Le Giornate del Cinema Muto 2006 Sommario / Contents

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with part of a man’s love.The maharajah gives Elly a choice, to stay or leave, but also orders his guards to kill whoever leaves with her. A robed figure is apprehended, but it turns out to be the maharajah, who has planned to commit suicide. He grabs a knife, but Elly stops him, making it clear to Kuno that she really loves the maharajah.The film ends with them returning to the palace. This ending contradicts the audience’s expectations, giving the story an unexpected moral perspective. A variation on the Eastern films sets the action in a European city, usually London, and entangles the main characters in secret societies or Easternbased intrigues.Typical of this type of film are the second and third films in a 1909 series directed by Viggo Larsen involving a master criminal named Dr. Nicola, played by August Blom. Dr. Nicola II, or Hvorledes Dr. Nicola erhvervede den kinesiske stok (US title: How Dr. Nicola Procured the Chinese Cane), and Dr. Nicola III (Lamaklosterets Hemmeligheder) (US title: Dr. Nicola in Tibet, or The Mystery of the Lama Convent) tells the story of a Tibetan cane that was originally the insignia for a high priest and holds the secrets of life and death. Dr. Nicola tries to gain possession of the cane, and the action includes kidnapping and an adventure in the South Seas. Den Gule Djaevel (US title: Tsing Fu, the Yellow Devil), also from 1909, concerns a Chinese magician named Tsing Fu, kidnapping, criminal associates, trapdoors, and, quite expectedly, stereotyping and racial overtones. By far the most interesting of the master criminal films are those of the Dr. Gar el Hama series. The first, Bedraget i Døden (Deceived in Death; 1911), pits Gar el Hama (Aage Hertel) against a young couple, Edith Wolfhagen and Baron Sternberg, and a detective named Newton. Edith is the daughter of Count Wolfhagen and heir to her father’s fortune, but the Count is also a friend of a moneylender, James Pendleton, who is named as heir if Edith and Baron Sternberg, her fiancé, die. After the Count dies, Pendleton proposes to Edith but is rejected. Enlisting the aid of Gar el Hama, Pendleton plans to abduct Edith. Gar el Hama manages to give Edith a drug that creates the illusion of death for four days, giving him time to abduct Edith from her tomb. When she revives, Pendleton renews his advances and arranges to take Edith to Constantinople. Discovering that Edith’s body is gone, Sternberg engages Newton to help, telling the detective about the will that mentions Pendleton. Pendleton pays Gar el Hama to kill Sternberg, but Newton foils the plan and pursues Gar el Hama and Pendleton, who have fled, taking Edith with them. Newton intercepts them on a train, and, in a struggle, throws Gar el Hama from the train. Pendleton is apprehended, and the couple is reunited. The film has many of the photographic and narrative strengths of other Nordisk films of the period, and, in addition, a chase sequence involving a train, something more common to American films than Danish ones. Most of the shots in the sequence were done on a moving train, and though they lack the pace and cutting that Griffith would have given them, they are nonetheless well-staged and exciting. Also of interest are the realistic interiors photographed in deep focus; the numerous exits and entrances from the bottom of the frame, made necessary by the use of trapdoors in the sets; and the expressionistic lighting in several scenes, including one showing Edith’s casket illuminated by a pool of light amidst the darkness, 66 and one in which Gar el Hama drugs the drink next to Edith’s bed, with heavy shadows and a small area of light defining the action. The success of Bedraget i Døden began a series of films concerning the exploits of Gar el Hama. Five films were made between 1911 and 1916; the first two were directed by Eduard Schnedler-Sørensen, the following three by Robert Dinesen. Films I and II pre-date the famous Feuillade crime serials Fantômas, Judex, and Les Vampires, and may be considered as possible influences on them. Gar el Hama himself is certainly a precursor of Dr. Mabuse. Gar el Hama II continues the story of the first film, with railroad workers finding Gar el Hama unconscious by the side of the railroad tracks.The remainder of the story in number II involves new characters, and ends with the master criminal in jail, though a mysterious close-up implies further adventures. Bedraget i Døden and Maharadjahens Yndlingshustru, melodramas of strong passions, sensational incidents, and exoticism, dealing with subjects such as murder, infidelity, jealousy, abduction, and erotic encounters, are characteristic of the “golden age” (1910-1914) of Danish cinema.They also illustrate a consistent style, best described in terms of highly expressive lighting, realism of interior settings, naturalistic acting, deep-focus cinematography, and extensive use of location shooting.The subjects often raised censorship problems outside Denmark, and in some cases were completely forbidden by censoring authorities, or were cut to conform to local standards. – RON MOTTRAM Prog. 10 Il lato brillante / The Lighter Side NEDBRUDTE NERVER [Nervi logori / Shattered Nerves] (The Hill Park Mystery) (Nordisk Films Kompagni, DK 1923) Regia/dir: A.W. Sandberg; scen: Laurids Skands; f./ph: Einar Olsen, Louis Larsen; cast: Gorm Schmidt (reporter Erik Brandt), Olga d’Org (Grethe Sparre), Egill Rostrup (Mr. Heger, l’amico di Brandt/Brandt’s friend), Peter Nielsen (ministro/Minister Sparre), A.W. Sandberg (un regista/a film director), Frederik Jacobsen (direttore/editor); première: 25.2.1923; 35mm, 1700 m., 74’ (20 fps), imbibito/tinted, Danish Film Institute. Restauro digitale del 2001 a partire da un negativo nitrato originale / Digitally restored in 2001 from the original nitrate negative. Didascalie in danese e inglese / Danish & English intertitles. The Hill Park Mystery è una coinvolgente detective story dove il nostro eroe, un giornalista di tabloid, cerca di salvare la donna di cui si è innamorato. È una commedia rapida e ricca di battute, molto nello stile delle produzioni hollywoodiane dell’epoca. Occhio alla breve apparizione di A.W. Sandberg nei panni di un regista. – THOMAS C. CHRISTENSEN The Hill Park Mystery is an entertaining detective story, in which our hero, a tabloid journalist, tries to save the woman with whom he has fallen in love. It is a speedy comedy with many one-liners, very much in the style of Hollywood productions of the time. Look out for A.W. Sandberg’s cameo appearance as a film director. – THOMAS C. CHRISTENSEN
DON JUANS OVERMAND [Il superuomo di Don Giovanni / Don Juan’s Superior] (Ein Meister der Liebe) (The Love Potion) (Nordisk Films Kompagni, DK 1916) Regia/dir: Lau Lauritzen Sr.; scen: Valdemar Andersen; f./ph: Hugo J. Fischer; cast: Oscar Stribolt (il colonello/Colonel Sejsberg), Rasmus Christiansen (Peter Pille), Kate Fabian, Carl Schenstrøm; première: 16.10.1916; 35mm, 362 m., 20’ (16 fps), imbibito/tinted, Danish Film Institute. Restauro del 2001 a partire da una copia nitrato originale della collezione del Filmarchiv Austria / Preserved from an original nitrate print in Filmarchiv Austria, 2001. Titolo di testa e didascalie in tedesco / German main title & intertitles. Lau Lauritzen fu il maggior regista di commedie della Nordisk fino al 1920, anno in cui passò a dirigere la lunga serie dei film di Pat & Patachon per la Palladium. Don Juans overmand è un divertente film ad un rullo, in cui il farmacista Peter Pille si innamora di Inger, la nipote del colonnello Sejsberg. Per ottenere la mano della ragazza, egli prepara una pozione d’amore per il colonnello, con effetti notevoli. THOMAS C. CHRISTENSEN Lau Lauritzen was the main comedy director at Nordisk until 1920, when he moved on to direct the long series of Pat & Patachon films with the film company Palladium. The Love Potion is an entertaining one-reeler, in which pharmacist Peter Pille falls in love with Colonel Sejsberg’s niece, Inger. In order to win Inger’s hand, Peter concocts a love potion for the Colonel, with remarkable effect. – THOMAS C.CHRISTENSEN Prog. 11 Adattamenti letterari / Literary Adaptation PRÆSTEN I VEJLBY [Il prete di Vejlby / The Vicar of Vejlby] (The Hand of Fate) (Nordisk Films Kompagni, DK 1922) Regia/dir: August Blom; scen: Valdemar Andersen; dal racconto/based on the short story “Praesten i Vejlbye. En Criminalhistorie” (1829) di/by Steen Steensen Blicher; f./ph: Louis Larsen; cast: Gunnar Tolnæs (Erik Sørensen),Viggo Wiehe (Søren Quist), Ingeborg Spangsfeldt (Mette), Clara Schønfeldt (zia/aunt Gertrude), H. Chr. Sørensen (Niels Bruus), Peter Nielsen (Morten Bruus); prod: 1920; première: 20.3.1922; 35mm, 1525 m., 67’ (20 fps), imbibito/tinted. Danish Film Institute. Film restaurato nel 2006 a partire da una copia nitrato originale / Preserved from an original nitrate print in 2006. Didascalie in danese / Danish intertitles. Nel 1625 Søren Quist, vicario di Vejlby, è accusato dell’omicidio dello stalliere Niels Bruus; le prove indiziarie volgono la bilancia della giustizia contro di lui. Il magistrato Erik Sørensen che stava per sposare Mette, la figlia del vicario, deve emettere, sia pur con riluttanza, la condanna a morte. Solo molti anni dopo l’esecuzione il solitario, infelice magistrato scoprirà la verità: il vicario era innocente, ed il delitto era stato ingegnosamente inscenato dal fratello di Niels Bruus, Morten, che cercava vendetta dopo esser stato respinto da Mette. È il 67 colpo definitivo per il magistrato, che però, prima di morire, viene a sapere che Mette lo ama ancora. Dopo la prima guerra mondiale, la Nordisk cercò disperatamente di riconquistare il mercato perduto. Ispirandosi al successo internazionale del cinema svedese, cercò di realizzare film “nazionali”, pellicole in costume basate sui classici della letteratura danese. Præsten i Vejlby ne è un buon esempio, basato su un noto racconto del 1829 di Steen Steensen Blicher, a sua volta ispirato ad eventi storici. Il film non riesce ad eguagliare l’intensità drammatica dei grandi film svedesi, ma è realizzato bene, girato in parte sui luoghi veri menzionati da Blicher, con un elaborato uso del colore. Poco dopo questo film, la Nordisk avrebbe adottato un sistema di imbibizione molto più semplice, con buona parte delle scene in ambra chiaro, ad eccezione di quelle notturne che erano blu. – CASPER TYBJERG In 1625, Søren Quist, the vicar of Vejlby is convicted for the murder of his stable-hand, Niels Bruus. Circumstantial evidence turns the scales of justice against the vicar. Erik Sørensen, the magistrate, who was going to marry the vicar’s daughter Mette, must reluctantly pass the death sentence. Only many years after the execution does the lonely and unhappy magistrate discover the truth: the vicar was innocent, the crime having been carefully staged by Niels Bruus’s brother Morten, who wanted revenge after having been rejected by Mette.This is the final blow for the magistrate, but before he dies, he learns that Mette still loves him. After the First World War, Nordisk tried desperately to recapture their lost markets. Clearly inspired by the international success of Swedish cinema, they tried making a number of “national” films, costume pictures inspired by Danish literary classics. Præsten i Vejlby is a good example, based on a well-known 1829 short story by Steen Steensen Blicher, which in turn was inspired by historical events.The film cannot equal the dramatic intensity of the great Swedish films, but it is handsomely made, partly shot on the actual locations referred to by Blicher, and elaborately tinted in a variety of colours. Soon after this film, Nordisk adopted a much simpler tinting scheme, using light amber for most scenes except nighttime scenes, which were tinted blue. – CASPER TYBJERG Prog. 12 Cortometraggi di finzione / Short Fiction 1906-1911 FISKERLIV I NORDEN (Fiskareliv i Norden) [Vita di un pescatore nordico / Life of the Nordic Fisherman] (Nordisk Films Kompagni, DK 1906) Regia/dir: ?; scen: Ole Olsen; f./ph: Axel Sørensen; cast: Viggo Larsen (pescatore/fisherman; prete/priest), Margrethe Jespersen (moglie del pescatore/the fisherman’s wife), Gustav Lund; première: 15.9.1906; lg. or./orig. l: 200 m. VED HAVET (Vid hafvet) [In riva al mare / By the Sea] (Nordisk Films Kompagni, DK 1909) Regia/dir., f./ph: Ole Olsen; lg. or./orig. l: 85 m. NORDISK
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Le Giornate del Cinema Muto 2006 So
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Presentazione / Introduction Ventic
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Nostalgia is inevitable as we look
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Himmelskibet [La nave del cielo / T
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In ricordo di Jonathan Dennis / The
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This exhibition pays homage to the
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pretentious) name is inspired by a
Page 15 and 16: Eventi musicali / Musical Events EV
Page 17 and 18: SAFETY LAST! (Preferisco l’ascens
Page 19 and 20: independence against Spain. The son
Page 21 and 22: ispettosamente il permesso di prote
Page 23 and 24: 2000.With the assistance of Malcolm
Page 25 and 26: spiantati principi europei vengono
Page 27 and 28: “The Cinematograph” Versi/Lyric
Page 29 and 30: a tool for promoting and merchandis
Page 31 and 32: prebellico, mentre il malvagio mula
Page 33 and 34: Eventi speciali / Special Presentat
Page 35 and 36: sonora si celano, come nelle più a
Page 37 and 38: SILLY SYMPHONIES E PRECURSORI / THE
Page 39 and 40: The Ugly Duckling. (Copyright Disne
Page 41: il Lupo Cattivo, l’uccellina Jenn
Page 44 and 45: y crossing over from the animated w
Page 46 and 47: on the piano keys. Motivated by a p
Page 48 and 49: THE BIG PARADE (Metro-Goldwyn-Mayer
Page 50 and 51: VITAPHONE VARIETIES 1927-1930 Corto
Page 52 and 53: Verdens undergang [La fine del mond
Page 54 and 55: This year we celebrate the 100th bi
Page 56 and 57: un giovane che la ama riesce a trov
Page 58 and 59: Willy to a foreign port, where he g
Page 60 and 61: Prog. 4 Dreyer BLADE AF SATANS BOG
Page 62 and 63: Marya shares his feelings, and deci
Page 64 and 65: BEDRAGET I DØDEN / DR. GAR EL HAMA
Page 68 and 69: Questa copia è la combinazione dei
Page 70 and 71: A hungry tramp tries to steal money
Page 72 and 73: Biografia Thomas Harper Ince approd
Page 74 and 75: to get, and the number of films bea
Page 76 and 77: con gli onori militari. - The Movin
Page 78 and 79: Piano transcription of original 191
Page 80 and 81: eve sequenza ci mostra un D.W. Grif
Page 82 and 83: è simboleggiata da Monsieur France
Page 84 and 85: dell’interpretazione, il tipo di
Page 86 and 87: Prog. 3 THE GREATEST QUESTION (Il g
Page 88 and 89: depth psychology, the discovery of
Page 90 and 91: Prog. 5 THE LOVE FLOWER (Il fiore d
Page 92 and 93: peggior film [di Griffith] in assol
Page 94 and 95: Hay, Creighton Hale, Emily Fitzroy,
Page 96 and 97: September 1920; in The Griffith Pap
Page 98 and 99: Film scelti e annotati da / Program
Page 100 and 101: group of carefully arranged statuar
Page 102 and 103: misteriosamente muovere gli oggetti
Page 104 and 105: gradually and spontaneously expande
Page 106 and 107: A cabdriver dreams that he gives a
Page 108 and 109: anche Ubaldo Maria del Colle che di
Page 110 and 111: I restauri Versione muta Meritano t
Page 112 and 113: MACISTE (Itala Film, IT 1915) Regia
Page 114 and 115: the way in which popular cinema can
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Film Laboratories Limited and the U
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[BOXING MATCH] (Birt Acres, GB, 189
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Annabelle Butterfly Dance, (Nationa
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Fox Movietone News all’Universit
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RTROVAMENTI FRANCESI /DISCOVERIES F
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Stolen Moments, “A South American
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Emily Leider wrote in Dark Lover: T
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Six-year-old Millicent [Mary, on th
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In Die Biene Maja, the plot consist
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organizzato una visita del noto sag
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You are kindly asked to send, not l
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to get the rights to their plays fo
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in which she did not appear, turnin
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with housemaid Clara Kimball Young.
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widespread attention in the press;
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József Bécsi, Sándor Kovács, De
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evived many old practices, includin
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150
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imbatte in una sequela di situazion
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Pickford - who for her part seems t
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PAUL MERTON’S SILENT CLOWNS [1]:
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Indice dei titoli / Film Title Inde
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SCHIAVA BIANCA, LA = HVIDE SLAVINDE
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Le Giornate del Cinema Muto 2006 Sommario / Contents

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