Misfortunes of Imaginary Beings: 04/21/20

A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Tuesday, April 21, 2020

Raffles (George Fitzmaurice, 1930)

Kay Francis and Ronald Colman in Raffles

Cast: Ronald Colman, Kay Francis, David Torrence, Frederick Kerr, Bramwell Fletcher, Alison Skipworth, John Rogers, Wilson Benge, Frances Dade. Screenplay: Sidney Howard, based on a novel by E.W. Hornung and a play by Eugene Wiley Presbrey. Cinematography: George Barnes, Gregg Toland. Art direction: Park French, William Cameron Menzies. Film editing: Stuart Heisler.

Samuel Goldwyn's 1930 version of the old chestnut Raffles, about a gentleman jewel thief known as "the amateur cracksman," was reportedly made as both as a silent film and a talkie simultaneously. It's easy to spot scenes that would work in both versions, such as the one in which Raffles (Ronald Colman) woos Gwen (Kay Francis) in an automobile: We see them through the windshield, but we don't hear what they're saying -- just the sound of the engine running. Colman was one of the silent stars who made the transition to talkies easily, possessing not only good looks but also a speaking voice to match, and his performance in Raffles looks and sounds natural and easy-going. The film, unfortunately, still suffers from some of the sluggishness of early talkies, with dialogue that doesn't flow but chugs along, with pauses between lines that feel as if they're waiting for a title card to be inserted. It's a pre-Production Code film, so Raffles doesn't have to be punished for his crimes at the end -- he simply escapes, with the Scotland Yard inspector who has almost nabbed him admitting in the film's curtain line, "One can't help liking him." The movie was nominated for an Oscar for sound recording, and the nominee, Oscar Lagerstrom, was attentive to background noises like footsteps and car engines, though the version of the film available today is notable for the rumbles and whispers of the soundtrack, unsweetened by a music score.