There were some interesting questions on the survey
handed out to gauge response to this film: “How often have you seen a silent
film with live music?” answer: many times and then “How often have you seen a
modern film mixing traditional Chinese music with modern composition?” answer:
never before…
Gareth Rees’ modern silent emerged last year with a tour of China as well as elsewhere, always with live accompaniment and
this was the last show of a short UK outing featuring the score performed live by
Ling Peng and Andrew Middleton who provided a unique blend of textural support:
something old and something very new.
Nick Ma |
As a live cinematic experience it worked very well and
for an hour and a half we were submersed in the sights of Beijing regarding the city with an intimacy not always
found in sound films. Rees’ use of silent film in this context meant that we
had to study facial expressions for meaning with no distraction from
sub-titles. Silent film was always a great leveller for world cinema with
pantomime an international language and title cards interchangeable: it still works.
Bin Ba |
The score from Peng and Middleton brought the audience
even closer with the former playing a variety of traditional instruments - Erhu (two-stringed Chinese violin), Guzheng
(Chinese zither) and Xun (wind instrument) – and the latter on piano,
electronics and an obscure western six-stringed device called a guitar.
This mix of classical and modern reflects the film’s
concern with the strangeness of ultra-modern urbanisation and its impact on
individuals who are often shown in close up, dwarfed by the glass monoliths
surrounding them with aggressive angularity.
Arrival |
It opens with three figures approaching a massive
edifice of artificially-lit tower blocks: “at last, the city” one of them says.
We see the three riding through the neon streets – youngsters from the country,
sucking in every detail of this new environment, their faces ablaze.
The three are Han (Bin Ba), Ling (Lily Guo) and Bo (Nick
Ma) and they are here to make a living and, perhaps, to find themselves. They
arrive at their tiny one-room apartment and roll out their meagre possessions –
tomorrow they will find work.
Lily Guo |
Rees has a keen eye for detail throughout and the lives
of those in what is little more than a brick-built shanty town are shown in
detailed juxtaposition with the new city – toddlers wandering across the dusty
roads as huge lorries pass by, a community of small-holders huddled together
for food and company against the backdrop of anti-septic immensity.
A dangerous place |
The following day, Bo is greeted by a neighbour who works
on a building site and follows him to find work shovel in hand. Han spots a
woman collecting plastic bottles and starts to do the same being paid a
pittance for the effort whilst Ling gets work as a waitress.
Small beginnings but they are off the mark.
Nick Ma and Bin Ba |
Ambitions slowly reveal themselves. Han eyes an
attractive girl handing out leaflets in front of an office complex - he catches
her eye but she won’t go for lunch with a waste collector. Bo loves Ling but
doesn’t have the confidence to let her know whilst she longs to be a singer.
Han plays the lottery – the get-rich-now long-shot of
every advanced society and fortune of a kind is on its way as Bo’s workmate
dies in his sleep and the boys find a wad of cash hidden in his shorts: the
meagre rewards of a life in the city. There’s a picture of the man and his
sister in the room – Han hides it and any sense of duty to the living person in
the picture.
Bright lights, really big city |
Han tells Bo that they mustn’t tell Ling and he concocts
the lie that he has won the lottery. They have money now and begin to spend it,
especially Han who can now impress the girl with a motorised scooter.
Ling sings in the Lily Bar |
Ling gets a job singing in a bar wearing the white wig
familiar from the film’s flyers (I have quite a collection of those as Mr Rees
has been tireless in promoting Dust at other silent film events!) and things
are looking up. But can the trio truly escape the consequences of their
combined culpability and will the city claim them…?
Dust was a thoroughly immersive hour and a half with
lovely performances from the three leads and a simple story well told by the
director. Gareth even turned up as a tourist who photographs Han retrieving his
water bottle from a rubbish bin.
A lovely sequence as the figure walks off, blurring into the lights... |
Interestingly, a large proportion of audience responses
indicate that people haven’t been to see a silent film with live accompaniment
before: Written in Dust is therefore
achieving the remarkable feet of introducing new audiences to an old form done
in modern style. It’s what the film is all about and so gratifying it must be
to see this impact on the cinema-goers.
Dust deserves
more attention and another tour. Watch the film’s website for more details and
its social media channels on Twitter and Facebook. There are trailers on YouTube from which I appropriated the above images (sorry!)... but, such a lovely film, I would like to watch it again.
This looks wonderful, I hope that I can see it. Thanks for the writeup.
ReplyDeleteYou're welcome ! It's a lovely film with so many beautiful moments, smashing acting and great live music - why aren't there more modern silent films?! The method still works. P
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