In the navy… Remembrance (1982), BFI Flipside #48 Blu-ray

Well, I’m in the navy see, and that’s work of national importance. That’s why we can’t go on strike, that’s why we sign on for fucking years… I’m proud of what I do!

 

I missed this first time round, busy in the college bar and having an easier time of it than many of my generation. My cousin became a marine a decade later but I did know people who were in the Navy at this time, some who served in the Falklands that preceded this release by a few months. I still remember the chill I felt as Ark Royal and the other ships headed off to a war I never expected to be fought. My college hosted HMS Glamorgan’s rugby team the year later and they were a different breed, out-drinking and out-playing is with ease, men of the world.

 

Remembrance never set out to be as political as it turned out but… the elements were always there given references to Northern Ireland and John Altman’s outburst to a drunken teacher at a middle-class party reproduced with minimal swearing above. In truth this is always the bottom line for the armed services and for the young men who make up the majority of the recruits and it was always writer Hugh Stoddart and director/producer Colin Gregg’s intention to make a story that focused on their first big sacrifices: their time, family and friends.

 

The result was one of the first films produced by Channel 4 and featured a now astonishing cast of soon to be highly successful, cast members from Timothy Spall to John Altman via, in his first substantial part, Gary Oldman but there are many more who have made their living on stage screen and TV since this film.

Mr Oldman feels a little worse for wear...

The film has a lot of characters, all of whom feel real, well-written and well-acted by this young collective, and its narrative keeps you guessing as the story slips forwards and backwards between elements that will eventually coalesce into a poignant whole. It begins with a group of lads laughing and joking as they watch an old cinefilm of themselves at the Royal Albert Hall for the annual Festival of Remembrance. As they watch they recognise faces and their younger selves until the Army gymnastics team perform and one of them spots and unfamiliar face…

 

Cut backward and we see an inebriated youngster walking on his hands in the dark, he’s ten-pint drunk staggering around in search of even more cheap lager. Gary Oldman is almost unrecognisably youthful but protean as ever, is the individual who we later learn is called Daniel and he displays one of the most convincingly painful depictions of what we used to refer to as “paralytic” back in those days of 35p pints. He finds his way into a disco bar on the notorious Union Street drag between Plymouth and naval base at Devonport, home to thousands of off-duty sailors and dozens of pubs, strip joints and cheap restaurants.

 

He quickly upsets some of the older regulars who berate him for being out beyond curfew and, following his brief and emphatic suggestion that they go away, wait for him to pass out. He staggers over to a baby-faced jack tar, Mark (David John) who invites him to join him and two young women, even though he’s nearly as incapable. The two talk, as drunken men do, and Oldman’s character talks about his dream of becoming an acrobat and there’s a haunting keyboard motif accompanying his reveries on this subject each time provided by Brian Eno’s track Aragon (from Music for Films (1978)*), which carries the sense of stillness both of the skilled athlete but also the moment in time when decisions are made.

 

The not-so-nasty John Altman

The young man also says he can dance and after encouragement from Mark goes onto the dance floor and does indeed dance attracting the attention of the watchers at the bar who then thrown glasses onto the dance floor. The in-house bouncer steps in and drags the by now sick youngster outside where he administers an horrific beating – the lad is too drunk to defend himself - witnessed by local preacher/down and out Joe (Kenneth Griffith) who does all he can, he prays and watches.

 

The next day Mark’s hangover is made all the worse by the arrival of his sister and parents for his last day before his next tour and then by the knowledge that his temporary friend was now in a coma in hospital. Gradually he gets involved trying to remember what the two had talked about and even visits him as the newspapers have reported that there was no wallet on him and no name tag. Meanwhile others plan a revenge mission the next night on the bouncer even those that started the glass throwing.

 

But there’s more going on in Plymouth than this unfolding tragedy, and we meet Mark’s pal Vincent (the excellent Pete Lee-Wilson) who likes his friend’s sister but hates his parents, one of whom is now married to the man who runs the bar in which Daniel was injured. Vincent and his parents have yet to come to terms with their separation and his, resulting in some of the film’s most emotional moments.

 

A golden age of rail, sailors plus McEwans and Carlsberg

There’s also a young married couple, Douglas and Christine played by Timothy Spall and Kim Taylforth sister of Gillian Taylforth – the Eastenders connections are very strong here including the fact that Oldman’s older sister Laila Morse plays Little Mo. Christine is heavily pregnant and her husband will be at sea on the due date, another painful separation.

 

More pain could well be felt by John Altman’s character Steve who has started seeing the girlfriend of one the toughs from the older ratings who is intent of engaging in irrational debate about the situation. All is set for another lively night on Union Street and there will be blood…

 

 

This new 2024 restoration by the BFI marks the first time Remembrance has been available in this format and it’s so surprising that the film has not received more attention over the years given the quality of cast and crew. Still, now it’s here and I would recommend it very highly.

 

The 80s, they say if you can remember them you weren't really there...

Special features

 

• Newly remastered from original camera materials by the BFI and presented in High Definition
• Gary Oldman on Remembrance (2018, 3 mins): an introduction recorded for a screening on Film 4
• Vivid Memories (2024, 21 mins): newly recorded interview with director Colin Gregg
• Working Away (2024, 21 mins): newly recorded interview with screenwriter Hugh Stoddart
• Acting The Part (2024, 13 mins): newly recorded interview with actor John Altman
• David Rose in Conversation (2010, 11 mins): extracts from a career interview with the former senior commissioning editor for Channel 4 Television, conducted by Sir Jeremy Isaacs
• Raleigh: The First Few Weeks (1986, 19 mins): following the daily lives of new naval ratings, from their arrival at training establishment HMS Raleigh, beginning the first phase of their training and onwards to the day of their passing out parade
• Royal Navy Amazon (1980, 1 min): a made for TV advert used to bolster the recruitment of ordinary naval ratings
• Galleries – a collection of materials including an early handwritten draft of the screenplay

 

Illustrated booklet with a new essay by screenwriter Hugh Stoddart, new writing on the film by Johnny Mains, an essay by the BFI’s Dr Josephine Botting and full film credits. This is limited to the first pressing only and so you better get in quick!

 

You can order Remembrance now from the BFI shop and other reputable retailers.

*Ironically perhaps, the middle-class party attended by John Altman’s character features first a Genesis track sung by Phil Collins and then a solo track. Collin’s the epitome of MOR rock/pop success was also the percussionist on the Brian Eno track that acts as the film’s and Daniel’s theme, more than anything, Collins was one of the finest drummers of his era and Eno tended to work with the best (and U2).

Weird science... Die, Monster, Die! (1966), BFI Blu-ray

It looks like a zoo in Hell!

 

I first saw Camberwell’s William Pratt in a silent film from 1920 called The Deadlier Sex who were in this case represented by Blanche Sweet. Born in 1887, Pratt had already adopted the stage name Boris Karloff and this was to be his first significant role in a feature film. 46 years on and he features far more prominently in Daniel Haller’s colourful take of alien horror, one of the true masters of the genre and leaping from the screen even in the wheelchair his health dictated he use; the film’s strongest performer even in his late 70s… Boris carries so much atmosphere.

 

Adapted from H.P. Lovecraft’s 1927 story The Colour Out of Space, the film has so many Hammer trappings and yet was made for Alta Vista Productions, distributed by AIP in the US and Anglo-Amalgamated in the UK, who clearly wanted something along those proven box office lines. Don Banks’ music and DOP Paul Beeson’s use of shadows and light are used to create a near constant sense of unease, especially in the scenes filmed on set. There’s also rather a lot of mist floating atmospherically in the estate of the Witley family mansion, which was Oakley Court, Water Oakley, Berkshire, also used in A Matter of Life and Death, DW Griffith’s Hearts of the World and José Ramón Larraz’s Vampyres (1974).

 

After a title sequence featuring some very groovy light effects that may well have influenced The Pink Floyd’s road crew for those early gigs at the UFO and the Roundhouse, the film starts with American scientist, Stephen Reinhart (Nick Adams) arriving at a village called Arkham played by Shere in Surrey, where he is greeted with great suspicion by everyone he askes for directions to the Witley’s place. He’s rejected by otherwise friendly shop-owners, denizens at The Sun ale house and even the bicycle shop – he’s got a bike and you can’t ride it if you like going to the Witley Place…

William Henry Pratt 

It's a classic horror trope (see below) but it works, as does the matte painting landscape of scorched earth on Stephen’s route to the mansion, as if something huge and unearthly had smashed into the land. By the time he arrives the aforementioned mist has begun to obscure and scarify the grounds of the mansion as a shrouded figure watches him approach the front door. Stephen is on his way to meet fiancée Susan Witley (Suzan Farmer) with the two meeting when she studied in America, and whilst she is a science graduate she has clearly not picked up on anything unusual happening at her family home.

 

Cursed is the ground where the Dark Forces live, new and strangely bodied… He who tampers there will be destroyed…

 

Unusual happening number one is, of course, her father Nahum (The Boris) and number two is her mother Letitia (Freda Jackson) who is mysteriously ill and confined to her darkly shrouded bed. Nahum insists that the young American must leave as soon as possible, his daughter obviously hasn’t mentioned their arrangement before, but at least Letitia is more welcoming.

 

Soon the razor-sharp Prof. Reinhart starts wondering if his intended’s homelife is atypically complex. We’re a bit more clued in as Nahum and his mirror-shaded assistant/henchman Merwyn (Terence de Marney) descend down the wheelchair lift to his secret cellar of science in which a strange green glow illuminates more classic tropes including skulls, chains – “for Devils”, his cursed late brother Corbin perhaps? - and unearthly sounds. All of this is contrasted with the loving simplicity of Susan and Stephen’s relationship… one we know will soon be under great strain especially when they enjoy a very tense dinner with Nahum.

 

The sublime Suzan Farmer and, um, Nick Adams

The film moves forward quickly as Letitia and her husband discuss the events leading up to an unfortunate development for their maid and soon poor Merwyn has spontaneously combusted and the young couples have been led by strange unearthly lights (etc…) to the green house where they find an abundance of giant tomatoes and a room full of horrifically mutated animals.

 

What other horrors await in this house of mystery and will the prophecy quoted above, found by Stephen in the family library copy of a book entitled Cult of the Outer Ones be realised? Just how did the flora and fauna get so big in the greenhouse and what is the strange glowing radiation that affects the servants as much as the crop? You need to watch it and find out, but maybe not alone…

 

This one of the last straight gothic sci-fi horrors of its kind and its only Karloff in his dignity… who makes it possible.

 

The new commentary from film historians Vic Pratt and William Fowler is great value and the former’s above quote is spot on with the dignity of the lead actor holding the enterprise above water and the hint of spoofery. The pair are full of detail on Lovecraft and Karloff but also the legend that is Nick Adams, not the World’s greatest actor but someone who mixed at that level, being a pal of James Dean and Elvis Presley. Adams looks far more ’55 than ’65 with his slicked back short hair and straight suit out of fashion step with Suzan Farmer’s Susan whilst he’s also playing in a different film, an action figure with obscured motivation.

 

But as Vic says, the whole production feels like a transitional one – he even compiles a handy list of 25 standard tropes for horror films that were just about being used in an unironic way. All is redeemed by King Karloff and this is a very well made, colourful and visually satisfying film that will provide you with excellent entertainment on one of the many rain-sodden afternoons we are being gifted this summer!

 

Horrifyingly frightening features:

 

• Presented in High Definition
• Newly recorded audio commentary by film historians Vic Pratt and William Fowler
• A Karloff Konversation (2024, 19 mins): Boris Karloff’s biographer, Stephen Jacobs, discusses the film
• Scenes From ‘Let Me Die a Monster’ (2024, 14 mins): sequences from Ken Hollings and David McGillivray’s as-yet-unmade film-fantasy built around Die, Monster, Die! star Nick Adams, performed in a read-through staged and shot exclusively for this release
• Nick Adams and Die, Monster, Die! (2024, 7 mins): Hollings and McGillivray recall the career of Nick Adams and how they became fascinated with his film work
• Sell, Monster, Sell! (2024, 12 mins): film unit publicist Tony Tweedale recalls his work on Die, Monster, Die!
• The Peaches (1964, 16 mins): a family greenhouse yields strange fruit in this stylish Swinging Sixties short film 
• Image gallery: an extensive array of promotional stills from Die, Monster, Die!
• Theatrical trailer with optional audio commentary 

There’s also a fab illustrated booklet with a new writing on the film by Stephen Jacobs, an essay on HP Lovecraft by Xavier Aldana Reyes and writing about ‘Let Me Die a Monster’ by Ken Hollings and David McGillivray; notes on the special features and film credits. This is only available with the first pressing only so get busy.

 

You can order the set from the BFI and other online retailers from 22nd July!!

Chains... for The Devil!

"Lime and limpet green, the second scene... a fight between the blue you once knew..."

Oh, so you're an actor?!

The London nobody knows… Hidden City (1987), BFI Blu-ray

 

Oh, this really is one for the Archivists but also those who delight in finding out the persistently odd parts of our capital; if you’ve ever wondered what goes on under the old Kingsway Tram Tunnel, otherwise silent doors off Holborn Viaduct or the nuclear bunker in Fitzrovia, well, it might be what we see here. There’s an echo of James Mason uncovering similar gems in The London Nobody Knows in 1967 but also an influence on Neil Gaiman’s 1996 TV series Neverwhere, which imagined the goings on of London Below including an actual Angel of Islington as played by Peter Capaldi (there’s typecasting!).

Hidden City is magically real all the more so because of it’s deep-cut locations, the familiar existing side by diagonal alley with the weird, wonderful and mysterious.

All of this is revealed through the search for a particular reel of film which will, possibly reveal a murder or deeper conspiracy, like Antonioni’s David Hemmings meeting the female Doctor Who we were robbed of… Cassie Stuart’s Sharon is that woman and, after losing her job because of Charles Dance’s pompous writer on new media and technological teaching, James Richards, being sent the wrong video for a class, introduces him to a mystery only the two of them can solve.

He is The Assistant and she is the madly intuitive Doctor or, if you prefer, she’s Dr Watson driven to pull Sherlock away from his self-indulgence and violin, towards a mystery – an injustice – decades in the making. It involves the kind of luck and co-incidence that would make the late Paul Auster think twice but it all works within the logic of its own world and an all too rational man who has lost his way and his curiosity. James has seen it all before but when Sharon reveals that he hasn’t actually he can’t resist following her as the pair chase across the London that not that many people know, in search of films that may contain the truth even as they are at risk of being discarded as is the case with Hop Gardens of Kent which they rescue from the furnace to find it contains strange images of a woman apparently being captured by secret policemen and escorted to an unnamed building deep in the backstreets of the over-looked.

The eighties locations are of course fascinating for those of us who remember when there were more disused and mysteriously empty spaces around Holborn Viaduct, further down the submerged Fleet or over towards Kingsway and the long-abandoned tramway under which the film has a hidden archive run by the government (or deepish state) – which contains many things we shouldn’t be seeing. The men who run the collection of secrets are playfully obstructive and the film in question has been thrown out just the day before… leading the companions to a waste-disposal site where there’s also a group of policemen searching for something else in the rubbish.

Characters interact and work against each other all within the playful logic of the film as we get closer to an all too mundane and believable truth. It’s a fascinating ride and Charles Dance, who also features in the whitest of y-fronts at one point which only he could carry off…, is commanding and his aloof, analytical James is suitably intrigued by the earnest promptings of Sharon. Cassie Stuart is very impressive too with a restless energy that keeps the narrative sharp and uncertain – she’s very post-punk.

 

With Richard E Grant as Sharon’s former boss, who may be implicated and Bill Paterson as Roger’s best friend Brewster – ditto – it’s a well-acted and very meta experience with everything and everyone potentially in on deeper levels of the secrecy. The solution is found with the passion and relentless intuition of those who search the archived London for the truth. It would have made for a great continuing series, Dance and Stuart’s characters could have been the Mulder and Scully of the 80s. The truth is out there, hidden in that which is retained but too often overlooked?

Special features

Illustrated booklet including Poliakoff's original introduction to his screenplay, a new essay on the film by John Wyver, a new interview with Stephen Poliakoff by Michael Brooke, new writing on Barging Through London and Hop Gardens of Kent by Ellen Cheshire and an essay on Public Information films and the National Archives by Sarah Castagnetti and Patrick Russell - First pressing only

Presented in High Definition

Newly recorded audio commentary with writer and director Stephen Poliakoff and film critic Michael Brooke

Treasures from the BFI National Archive (1903-1947, 58 mins): a selection of archive gems, exploring some of the themes featured in Hidden City. The films: Cheese Mites (1903), Barging Through London (1924), Hop Gardens of Kent (1933), The City (1939) and Shown by Request (1947)

Inside the BFI National Archive (2023, 1 min): a behind-the-scenes look at the work of the BFI National Archive

 

This celebration of the work of archivists and the importance of old media in terms of understanding of the here and now – shooting the past never stops – will delight all of those who enjoy Poliakoff’s work and many more; the extras are indeed special and indeed part of the story in a couple of cases.

 

You can buy Hidden City now direct from the BFI’s online store or their Southbank shop… essential for your home archive!

 

Day by Day in Bologna… Il Cinema Ritrovato XXXVIII

Catherine Deneuve is the cover girl from The Umbrellas of Cherbourg

 

OK, after catching up on work and sleep, what was my pick from eight days of relentless cinema, meeting some of the finest cinephiles in the world and an unquantifiable amount of coffee, brioche, ragu and, dear reader I must be honest, Aperol Spritz. In no particular order, these are my personal highlights, from a festival you start off with the best of intentions, 6-7 sessions a day for eight days, what could go wrong? Answer: nothing, the Ritrovato experience you get is the one that you deserve and the one that suits you best!

 10.   Kohlhiesel’s Töchter/Kohlhiesel’s Daughters (1920), with John Sweeney, Il Cinema Modernissimo

 

The funniest thing of the week and a major Lubitsch I had yet to see featuring Emil Jannings acting his age and being charming as part of a couple of chaps trying to woo sisters played by Henny Porter who proves what a superb talent she was, not only with her highly persuasive physicality but also timing. She plays the kind-natured Gretel who wants to marry but, following her father’s instructions, can’t until her elder sister, Liesel (also Henny), weds first. The problem is that Liesel is as bitter as her sibling is sweet and more of a match for either Jannings’ Peter or Gustav von Wangenheim’s Paul by any measure.

It's fast-paced and utterly charming and very much cut from the same cloth as the Ossi Oswalda comedies and those with Pola Negri which the director made before and after. Shot against an alpine background by Theodor Sparkuhl, it was the feel-good hit of the week which I thought I’d missed only to find it re-played on the last day.

John Sweeney’s playing was on another level, i.e., the same at the film’s, and his emphatic flourishes continued to fill the gorgeously restored Modernissimo right till the end of the credits. I trust it won’t be long before we see Lubitsch’s 34^th film (including shorts) screening in London with John playing as a pre-requisite!

Emil Jannings und Henny Porten

9. It’s a family affair… Judex (1915-16), accompanied by many hands, Cinema Mastroianni

On the final Saturday as all the mystery and loose ends were tied up I emerged triumphant from the Mastroianni having watched the whole series and thoroughly enjoyed Louis Feuillade’s sense of drama, his eye for dynamic framing, his direction and team building and his ability to keep the narrative ball rolling even when you think he’s backed himself into a dramatic dead end. That’s 12 episodes and one big Prologue with not a second missed for lack of sleep, breakfast or headache… probably!

It's not quite up there with Les Vampires but it does have the essentiality of Musidora playing Diana Monti aka Marie Verdier, a scheming opportunist who becomes more and more dominant the longer the story unwinds. Judex himself as played by René Cresté, is a goodie version of Fantômas, part Sherlock Holmes, maybe part Eugène-François Vidocq – an actual French criminal turned criminalist - certainly an outlier for The Shadow, Doc Savage and even The Batman. Feuillade had been criticised for glorifying his evil masterminds and so here was one of good intent even if he does kidnap and fake the death of the businessman responsible for his father’s death and many others, Favraux (Louis Leubas) before imprisoning him for life in a remote castle.

Judex has worked a long game, disguised as Favraux’s secretary, to infiltrate his business dealings. His plan is soon complicated when he falls in love with the banker’s daughter, Jacqueline (Yvette Andréyor) who is soon targeted by the evil Monti! There’s great support from Vampires’ alumni Édouard Mathé as brother Roger and Marcel Lévesque as the comedic Cocantin whose swimming-costume clad fiancée Miss Daisy Torp (Lily Deligny) helps save the day. The kids are alright too and Le petit Jean (Olinda Mano) and The Liquorice Kid (Rene Poyen) deserved their own series!

 

Musidora, aka Jeanne Roques

8. Quo Vadis? (1924) with Neil Brand, Eduardo Raon and Frank Bockius, Cinema Mastroianni

This was an attempt to repeat the pre-war success of the Italian epic’s including Enrico Guazzoni’s massive 1912 adaptation of Henryk Sienkiewicz’s 1895 novel, Quo Vadis: A Narrative of the Time of Nero. It was an Italian German co-production followed on with a cast of thousands, gigantic sets (real and constructed) and the combined star power of Lillian Hall-Davis’ nuanced emoting and Emil Jannings’ protean excess. Larger than life and twice as tiring, his Nero offers Lillian’s frail Licia the world and we cower behind her in the darkness as her faith rises up as the only defence against the monstrous ego of the man who is Empire.

It's saucy in a Cecil B DeMille way with snatches of nudity and a-typical sexuality along with elaborate displays of Roman cruelty which peaks in the Colosseum and in a genuinely gripping chariot race that hasn’t been seen in the length or detail for many years until this superb restoration. It’s a thoroughly enjoyable effort that was surprisingly not a success at the time, perhaps too opulent for German audiences and too close to the bone for the newly fascist Italians… I’d love to know more about how it was received in those early days of Il Duce…

 

Neil  Brand accompanied across the two parts on piano assisted by Eduardo Raon on harp for part one and Frank Bockius on drums for the epic finale on drums… the players were perfectly aligned with the momentum of the film with Rome’s dangerous beauty giving way to death and destruction and ultimate martial revenge by the end of a story that had already been told many times.

 

Emil harasses our Lil'!

7. He Who Gets Slapped (1924), with Laura Agnusdei, Simone Cavina, Stefano Pilia and Antonio Raia, Il Cinema Modernissimo

Of films I had already seen multiple times, this, The Wind, The Last Laugh et al, I was most interested in seeing this one having missed it recently at the Kennington Bioscope. In the plush Modernissimo it was accompanied by an ensemble featuring Laura Agnusdei (tenor sax and electronica), Simone Cavina (percussion and electronica), Stefano Pilia (guitar and electronica), Antonio Raia (sax, chalumeau/clarinet and “oggetti” … objects?), whose modern stylings overlayed and enhanced the action on screen in new ways.

That said, this is one of the hardest-hitting Hollywood films of the twenties as you’d expect from the mighty Victor Sjöström, certainly the most successful Swedish director in the US who was able to maintain his approach across this and work with Garbo and Gish. Here he brings out the full flavour of Lon Chaney in a film that breaks your heart which as Ehsan Khoshbakht describes in the catalogue as about the act of “de-clowning… only the vile and ignorant laugh at the clown”. As my friend, the poet Ged Griffith, used to say after a few Jamesons, “Life’s a walking shadow, nah-nah, na-nah-nah…”

Lon Chaney: if you don't have a fear of clowns, perhaps you should re-consider?

 

6. The Searchers (1956), Piazza Maggiore

I only managed two screenings at the big Piazza this year as a result of rain and other distractions but Coppola’s Conversation was not as engaging on the grand screen as John Ford’s masterwork. Rarely has John Wayne been this monumentally frightening, dark eyes staring out across the vastness of the west in search of revenge and the restoration of his culture. There’s some jokey sequences but nothing really dents the full force of this film which continues to evolve in its meaning as the West in general seeks answers to the same issues of invasion, cohabitation and peaceful evolution. This is a film made at a time closer to the tail-end of the Wild West in the 1880s than to now, struggles still just about in living memory for a United States still ill at ease with its diversity.

Screened from 70mm on the biggest screen the film was introduced by Wim Wenders who has made the pilgrimage to Monument Valley, Arizona and wondered at the audacity of filming entirely at this location. It was something to view in a fresh light, immersive and impactful making us feel the filmmakers’ anew with even the plastic seats not distracting from the two hours on mental horseback.

 

The big country

 5. Chemi bebia/My Grandmother (1929), with Cleaning Women, Il Cinema Modernissimo

Due to unseasonal rain, this screening of Chemi bebia (My Grandmother) was moved from the Piazza Maggiore to the Cinema Modernissimo which only served to amplify the intensity of Kote Mikaberidze‘s film and the extraordinary accompaniment of Finland’s Cleaning Women. Now then modern scores for silent films can be controversial but this film is so out of time with its Dadaist energy that an avant-alt-post-rock-post-jazz-experimental-industrial set played by a group consisting of three cleaning robots (CW01, CW03 and CW04) ended up being perfect.

Chemi bebia defies easy summation and that’s from one of the only two people in the stalls who had seen it before but, essentially, it’s a film highlighting the damaging impact of bureaucracy on the revolutionary project with so many self-serving idiots only responding to the appearance of the Universal Worker (or similar). It’s one of the oddest and funniest propaganda films ever made and even more so with the “cleaners” quirky propulsion. Mop and Bowl on home-made instruments!

4. Scuola D'Eroi (1914) Daniele Furlati and Silvia Mandolini, Cinema Mastroianni

Meanwhile, back in the Golden Age of Italian Cinema, we watched an early film from one of the three great Dive, without which no CR is complete for some. This was not yet the imperious Pina Menichelli of her most successful period but she draws the eye in one of her first major roles dominates the screen whenever her character, Rina Larive is in shot even alongside Amleto Novelli and certainly the more established Gianna Terribili Gonzales.

Directed by Enrico Guazzoni – who made the 1912 Quo Vadis as well as other classical classics … Scuola d’eroi is an Napoleonic epic and I mean epic, straggling decades, family lost and found and with the fortunes of war and love all tangled together. Pina plays Rina, sister of Carlo, Amleto, who during a Napoleonic campaign, having been separated from their father as children and raised by a kindly farmer, get caught up years later in another with the emperor playing his part in recognising the courage of the family and saving them from the machinations of bad-faith nobility.

Daniele Furlati provided suitably spirited accompaniment on piano with Silvia Mandolini on violin, flavouring and enhancing during battles scenes and the moments of highest tension. Italian silent film of this era carried its heart on its sleeve and this was a very affecting screening of a fresh restoration from a nitrate positive held by the Cineteca Milano. It is the only tinted copy currently in existence and close to the original running time.

 

Pina Menichelli

3. 1904: Un Anno Magnifico, Stephen Horne and Frank Bockius, Piazetta Pier Paolo Pasolini

There are moments in every festival when you settle down and suddenly feel at the heart of the event, watching the perfect film and listening to just the right accompaniment and this happened on this rain-delayed outdoor event on the Thursday with a selection of shorts from 1904, A Magnificent Year indeed! I decided on the Pasolini’s carbon arc projector rather than watching the restoration of The Wind in the Piazza Maggiore – with orchestra! – and was rewarded with such rare delights!

We started with the breakneck gymnastics of Les Cambrioleurs modernes – often wrongly attributed as from a later year – which featured a stunningly synchronised troupe playing cops and robbers by throwing themselves in and out of a set full of trap doors. Clearly a stage act rehearsed tot the finest degree this was still a marvel to observe in real-time with no trickery. There was plenty of time for that with Georges Méliès' Détresse et Charité - The Christmas Angel and Match de prestidigitation but most of these films just used the new media to show actuality, whether it was the British Fleet being inspected at Spithead or A Miner’s Daily Life from RW Paul.

There was plenty of magic though with Gaston Velle’s silhouetted Burglars at Work showing what the camera can do as well as his deliciously hand coloured Métamorphoses du papillon with unknown dancer changing in front of our very eyes. And then, then we had a song as Frank Bockius performed the missing vocals from Henry Bender in a hand-coloured take of over-fed babies he would have performed at Berlin’s Metropol-Theatre. It was a job well done as indeed was the entire accompaniment from both payers with the memory of Stephen’s flute reverberating high into the clear skies as likely to linger as his partner’s percussion and vocalisation!

2. Re-building Jerusalem… Ingmarsarvet (1925), Andre Desponds and Frank Bockius / Till Österland (1926), Neil Brand, Cinema Mastroianni

 

This list isn’t really in order but the top two are such has been my pre-occupation with Selma Lagerlof and the tsars of these three films, notably the extraordinary ballerina Jenny Hasselqvist. I’ve gone on at length elsewhere but it was such a joy to see Gustaf Molander’s two films based on the author’s Jerusalem and I am so grateful to the Swedish Film Institute for the work they have done in restoring and reconstructing them.

More raving here...

1. Ekeby at last! Gösta Berling’s Saga (1924), Matti Bye, Eduardo Raon and Silvia Mandolini, Cinema Mastroianni

Having waited years to see this film on the big screen, I was also more than eager to see the results of the last five years’ worth of restoration and was in no way disappointed by the clarity and the majesty of this re-ordered and extended version of Mauritz Stiller’s work; perhaps not his best but my favourite anyway. Jenny, Greta Garbo, Lars and, especially Gerda Lundequist all shine as never before and the restoration and broader appreciation of filmmakers and the author Selma Lagerlöf will rightfully benefit.

More detailed appreciation here...

I saw much more though easily missing my 50-film target and apart from the silents enjoyed talkies as diverse as Morocco (1930), En Natt (1931) – Gerda again! - The Lavender Hill Mob (1951), Coeur de Lilas (1932) and Tirez sur le pianiste (1960). There was also a beautiful film of Anna Pavlova (USA-GB/1924-1954) which brought me close to tears with John Sweeney’s accompaniment.

 

As with life it’s best to celebrate what you saw rather than mourn what you missed and so, with hope in my heart, I look forward to revisiting many of the above and catching up, if the programmers so will it, with the rest.

Grazie mille Bologna and Il Cineteca Ritrovato! Ci vediamo nel 2025!

My copy of a 1924 Danish Gosta booklet

 

Lost in music… The Music Lovers (1970), BFI Blu-rau out now!

 

There is a big section of the British press that hated him, absolutely f*ckin’ hated him…

Quentin Tarrentino

Another whirlwind of sound and furious imagery from Ken Russell in a film that picks you up swirls you through Oz and drops you breathlessly back down to ground with a thump. I haven’t seen The Music Lovers since a late night viewing on HTV as a teen and whilst it hasn’t lost its power, I think I understand Russell’s approach far better now with another biography based on the emotional force of its subject’s work and the extent to which it was drawn from life. Ken’s all about the passion, the swings in a life’s mood than the dates and precise actuality. Every biopic is a deception anyway so why not embrace the inability to cover decades in a couple of hours and let your audience experience Pyotr Ilyich Tchaikovsky as he sounded and, upon this evidence, really felt.

"Music and facts don't mix. Tchaikovsky said: 'My life is in my music.' And who can deny that the man's music is not utterly fantastic? So likewise the movie! I sought to honour his genius by offering up my own small portion of his courage to create."*

I watched this sparkling new BFI Blu-ray with my Gen-Z daughter and explained that it was not only just a couple of years after homosexuality was legalised but also featured a star who is still getting some stick – a crass YouTuber - for the “mystery” of his sexuality, aged 90. For our Beth, this societal pressure is hard to conceive and she felt that this must have been such an opportunity for Richard Chamberlain to express himself with a freedom so long denied.

Tarrentino quotes Russell in response to a question about whether the critical consensus of his work ever got him down and Ken’s response was as you’d expect, “of course not… because I believe with all my heart in what I’m doing…” or words to this effect. Ken thereby gave permission to Quentin to follow his own path and no doubt was attracted to figures of similar creative resolution such as Lizst, Mahler and Delius. This film was followed by The Devils and The Boy Friend, both in 1971 a visceral golden year for the director.

The summation of critical views on Wikipedia shows that most recognised Russell’s cinematic abilities but felt he was being too self-indulgent and shocking in The Music Lovers, with the long campaign to obscure Tchaikovsky’s sexuality no doubt part of this view. That said, the film starts with a tour-de-force sequence of rapid cuts, single takes and hyper-kinetic character introductions at a fairground in St Petersburg as recreated in the backlot of Bray Studios in Berkshire. It closes with Tchaikovsky’s death and his estranged wife Nina (Glenda Jackson) being sexually assaulted in a lunatic asylum straight out of Russell’s own nightmares, scenes he would revisit for The Devils…

Russell’s son is interviewed by Vic Pratt on one of the extras and he said how his father would call “action!” before the actors were fully prepared and try anything to get them out of their habits and their typical riffs. When you have someone of the discipline and lightening skill as Glenda Jackson this approach brings out an extraordinary performance and one that is not an easy watch as her character arc heads into madness. Jackson acted in Women in Love and a total of six films with Russell, clearly she relished the challenge and she is, as the director said, his dream actress – fearless and so forceful.

By contrast, Chamberlain is less technical and flexible yet creates a superb portrait of a man who in Russell’s words, only really loved himself and his sister (to what extent we’ll never really know even though Ken had made up his mind). The actor does indeed have a quiet dignity as his director noted and that unknowable look that won so many hearts during his Doctor Kildare days is repurposed here in the depiction of the most conflicted of composers who wanted marriage but not a wife. Chamberlain was also an adept piano played and good enough to convince even though he was only hitting silent keys and playing along to the sounds created by Raphael Orozco as conducted by Michael Previn (who like Jackson, also worked with the great playwright Ernie Wise…).

Nina, even his sister Sasha, are attracted not just to the composer but also the power of his music and his relationship with his long-term patron Madame Nadezhda von Meck (Izabella Telezynska) exemplifies this perfectly, she not wishing to meet him in order to maintain the fantasy of a romance conducted almost entirely via written correspondence. Perhaps his only “straight” relationship is with Count Anton Chiluvsky (Christopher Gable, also in Ken's The Boy Friend), who only wants the man and not his music.

The script was written by Melvyn Bragg based on the book Beloved Friend, The Story of Tchaikowsky and Nadejda von Meck, a collection of personal correspondence edited by Catherine Drinker Bowen and Barbara von Meck. The letters contains many frank revelations as does the biography written by Tchaikovsky’s brother Modeste – played in the film by the excellent Kenneth Colley.

We know a lot about Pyotr Ilyich it seems but to get a feel of the great man, this film is as good as anything. It’s an experience that has a nasty turn but so did the lives and, for me, this was still at the point when Russell was controlled and could afford to be making oblique points through spectacular imagery and unsettled acting, pushing both performers and his audience to a reaction beyond their norm.

Another valuable release from the BFI and highly recommended along with another great set of extras which include a wonderful sequence of the great prima ballerina Galina Ulanova in "Swan Lake" in 1940, worth the price of admission on its own: such grace and purpose!

Special features:

• Presented in High Definition
• Newly recorded audio commentary by film historian Matthew Melia
• Interview with Alexander Verney-Elliott (2024, 20 mins): Ken Russell's son looks back upon his father's work, and remembers his own appearance in The Music Lovers
• Charlotte Bronte Enters the Big Brother House (2007, 16 mins): Ken Russell staged, directed and filmed this 'Radical Bronte' ballet for young people, illustrating Jane Eyre
• The Guardian Interview: Melvyn Bragg (1988, 76mins): ten years after the inception of The Southbank Show, Melvyn Bragg discusses his career in television and film writer Ronald Harwood, at the National Film Theatre in London.
• Galina Ulanova in "Swan Lake" (1940, 6 mins): one of the greatest ballerinas of all time is seen performing a dance from Swan Lake, in this rare film held by the BFI National Archive
• Musical Highlights from USSR Today (10 mins): edited highlights from three editions of the Soviet newsreel, gathering items about Tchaikovsky and Russian musical arts
• Costume designs (2024, 2 mins): original sketches by Shirley Russell
• Original trailer
• Illustrated booklet with new writing on the film by Matthew Melia, a new essay by Caroline Langhorst and contributions from Alexander Verney-Elliott and Lisi Russell

 

The booklet is only available with the first pressing only so get yourself over to the BFI’s shop as soon as you can!

 

Over the top, did someone say? Vulgar bombast devoid of fact?*

 

*Ken Russell, writing in The Guardian about the film in 2004

Special measures… Heavenly Pursuits (1986), BFI Blu-ray

 

‘In those days,’ Tom Shields noted in Gormley’s obituary in The Guardian, ‘the Scottish film industry could fit into the snug of the Halt bar in Glasgow’s Woodlands Road and, indeed, was often to be found there.’*

 

Even for those of us not old enough to go to the flickers at the time, it will be all too easy to appreciate the hand-to-mouth nature of British Cinema in the eighties, some good, Channel Four for instance, much bad, with so many bright younger filmmakers not being able to sustain a career for which most roads still led to Hollywood and unforgiving metrics. This film was Charles Gormley’s second after Living Apart Together (1982) which featured the multi-talented BA Robertson (who provides this film's score) and some young fella, a part-time musician called Peter Capaldi.

 

So much Scottish talent at this time, as always, and in it’s own way Heavenly Pursuits, gives some the chance to shine, including young Ewen Bremner as Stevie Deans a pupil with special needs who appears unreachable by normal teaching methods and cameos from stalwarts such as Ron Donachie and Jake D'Arcy in a pub no less… There’s also much local charm in the humour even among the classroom kids, non-professionals including Bremner, picked for looks and their ability to react in just the right way.

 

In the seventies, Gormley had co-founded the Glasgow production company Tree Fims in partnership with another aspirant filmmaker, Bill Forsyth and this film carries something of the latter’s charm, partly local but also in the form of the indomitably affable Tom Conti who breezes through this story with all the mumbling bemusement and deceptively naturalistic ease you’d expect. He plays Vic Mathews a disaffected but determined teacher convinced that his school could be better run, he can’t really change it but that he will and must help those children who are falling behind the majority of neuro-typical pupils.

 

Even in the 80s, Special Needs was only just being understood and legislated for, with inclusion a key part of the strategies. Stevie Deans is in danger of being sent to a “special school” which – in Vic’s mind, will mark him for life. Vic teachers the Remedial Class, which we had in my comprehensive and from which half the members of legendary Scouse band Echo and the Bunnymen were members – I can recommend guitarist Will Sergeant’s two volume biography, not so much remedial as exceptional! I know little of the Scottish educational system at the time but ten years later in England, SEN were rather more supportive outside of mainstream schools although this is less the case in the 2020s. You have to get lucky, you need something close to a miracle…

 

Talking of which… the school is Catholic and is searching for two more miracles that would promote the late Edith Semple from Blessed to sainthood. The story begins with the school’s pastor, Father Cobb (Brian Pettifer, simply in everything in those days) on a trip to the Vatican only to have the proposed miracles not being quite miraculous enough. Never the less, Father Cobb keeps praying for more and especially that pupil little Alice McKenzie may be able to walk again.

 

Vic, like his friend and science teacher colleague Jeff Jeffries (David Hayman), don’t believe in the miracles promised for simpler minds but strange things begin to happen firstly when Vic’s record player plays without its socket been plugged in or switched on and then, more importantly he finally get Stevie to connect to maths through the use of betting odds and returns. There’s further evidence when talking about the hardest languages the young man pipes up with the names of motorcycle companies which Vic quickly recognises is a game of two-wheeled Top Trumps. Has he found the key or is this another of the miracles the school seeks?

 

Things start to affect Vic personally as he is diagnosed with terminal brain cancer but only finds out after falling three-four storeys trying to rescue a pupil on a roof only to emerge unscathed and with no sign of the fatal shadow on his x-ray. By this point he has begun a relationship with a new music teacher Ruth Chancellor (Helen Mirren) who is a practicing Catholic but, like him unsure of miracles. Mirren and Conti are generational talents and their relationship is worth the price of admission on its own.

 

Then Alice McKenzie starts to walk and miracle mania starts to run as things reach fever pitch… The oddest thing, as Kemp notes, is that those you’d think would want to take credit for miracles seem to be the keenest to suppress them, from the Vatican, the Bishop and even the Hospital where Vic’s miracle is observed…

In The Washington Post, Rita Kempley praised the film as a ‘sweet-natured and idiosyncratic work, written and directed by former [Bill] Forsyth associate Charles Gormley. His style is derivative but his scriptwriting is inspired ... There’s always room for doubt in this delightfully quirky screenplay, with its grumbling atheists and gosh-almighty faithful.’

 

There is indeed always room for doubt but in the end the miracle is that we keep on keeping on and trying all the same, making miracles happen as best we can and not waiting for them to save us.

 

Special features

 

• Illustrated booklet with a new essay on the film by Philip Kemp, biographies of Tom Conti and Helen Mirren by Ellen Cheshire, notes on the special features and credits. First pressing only!
• Presented in High Definition
• A Magic Touch (2024, 20 mins): Tom Conti looks back upon the making of Heavenly Pursuits in this interview recorded especially for this release
• The Mirocle (1976, 13 mins): a man attempts to escape from his own ego, but to no avail – until a mysterious mirror appears, inviting him to look within himself. Stylish animation influenced by the work of Paul Klee
• The Science of Miracles (1897-1943, 18 mins): feast your eyes on some startling scientific marvels – and wonder upon the peculiar power of X-ray photography – as you examine these rare films from the vaults of the BFI National Archive
• Original trailer

 

Heavenly Pursuits is out now and can be ordered direct from the BFI online or in person on the Southbank: divinely charming!

 

*Quoted by Philip Kemp in his booklet essay.

Re-building Jerusalem… Ingmarsarvet (1925)/ Till Österland (1926), Il Cinema Ritrovato XXXVII

These films were screening as part of the Gustaf Molander strand featuring seven of his works from the silent era to the fifties a period of huge change in the Swedish film industry. Indeed, in his introduction, Jon Wengström of the SFI, talked about Molander’s two films adapting the bulk of Selma Lageröf’s Jerusalem as representing perhaps the last echoes of the golden age of Swedish cinema before so many major talents left for Hollywood. Fitting then that these should be about an attempt to find the promised land by a group of swedes not all of whom thrived once they arrived...

 

Till Österland (1926) with Neil Brand

Starting at the ending, Till Österland (To the East) the fourth film adapted from Selma Lagerlöf’s two-part epic Jerusalem which was published in 1901 not long after she had visited the Holy Land. A Swedish-Soviet-German co-production it featured extensive location filming in Jaffa and Jerusalem as well as Borane, Dalarna in Sweden in order to replicate the sweep of the author’s themes of love, land, faith and fortune.

It’s quite astonishing that what remains of Till Österland include some of the film’s major dramatic turns and takes us to the emotional finale. The first reel is entirely missing but all of the title cards survive along with about a quarter of the moving images for which we should be very thankful were spared by the Gods of Silent Cinematic Destruction… As a consequence, the relationship between the leads is very well covered with pleasing amounts of Mårtenson, Hanson and Hasselqvist performance time there to bring something I thought I’d never see to a very satisfying close.

Lars Hanson and Ivan Hedqvist

The film quality is also very fine indeed for this restoration/reconstruction which was completed only a few weeks ago, and matches that of the first film – in fact it’s colourways were used as a guide to re-tinting the almost-complete Ingmarsarvet (1925). You never know what to expect from this kind of recreation and it was a series of surprises as the parts of the film you most hoped still survived, kept on appearing; the main human story felt emotionally intact!

We also get to see some of the excellent cinematography of Julius Jaenzon - as well as Carl-Axel Söderström – given a totally different landscape to capture. For the man who shot so well against the Sun in Victor Sjostrom’s first adaptation of the work, The Sons of Ingmar (1919), it was indeed fascinating to see.

What’s missing would appear to be more coverage of the events in Jerusalem where the colonists struggle to survive in the unfamiliar conditions although it is very pleasing to see Lars Hanson actually in the Holy Land and the recently-added “Whirling Dervish” scene adds so much weight to the realisation of who the man who looks like Jesus really is. That said, Lagerlöf had described an altogether more brutal story:

“This is the Jerusalem of soul-hunting, this is the Jerusalem of evil-speaking, this is the Jerusalem of lies, of slander, of jeers. Here one persecutes untiringly; here one murders without weapons. It is this Jerusalem which kills men.”

 

Lagerlöf had made the same arduous journey to the Holy Land in 1899, inspired by the migration of 37 Swedes from the village of Nås in 1896. According to Swedish writer, Ingrid Carlberg, their photographs can still be found in the American Colony Hotel along with Selma’s. Reviewing the book in The Independent, Carlberg tells of the impact Lagerlöf’s “effortless storytelling” and prose had on her and, of course, being a Brit, I’ve previously had to rely on Velma Swanston Howard’s contemporary translation which has had mixed reviews in terms of its maintenance of authorial respect. That said, the story is still compelling and at times you’re wrong-footed by the shifts in tone, the magical reality and the visions that may or may not be real.

Mona Mårtenson

From this reconstruction we don’t see the broader struggles of the Dalecarlians community who left for Jerusalem at the end of the previous film. The first part of the book is merciless with characters being bought to life only to be extinguished by the heat, the light, shame and starvation. One man dies in disappointment after the golden vision of Jerusalem he saw on first arrival is not matched by the reality of dirty streets, beggars and lepers. Gunhild, one of Hellgum’s early converts, suffers after the group are demonised by other missionaries, who view them as immoral for their refusal to sanction marriage. The shame reaches back home where her mother dies in grief leading to the young woman’s decent into misery, she is soon gone herself, faith ill-rewarded. Hellgum himself is barely mentioned now that they are where he asked them to go and Conrad Veidt was also absent from the film which was made back-to-back with the first.

The leader of the mission is an American woman, Mrs Gordon, who, in the book, was inspired to form the new faith by the sinking of L’Univers, not Hellgum as in the film. She is based on Anna Spafford, the wife of a well-to-do lawyer and Presbyterian church elder, who was travelling to Europe on the SS Ville du Havre with her daughters when it collided with another ship and sank, with Anna being one of the few survivors. The Spafford’s established a Christian utopian movement eventually travelling to establish a commune in Jerusalem where they hoped good works would hasten the Second Coming of Jesus. They were treated with suspicion and they did indeed encourage the exodus from Nås. Truth is stranger than fiction, even Selma’s.

Gertrude is nursed back to health by Ingmar’s cousin  Hök Gabriel Mattsson, (Harald Schwenzen), who has held a candle for the schoolmaster’s daughter even since he attended her father’s school. He doesn’t think he has a chance, assuming Gertrude still loves Ingmar, and yet she has moved on from her old passion ever since her vision of Christ and their arrival in the Holy Land. The two form a close bond but Gertrude doesn’t want to be unfaithful to her Lord and Hök doesn’t want to get in his cousin’s way.

Mona Mårtenson, Jenny Hasselqvist and Ivan Hedqvist

Back home and Ingmar has grown to love his wife Barbro (Jenny Hasselqvist who relishes the chance to play this complex character) whilst at the same time being bound to Gertrude by his promise. Barbro has revealed herself to be a forgiving and principled individual who not only is beloved by the peasants of Ingmar’s Farm but also provides financial support for the family of the man who jilted her. She too feels a responsibility to Gertrude and wants to divorce Ingmar so that he can be with her.

That unbearable moral conundrum at the end of the first volume and Ingmar’s Inheritance has twisted itself even further out of joint and there’s a tremendous tension in the final furlongs of the narrative as each character slowly understands the reality of their feelings for each other. Selma is not going to let any of this go though and there’s an excess of human complication which she and now we can see, Molander, makes light work, which in comparison with Sjostrom is really his stock in trade!

 

Neil Brand gave the film full cinematic themes and dynamics, it must be so hard to accompany a reconstruction like this with the moving picture sections suddenly shifting to extended intertitle or stills but Neil held and enhanced the remains and played a significant role in making it feel like a whole film again. He’s had some considerable practice at this sort of work and it showed in emphatically stirring ways!

 

Mona Mårtenson and Conrad Veidt

Ingmarsarvet (1925) with Andre Desponds and Frank Bockius 

 

I’ve written about Ingmar’s Inheritance/ Ingmarsarvet (1925) before but this is much longer than the film I saw at 114 minutes as well as being tinted and looking, post digital restoration, as good as it’s done since the initial release. It really does support Jon Wengström’ s suggestion that this was the last of the “golden age” with a clarity and depth of detail that allows the audience to appreciate the landscapes – so important to the story after all – as well as the players. In terms of the source material, Sjöström followed his author’s text more closely and made two feature films out of less than 105 pages of Jerusalem whereas Molander crafted one from the remaining 240 of Volume One and another from the 400 of Volume Two (see above) including adding some of his own inventions.

Ingmar’s Inheritance (Ingmarsarvet) steps back a few chapters and starts with Strong Ingmar (Ivan Hedqvist) taking young Ingmar (Arne Lundh) to the death bed of his father and telling him of the family’s ranking and importance. Elias (John Ekman) is married to Karin Ingmarsdotter (Märta Halldén) and his decent into an abusive alcoholic wastrel is shown again but, unlike book and Sjostrom film, he causes his own demise by riding his trap too hard, hiding what remains of his wife’s wealth – little Ingmar’s inheritance - in the pillow on his death bed.

The years pass and Ingmar (now Lars Hanson) is fully grown and a teacher at the school run by Schoolmaster Storm (Nils Aréhn), looking longingly across at the old homestead, which is managed by Karin and the man she was always destined to marry, Halvor (Mathias Taube). Ingmar himself has his eyes set on Storm’s daughter Gertrude (Mona Mårtenson) who is almost despairing of his romantic instincts until he agrees to accompany her to the village dance. At the dance, Ingmar impresses not only Gertrude but Strong Ingmar who challenges him to honour the family traditions of farming and hard work. He takes him to the fast-flowing river at Langforsen’s Gap and persuades him to build a sawmill there which he can use to make a fortune and thereby buy back the family farm.

Conrad Veidt, for my daughter the film's standout performer. Yes, ahead of Lars!

Across the village, the faithful have gathered to pray, not dance and Pastor (Albion Örtengren) leads his fragile flock in hymns and routine religious rhymes at the missionary house. A storm is brewing and will bring unexpected fantasy and glamour in the form of Conrad Veidt’s wandering preacher, Hellgum, who takes refuge from the wind and rain and immediately takes command of the pulpit. In the book Hellgum is married to one of the women in the village but here he is more sensationalised with a not entirely trustworthy magnetism and religious passion – I’m not sure that Selma would have approved; her Hellgum is far subtler. Still, this is Conrad Veidt, and he’s absolutely the man for this gig and plays the febrile duality for all it’s worth every second on the screen as the “lone wanderer who brought a message from the Holy City of God…”

Meanwhile, the storm begins to terrify the revellers at the dance as Strong Ingmar talks about the myth of the wild hunt of Odin come to reap the souls of the unwary and Molander indulges in some very folkloric fantasies as ghouls, gods and wild animals sweep unnaturally through the woodlands. Ingmar returns and looking from the window appears to see the ghost of his father looming large in the darkened sky telling him to honour the family traditions.

Conrad Veidt, Märta Halldén and Mathias Taube

It is a very effective change in pace and signals Ingmar’s pursuit of both his family farm and Gertrude’s love as well as the beginning of Hellgum’s religious conversion of many in the village. The storm stops as Hellgum speaks – is he/isn’t he a prophet? - and he tells them of the faith that will bring safety during the storm… a new belief he acquired during the sinking of the liner Universe. This is another well-directed segment and harrowing still as men try desperately to pull women and even children off the lifeboats after the ship goes down, there’s little nobility on show and the fight to survive is grim.

 

Hellgum volunteers to jump off the lifeboat to save the women and children and survives after a vision from God showing that unity, brotherhood and sacrifice will save the world. He is moved to gather brethren and follow a path to a life in Jerusalem in a new Christian community. Undoubtedly, the notion of powerful new faith was something much closer to the contemporary audience, indeed, Lagerlöf partially based the story on an emigration that took place in 1896 from Nås in the Dalarna County.

Mona Mårtenson and Lars Hanson

Ingmar and Gertrude are much more convincing to modern eyes in their love and in his desire to restore his birth-right. But the path to true love must never run smooth and, as Ingmar is off building his water mill, Gertrude attracts the not entirely holy interest of Hellgum…  Once again Strong Ingmar is on hand to set things in motion and after he warns Ingmar, the young man races back home to confront his sweetheart. He duly gains the wrong impression and appears to have assaulted Hellgum only for the preacher to explain that Ingmar fought off two attackers. Ingmar forgives Gertrude’s momentary doubt and their balance is restored but for how long?

The story turns as Karin, so practical and therefore previously resistant, is cured of her unexplained inability to walk during one of Hellgum’s gatherings at Ingmarsfarm… she agrees to sell the farm to fund the Hellgumists’ exodus to the Holy Land thereby leaving an opportunity for Ingmar to buy back the family farm. Sadly, the farm is slightly out of his price bracket and it is here that we find Sweden’s multi-talented superstar Jenny Hasselqvist as Barbro the daughter of rich Berger Sven Person (Knut Lindroth) who was once a farm boy for the Ingmars. Barbro has been disappointed in love and looked on with considerable interest in the direction of Ingmar, so Dad does what all fathers might and offers to loan Ingmar the money as dowry for Barbro’s hand in marriage.

So now we have a classic Lagerlöf moral conundrum and Ingmar is not just driven by familial pride, he feels a responsibility to all those workers on the farm, especially the elderly who look on him with pleading eyes as he wrestles with his conscience. If you don’t want to know the result, please look away now.

Lars Hanson. Ingmar imagines...

Spoilers!!!

Ingmar follows his head and not his heart and, although neither solution would give him peace, he feels he has betrayed Gertrude who is devastated. His ensuing wedding with Barbro is not a happy occasion and he can barely look at his new bride, but his misery is about to be compounded as his former love, flees to the woods in desperation, has visions of putting his eyes out in revenge before seeing a vision of Christ and undergoing a conversion.

 

The real kick in the tale is when, seeking rest at a peasant’s cottage, Gertrude sleeps on a pillow bought at auction from the Ingmar’s Farm… she finds the money hidden by Evil Elias and a note explaining that it’s Ingmar’s inheritance. In a heart-breaking final meeting, Gertrude calls Ingmar away from his wedding to tell him that she has transferred her love to Jesus and that she has found his money. Realising that this find could have enabled him to have his love and his farm, he collapses in a sad rage… but the worst is that Gertrude is in a rapture beyond his earthly love.

Lars Hanson and Jenny Hasselqvist

So, we see various conflicts, Ingmar’s love for Gertrude and for the land, his true inheritance is farming and not necessarily the farm or money. He makes most sense as a many working the land as he will prove in the final part. His inheritance is also steadfast loyalty and a willingness to do the right thing. He faces tough choices but I couldn’t help but think of the more complex world that would arrive in the future. In capturing the way of life in old Varmland Lagerlof and her directors were unaware of the biggest challenges of the new century; you wonder what happened to the Ingmars in the time of mechanisation and the post-industrial world?

 

Taken together these two films come in a 114 plus 42 minutes so just over two and a half hour combination; it would make for an interesting screening with a break in the middle perhaps. Here excellent accompaniment was provided by Andre Desponds on piano and Frank Bockius on  percussion; the two under-pinned the lyricism and romance whilst also driving beats into the more dramatic passages. Frank demonstrated elsewhere his command of tone and tempo and here he was a gift for yet another piano player!

 

Congratulations to the SFI Jon Wengström and to Magnus Rosborn who worked on the Molander as well as Jörgen Viman who did the same for the Stiller!

 

For more information on Selma's trip to Jerusalem there's an interesting post on the National Library of Israel's The Librarians' website from Hadar Ben-Yehuda.

Jenny Hasselqvist