Silent Clowns. Stephen Horne edited WHAT WILL YOU BE TOMORROW?, which is mainly about THE LAST LAUGH but draws on the vast panoply of Murnau movies available from MOC.

The Murnau collection is essential if you’ve seen some of the major classics but are less familiar with TARTUFFE, SCHLOSS VOGELOD etc. The Keaton set is a real upgrade, incorporating newly discovered alternative versions of THE BLACKSMITH and MY WIFE’S RELATIONS. Both sets come with booklets that are both lavish and scholarly.

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Both are available to buy now: if you use the following links, I will get thruppence!

Early Murnau – Five Films (Schloß Vogelöd, Phantom, Der Letzte Mann, The Grand Duke’s Finances, Tartuffe) (Masters of Cinema) (Blu-ray)

The Complete BUSTER KEATON Short Films 1917-1923 (Masters of Cinema) (Blu-ray)

More Christmas shopping opportunities from Shadowplay shortly.

Attendant Woes

Posted in FILM, MUSIC, Mythology, Politics with tags , , , , , , , , , , on March 19, 2014 by dcairns

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Cinema will learn to talk soon, I promise, but for now I’m still mulling over films seen at the Hippodrome Festival of Silent Cinema.

THE LAST LAUGH is one I’d seen a few times but probably not, in its entirety, as often as I should’ve. It’s the kind of film which wouldn’t necessarily compel me to make the trip (which is rather difficult, the bus service being singularly erratic) by itself, but in combination with a bunch of other films I fancied, it made for a delightful extra, if delightful is really the word for F.W. Murnau’s desperate vision.

One smart person with a beard suggested that the film, in which hotel doorman Emil Jannings is robbed of his uniform and its concomitant status when he gets too old to lug suitcases without breaking his wind, could be read as a metaphor for Germany’s post-war enforced demilitarisation*, but I’m afraid my mind was on other things, such as Jannings’ putty forehead, which looks quite real on home video (though the shading in his cheekbones is recognizably kohl, not natural hollows) and becomes a big part of his performance.

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Also, I located the movie in the supernatural tradition of German film (NOSFERATU was just two years before) — when Jannings turns up to work and finds another man wearing his uniform, we seem to be in the doppelganger genre first seen in THE STUDENT OF PRAGUE. Seeing one’s double is meant to be a portent of death, and in this case it’s the death of Jannings’ hopes, career, dignity. It’s perfect that he sees the younger version as they both pass through the Atlantic Hotel’s revolving door, so that the new guy seems like a reflection of the old.

When Jannings’ family face him knowing that he’s now a lowly toilet attendant, they react not with pity but horror, and I was reminded of Kafka’s Metamorphosis, in which Samsa’s transfiguration provokes only the faintest hint of sympathy from his loved ones, who are more concerned with the practical problems entailed. Jannings doesn’t actually get an apple stuck in his back, but it’s a close thing. (Given his love of wallowing in humiliating scenarios, I’m posi-sure that if Murnau had produced a golden delicious and proposed ramming it under his shoulder-blade, Jannings would’ve shrugged off his undershirt and gotten down on bended knee in a twinkling.)

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The film seems, on the face of it, bracingly anti-capitalist, with Russian-style dialectical montage contrasting the rich patrons slurping down oysters while poor old Emil eats his toilet soup in the men’s room. It’s not even HOT toilet soup, as Murnau mercilessly photographs the steam escaping as Jannings is forced to attend to an untimely urinator who arrives during his break.

This is undercut in some ways by the conclusion, a bit of proto-Bokononism in which the film debunks its own happy ending. Jannings inherits a fortune from an eccentric American who expires, offscreen, in his arms, in the loo (the Atlantic takes away but it also gives). With his new-found wealth, Jannings becomes a guest himself, gorging himself suicidally and treating his friend, the sympathetic night watchman (whose kindness has hitherto only made the world seem bleaker) to an equally painful looking repast. Ignoring his disappointing family, Jannings heads off into the city with the watchman. This could be the start of a beautiful friendship, but it doesn’t feel like an indictment of social inequality, exactly. On the other hand, we’ve been told in no uncertain terms that this ending is not the kind we get in real life (the Atlantic gives but it also takes away).

The BFI’s rather wash-out print was compensated for magnificently by a new arrangement of the original score, performed by Sabrina Zimmerman on violin and doorman’s whistle and Mark Pogolski on piano, who created between them a very rich soundscape, one of those accompaniments that really helps you climb inside the film and smell its pungent air.

*The film’s opening title card (absent from the BFI print) gives some support to this theory. “Today you are the first, respected by everyone, a minister, a general, maybe even a prince — Do you know what you’ll be tomorrow?”