THE PLEASURE GARDEN (1925)
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Gainsborough Pictures
Gainsborough Pictures
An emergent visual style recognisable, its initially dreary narrative
strengthens and darkens in the second half, with touches of terror near the
end. At times feels like a long hour’s worth of nevertheless very good silent
film-making. A cinema organ score by Lee Erwin on the Rohauer restoration is
horrible – un-listenable – choose your own music instead.
THE LODGER (1927)
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Gainsborough Pictures
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Gainsborough Pictures
Hitch’s third film (his second ‘The Mountain Eagle’ is lost) ...is classic Hitchcock already. As if he knew he had to up-his-gain. A career-defining moment at this early stage. And a defining film of the silent era. Mesmeric, suspenseful, atmospheric – an affirmation of great things to come. Ashley Irwin’s 1999 Herrmann-esque, narrative score completes the magic (I’m disinclined to sit through Nitin Sawhney...).
THE RING (1927)
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British International Pictures
Great film. If not as great as ‘The Lodger’, I enjoyed it as much if not more. ‘The Ring’ itself a double-symbol of the conflicts within a marriage. Lillian Hall-Davis is quite the star, and perfectly matched opposite Carl Brisson. Beautiful cinematography follows a clearer visual narrative than its predecessor. Hitchcock begins to more blatantly exploit social-sexual tensions to play characters off against each another – as the suspense heightens.
Great film. If not as great as ‘The Lodger’, I enjoyed it as much if not more. ‘The Ring’ itself a double-symbol of the conflicts within a marriage. Lillian Hall-Davis is quite the star, and perfectly matched opposite Carl Brisson. Beautiful cinematography follows a clearer visual narrative than its predecessor. Hitchcock begins to more blatantly exploit social-sexual tensions to play characters off against each another – as the suspense heightens.
A couple of fleeting though now unfortunate racial references are uncomfortable through today’s lens, if redolent of the era. Not knowingly malicious, these could be edited-out without impacting the film. Also due the positive portrayal throughout by a black actor (uncredited from an ‘all British cast’) as central in the protagonist’s circle.
Would love to see the restored version. This is highly watchable and gripping stuff – and that is despite the bad and poorly cropped print currently available.
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| DOWNHILL Photo: suddenlyashotrangout.com |
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Gainsborough Pictures
Once again mesmeric, and beautiful, and masterfully shot; the cinematography is stunning. Strikingly evident: Hitch’s use of architecture as an emotive metaphor via both physical build (particularly staircases) and the physical features of actors. Likewise, Novello is better photographed than in ‘The Lodger’ – and shines as a true star. More a redemptive tragedy than a suspense, but an easy favourite and a masterpiece of silent film. A startlingly clear print is well-worth the watch.
Gainsborough Pictures
Once again mesmeric, and beautiful, and masterfully shot; the cinematography is stunning. Strikingly evident: Hitch’s use of architecture as an emotive metaphor via both physical build (particularly staircases) and the physical features of actors. Likewise, Novello is better photographed than in ‘The Lodger’ – and shines as a true star. More a redemptive tragedy than a suspense, but an easy favourite and a masterpiece of silent film. A startlingly clear print is well-worth the watch.
THE FARMER’S WIFE (1928)
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Associated Picture Corporation
I love this film. A true gem. It has everything. In spadefuls. Humour, poetry, beauty. Handled with the knowledge and integrity of a master. Hitch opted for a change of style and setting to further extend his craft. Very successfully too. Funny yet poignant, flippant yet emotive. Not to be missed.
I love this film. A true gem. It has everything. In spadefuls. Humour, poetry, beauty. Handled with the knowledge and integrity of a master. Hitch opted for a change of style and setting to further extend his craft. Very successfully too. Funny yet poignant, flippant yet emotive. Not to be missed.
A welcome return by Hall-Davis – a part played-out to perfection – five years prior her tragic demise.
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| EASY VIRTUE Photo: brentonfilm.com |
EASY VIRTUE (1928)
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Gainsborough Pictures
I enjoyed this film, if it appears lacklustre compared with previous efforts. What’s missing from this loose adaptation of Coward’s play is the witty dialogue. The remaining skeletal plot cannot sustain the visual demands of a Silent. Despite which, some of the cinematography, as to be expected, is just wonderful. Isobel Jeans also holds our attention.
I enjoyed this film, if it appears lacklustre compared with previous efforts. What’s missing from this loose adaptation of Coward’s play is the witty dialogue. The remaining skeletal plot cannot sustain the visual demands of a Silent. Despite which, some of the cinematography, as to be expected, is just wonderful. Isobel Jeans also holds our attention.
Overall, though, the outcome, more than engaging the viewer, seems an exercise in style. The familiar Hitchcockian darkness kicks-in by the last third but is only passingly suspenseful. That written, is it to judge by long-established expectations? A poor-quality print doesn’t help. The now-familiar theme of maternal intrusion unsettles from the start. The unavoidable interest, from today’s perspective, is what comes next…
CHAMPAGNE (1928)
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Associated Picture Corporation
Overall, this film is witty, fast-paced, and visually stunning. Hitchcock consolidates his visual language which, as we now recognise, will hold him in very good stead. This is achieved by innovative camera shots, precise sequential editing, and the way in which the actors move and gesture. Evidently, the director is by now acutely aware of such intricacies of pictorial storytelling. The effect is engaging and entertaining, and elevates the melodrama above its origin. Like its predecessor, its plot meanders along of its own accord, although Hitchcock conjures a subtle element of intrigue during its final quarter.
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Associated Picture Corporation
Overall, this film is witty, fast-paced, and visually stunning. Hitchcock consolidates his visual language which, as we now recognise, will hold him in very good stead. This is achieved by innovative camera shots, precise sequential editing, and the way in which the actors move and gesture. Evidently, the director is by now acutely aware of such intricacies of pictorial storytelling. The effect is engaging and entertaining, and elevates the melodrama above its origin. Like its predecessor, its plot meanders along of its own accord, although Hitchcock conjures a subtle element of intrigue during its final quarter.
Betty Balfour is a talented actor, hugely charismatic, with adept comic timing. She is part of a terrific ensemble-cast of four. It’s great to see Gordon Harker playing the straight guy so masterfully. Hitchcock’s second comedy may not be as great as ‘The Farmer’s Wife’ but remains a pleasure to watch. A crystalline print benefits from an excellent narrative piano accompaniment.
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| ANNY ONDRA Photo: Wikipedia |
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Associated Picture Corporation
Beautiful, poetic, tragic, haunting, unforgettable. Hitch’s last Silent is probably one of the best Silents. Wonderful: to see Carl Brisson return in a more nuanced and emotive performance than ‘The Ring’. Once again, a strong central quartet of actors carry the narrative – and do so admirably. Each portrays their role convincingly. Czech actress Anny Ondra appears luminous yet natural on screen. The director veers away from melodrama to the darker edges of pyscho-drama. This is ever more effective alongside the gorgeous cinematography. Thus the film remains sublimely potent, from first to final and heart-breaking shot. Ahead of its years, it leaves the soul quietened. The best things, like fine wines, age well.
Beautiful, poetic, tragic, haunting, unforgettable. Hitch’s last Silent is probably one of the best Silents. Wonderful: to see Carl Brisson return in a more nuanced and emotive performance than ‘The Ring’. Once again, a strong central quartet of actors carry the narrative – and do so admirably. Each portrays their role convincingly. Czech actress Anny Ondra appears luminous yet natural on screen. The director veers away from melodrama to the darker edges of pyscho-drama. This is ever more effective alongside the gorgeous cinematography. Thus the film remains sublimely potent, from first to final and heart-breaking shot. Ahead of its years, it leaves the soul quietened. The best things, like fine wines, age well.
Of ‘The Hitchcock Nine’, ‘The Lodger’ is unmissable and ‘The Farmer’s Wife’ a must-see. However, ‘The Manxman’ makes a spellbinding conclusion to this circumstantial series. It is in these Silents – within the purest form of cinema – that we witness the budding of a genius. This film is an essential footnote to the blossoming of Hitch’s craft.
