John Grant

As a fan of impressionistic filmmaking, I watched both this year’s “The Tree of Life” and “Last Year at Marienbad” from 1961.  The Tree of Life, directed by Terrance Malick,  proved to be an incredible journey across time and generations, full of moments that create uneasiness about reality and make the viewer question the journey.  Last Year at Marienbad, directed by Alain Resnais, takes place at a chateau where the camera moves from room to room and event to event while the 2 main characters — a couple who might have met and had an affair the previous year — debate whether they even know each other.

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Since I’ve been discussing the San Francisco Silent Film festivals program this year, I also want to mention “Il Fuoco,” an Italian film directed in 1915 by Giovanni Pastrone.  The program organizers wanted to point out the affected acting style of the film’s star, Pina Menichelli, so they used a female singer and a piano as a musical accompaniment.  The plot revolves around a wealthy poetess who seduces a poor painter and drives him to madness.  As she works her magic, using wild theatrical motions, the singer produced eerie sounds.  I think the music negated the impressionistic effect of the story, but it did intensify the outrageousness of Menichelli’s performance.  Film historians often mention the lack of the naturalistic acting style in silent films.  It’s strange to see the affected style so emphasized by the music choice.

“The Great White Silence” (1924), a UK produced film that screened at this year’s San Francisco Silent Film Festival, contains wonderful footage from Robert Falcon Scott’s ill-fated attempt to reach and return from the South Pole.  When Scott arrived at the South Pole, he found the Danish flag of Roald Amunson and his team, who beat Scott by thirty-five days.

The film, directed by Herbert G. Ponting, uses many title cards to dramatically tell the heartbreaking story of Scott’s failure to return.  He starts off with scenes of provisioning the ship, shenanigans with the crew in New Zealand, and then the embarcation and travel south to Antarctica.  Ponting, a wonderful naturalist photographer, not only films Scott’s activities on the continent — such as sorting out the dog sled teams and unloading the Siberian horses — but also the seals, penguins and other birds that would definitely be a curiosity in any travelogue.

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The drama builds in The Great White Silence when Scott and his team takes off for the South Pole.  The carefully crafted title cards tell us of Scott’s strategy, the arduous trek, the initial elation, and then the bitter disappointment.  Even though Ponting and the Gaumont British Distributors studio released the film in 1924, Ponting actually shot this original footage during the Scott’s Terra Nova exposition in Antarctica between 1910 and 1911. It’s a riveting achievement in both storytelling and cinematography and it presents an unforgettable view of a stirring landscape.

Yasujiro Ozu made three outstanding films in the late 1940s and early 1950s.  Better known as the “Noriko Trilogy,” the films included “Late Spring,” from 1949, “Early Summer,” from 1951, and “Tokyo Story,” from 1953.  All three pictures include wonderful small stories about family expectations, careers and societal pressure.  He used claustrophobic camera angles and shots of trains moving away from the viewer across the screen.

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Ozu presents the family tension with pathos, and when the boys stage a hunger strike, I felt sorry for their patient but worried parents — who struggle to maintain control while teaching an important lesson to their children.  After the mother offers the boys some rice balls, Ozu expertly shows both the boys willfulness and the power of forgiveness.  Ozu and the camera waits with full emotion as we see the family conflict resolved.

This month, the San Francisco Silent Film Festival screened the 1920 version of “Huckleberry Finn.”  Directed by William Desmond Taylor, the film presents a grittier version of Mark Twain’s story.  Huckleberry Finn, played by Lewis Sargent, projects the rough and tumble character denied to moviegoers used to seeing actors such as Mickey Rooney, Ron Howard, and Elijah Wood play the role.  It’s nice to actually see a kid handle the role who looks like he could live on a raft.

This version concentrates on Huck’s inability to adapt to civilization, but spends a great deal of time on two particular episodes in the novel — the first being Huck’s attempt to glean information by dressing up as a girl, and the second being the King and the Duke’s attempt to fleece the Wilks family. Jim and Huck seem more like buddies at the start of the film, while the book unfolds their friendship more gradually.  The film also shows the brutality of Huck’s father, leading to Huck’s elaborate plan to fake his own death.  After Taylor ties up all the loose ends at the house of Tom Sawyer’s uncle,  Huck decides to go back home.  In the book, Huck’s inclination is for more travelling and adventure.

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The 2011 San Francisco Silent Film Festival featured a number of films from well-known directors showing their early expertise in films not seen for many decades.  The festival began with John Ford’s 1927 comedy “Upstream.”  The plot includes a group of vaudevillians in a boarding house who live as a family until one of them, a complete ham and member of the legendary Brashingham acting family, gets an invitation from an impressario to play Hamlet in London.  He becomes a triumph, and receives world adulation.  But his pretentions upset the humble vaudevillians at the boarding house.

Ford emphasizes both the boarding house world and the world of celebrity, and so Earle Fox’s performance as the hammy Brashingham leads to a lot of laughs. Even no other High Quality Acai canada pharmacy viagra is good enough for this group. Medicines or diseases of viagra 25 mg organic. And be sure to find out beforehand whether you have contraindications to these substances or to reducing the fat in general, and only then start thinking about who will look after me if I am ill. viagra online canadian levitra without prescription As a result, men cannot achieve sexual satisfaction and high libido boosts.  The story also shows how fame can trump loyalty, since Brashingham only returns to the boarding house as a publicity stunt.  The film, if not a classic, makes a charming diversion and worth seeing for Ford’s direction as well as the entertaining acts performed by the boarding house residents.