Henry Victor |
The Guns of Loos was a surprise
to those, like me, who had never previously heard of it and, following a day of
early British talkies, a step back to silence simply blew those others away.
After hours of sometimes ponderous delivery, films that merely played with the
novelty of sound and static actors tied by invisible strings to their
microphones, we were reminded of just how powerful moving images could be in
1928.
This wasn’t the first Sinclair Hill directed film we’d seen today, that
was Dark Red Roses (1929) in which a
fretful sculptor, David (Stewart Rome) weighs up the option of cutting his
cello-playing love rival’s hands off. The action was studio-bound and a few
performances aside, Frances Doble was good as the object of the artists’
attention, it just felt slight and a
little bit clunky.
Grimlaw fights for his self-worth |
Not so The Guns of Loos which
took a character-led view of the Battle of Loos – known with good reason as
Dundee’s Flodden and the largest land battle in British military history. Some 60,000 lives were lost including many from the Dundee
divisions of Scottish regiments. Stephen’s score was commissioned by The Great
War Dundee Project and Dundee Contemporary Arts to help commemorate the
centenary for a city which sent over 30,000 men to fight.
The story was informed by Sinclair Hill’s own wartime experience and so
impressed Lloyd George that he claimed: “if
I had had this film in 1916 it would have been worth a division to me.”
The Guns of Loos is about true love, redemption, comradeship, industrial relations and the movement of
horse-drawn gun batteries at speed, over muddy ground. No animals were –
probably – injured during the filming of this story but a number of cameramen
may have required a rest-cure.
There is a love triangle between munitions factory owner John Grimlaw
(Henry Victor), a young army officer Clive (Donald Macardle) and Diana Cheswick
(Madeleine Carroll here in her first film and who serenely reminded me once
again why my granddad Bill was such a fan…). The battle was partly lost due to
a shortage of British munitions and Hill smartly ties this in with this smaller
scale drama.
Time for a speech... |
The film is packed full of “European” camera flourishes – this could almost be a German film… There’s a lovely
sequences as the camera pans over the faces of a wedding party a pub... then
swaying in grainy close-up as the groom gives a speech. As the locals gather to
say farewell to those about to fight, the image movies to and fro as they sing Auld Lang Syne – with Clive and John
almost pulling at Diane like a wish bone. The ground beneath is indeed shifting
beyond anybody’s control and then as the line moves up screen there appears almost
a mirror image below of men and horses trudging over the mud of the western
front.
There are inspired shots of gun batteries being moved – a tracking shot
from alongside and then some shots from underneath which convey the rough-edged
energy – the images are blurred and impressionistic, a little bit Gance and
something altogether more modern. The impact is visceral and unsettling – the
uncertain velocities of battle.
A tip of the hat to Hill’s cinematographers: D.P. Cooper, Desmond
Dickinson and Sidney Eaton.
Donald Macardle and Madeleine Carroll |
The performances are universally interesting and none more so than from Henry
Victor, who, held in close up for so many shots, is a revelation, spitting out
his lines as he urges his factory workers on, crying in fear as he breaks down during
his first action and then gradually re-building his self-worth urged on by his
rival and comrade… There weren’t many heroes this complex in contemporary
cinema.
Donald Macardle’s eyes are also close to tears as he looks on at Diana
in the bitter-sweet adoration of the loser in love… he is decent and strong but
Diana sees something great in Grimlaw, something she can help save with her
huge, enigmatic frown, gentle smile and… simple excess of lovely.
Diana’s mother, Lady Cheswick, is also superbly played by Adeline Hayden
Coffin who looks like she may have a crush of her own on young Clive but exudes
emotional intelligence. There’s also grand support from Bobby Howes as factory worker
then private, Danny and an impossibly young, Hermione Baddeley (a hyper-Hermione: who knew such a
thing existed?) as his girlfriend Mavis.
These people just feel real
and Hill deserves great credit for his casting and coaching. The British war
films of the period tended to be as "documentary" as possible and whilst
Hill’s reconstructions are no different and are exemplary in that respect, his characters
ring true.
Daniel Laidlaw on screen |
Which brings us right back to Mr Horne’s score... which was, as always,
laced with his trademark integrity, due diligence and lyricism carrying intrinsic
warmth that elevates any hope or adds poignancy to any tragedy. Stephen was
ably supported by two other players on cornet and percussion*. He also had the
aid of bagpiper Daniel Laidlaw who not only fought in the battle itself but
also appeared in the film. A sample of his playing was inserted in the live
music… eerie and effective; if that doesn’t make you feel just a little bit Celtic then you’re English beyond all help!
We could have watched the whole show all over again even as the long day
closed… Catch the film and live score if you can and here’s hoping that this
one gets a DVD release.
While we’re at it, isn’t it time for The
First Born and The Manxman to also be
released? Two of the best British silent films with two excellent Stephen Horne
soundtracks… how does that not work as a commercial proposition Mr and Ms
Copyright Holder?!
You ain’t heard the
last of this, mark my words, The Man!
*I didn’t catch their
names but if someone could let me know I’ll update.
British infantry of the 47th (2nd London) Division advance through the gas cloud on 25 September 1915 |
You've really captured the essence of a great silent cinema experince here Paul. And YES PLEASE to The Firstborn, anyone who's listening
ReplyDeleteThank you very much for reading! It's hard to beat the combination of live music and film: a new connection every time.
DeleteThe Manxman and The First Born are available on the internet for DVD download - I have excellent DVDs of both and can make you a copy- contact me at rik1944@aol.com to discuss
ReplyDeleteThanks but I'd really like to see official releases of the restored films and Stephen's score - I can't understand why these things get commissioned and then not followed up commercially. That would enable more films to be treated in the same way. It's frustrating but at least we have the live experience!
DeleteMany thanks Paul! Sorry I didn't see this before, but the other musicians were Geoffrey Lawrence on cornet and Nigel Shipway on percussion.
ReplyDeleteThanks Stephen and from the Bristol University silent film club! Beth has just asked to borrow It!, Hindle Wakes and half my silent shelf!!
DeleteGood to hear you are passing on the baton!
DeleteIt's in the blood!
Delete