Categories
This Film Is More Than 100 Years Old

Playmates (1922)

Playmates is a short film in which two actors dressed up as children show off the latest in groundbreaking animatronic toys from 1922.

Playing out like very early test screens for JF Sebastian’s workshop in Blade Runner, this is all usurprisingly horrifying, combining both the enduring disquiet of animatronic dolls with the utter mortal terror of human adults dressed as and pretending to be very young children. Completely monstrous.

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Notes

1. I watched this on the BFI Player.

2. I like the way these sort of horrifying animatronic toys have barely changed in a century.

3. Motorised beasts lumbering uselessly around in circles on a table in your local toy shop every Christmas.

4. Only occasionally received as presents.

5. But somehow endlessly disappointing whenever they are.

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Film Information

Title: Playmates
Year: 1922
Duration: 2 minutes
Watch: BFI Player

Categories
This Film Is More Than 100 Years Old

Studies In Animal Motion (1922)

Studies In Animal Motion is a 1922 nature documentary, using slow-motion film to show a number of different animals in wonderfully illuminating detail.

Taking advantage of inevitable improvements in film and camera technology, Studies In Animal Motion takes great delight in showing off hitherto unseen marvels of nature, including how kangaroos leap about, how frogs and toads tongues work, how birds wings move, how snakes undulate, and so on.

There’s also a few surprising inclusions in this showcase for slow motion technology, including snails and tortoises, and a weirdly fake looking crab that I’m half convinced was a particularly impressive animatronic effect rather than an actual crab.

The strangest moment by far is when they decide to use footage of a kangaroo boxing with a zoo keeper to demonstrate how well it can balance on its legs and tail. I’m not sure this is strictly ethical behaviour for a zoo keeper, to be honest.

Part me of also wonders if this was the backstory for Roger in Tekken, but presumably that particular boxing kangaroo was from an entirely different zoo.

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Notes

1. I watched this on the BFI Player again.

2. This was part of a series of pioneering nature documentaries made in the 20s and 30s called Secrets Of Nature.

3. There’s a dvd boxset of this that I keep meaning to buy.

4. But haven’t yet.

5. Anyway from the description on that page it seems this vidoe’s not on their anyway.

6. I watched some even earlier films by Percy Smith on here before: To Demonstrate How Spiders Fly (1909); and The Acrobatic Fly and Birth Of A Flower (both 1910)

7. At times in Studies In Animal Motion there’s heavy damage to the film, which creates some nice jump cut details (teleporting sea lions and vanishing kangaroos), while also giving us some pretty spectacular looking avant garde cut images that I absolutely loved.

8. Which was nice.

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Film Information

Title: Studies In Animal Motion
Director: F. Percy Smith
Year: 1922
Duration: 10 minutes
Watch: BFI Player

Categories
This Film Is More Than 100 Years Old

Fishing At St Dogmaels (1922)

Fishing At St Dogmaels is, perhaps unsurprisingly, approximately 2 minutes of footage of some people fishing in St Dogmaels in Wales, in 1922.

Not necessarily the most exciting film, but I’ve included it here because the brief scene where they row across the river (shown above) is really quite beautiful, too. Kind of mythic in its grandeur.

Which I think is reason enough to mention it.

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Notes

1. I watched this on the BFI Player like usual.

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Film Information

Title: Fishing At St Dogmaels
Year: 1922
Duration: 2 minutes
Watch: BFI Player

Categories
This Film Is More Than 100 Years Old

Skating In Oulton Broad (1922)

Skating In Oulton Broad is a minute of home-filmed footage of people skating on the frozen lake of the title, in Lowestoft, in 1922.

There is beauty in the badly framed, endless wonder in the out of focus, entire worlds built up through every decade of decay, hiding there in those undignified ruins at the end of every sliver of film.

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Notes

1. I watched this on the BFI Player.

2. Recently I was reading about the restoration of an old painting at the National Gallery

3. How in their restorations they removed all traces of life and wonder from what they had.

4. And often too I think about the weird hypnotic beauty of the Salvator Mundi

5. Before they scrubbed him clean of any sense of mysticism.

6. And of course no one’s going to try and upgrade these skaters into 4k ultra HD

7. Every blemish digitally erased until everything is as sharp as the eye can see

8. (Although maybe if they were French…)

9. But if they do

10. All we’ll be left with is

11. Nothing much at all.

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Film Information

Title: Skating On Oulton Broad
Year: 1922
Duration: 1 minute
Watch: BFI Player

Categories
This Film Is More Than 100 Years Old

Dogs Of High Degree (1922)

This is a piece of newsreel footage of some dogs at some dog show or other in 1922. One whole minute of dogs follows (also includes some owners). They’re nice dogs, I reckon. And at least 100 years old.

That last dog there is billed as the smallest dog in the world, but I’m pretty sure it’s not and never was. The little liar.

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Notes

1. I watched this on the BFI Player

2. I have little extra information to add.

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Film Information

Title: Dogs Of High Degree
Year: 1922
Duration: 1 minute
Watch: BFI Player

Categories
This Film Is 100 Years Old

Nanook Of The North (1922)

Nanook of The North is a documentary film, directed by Robert J. Flaherty in 1922, about the Inuit hunter Nanook and his family living in the Arctic north of Canada.

Considered a groundbreaking feat of film making at the time, Nanook Of The North follows “Nanook” and his family through what is presented as a few typical days/weeks in the life of a small family group of Inuit hunters. Bookended with starkly beautiful shots of the Arctic wilderness, in between we get to see them trade and hunt, eat and play, build igloos and pet dogs.

A lot of this isn’t “real” as such, (according to this wikipedia article, several scenes were staged, and anything considered too modern was left out of the film), but it’s certainly effective, creating an evocative image of enduring family solidarity in the face of the unforgiving bleakness of Arctic desolation.

(These duplicitous techniques are still used now, obviously, in everything from nature documentaries to news footage. I remember going to the Olympics in 2012, and while sat in front of one of the screens in the Olympic park, TV crews went up and down the line handing out Rebecca Adlington and Andy Murray masks to small groups of bystanders, filmed these supers fans spontaneously and vociferously supporting their heroes, then went back down the line and took their masks back. The bastards.)

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Notes

1. I watched this on Mubi, but grabbed the screenshots from youtube.

2. The Mubi version was a 1998 restoration with a soundtrack by Timothy Brock.

3. But apart from that I think it’s basically the same as that youtube version.

4. This film contains a lot of animal death (seals, walruses, fish, a fox), by the way.

5. So maybe give it a miss if you’re of a sensitive disposition.

6. Like me.

7. Prone to imagining you’re some poor old walrus bellowing in confusion and fear as you get harpooned to death in the waves.

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Film Information

Title: Nanook Of The North
Director: Robert J. Flaherty
Year: 1922
Duration: 78 minutes
Watch: youtube

Categories
This Film Is 100 Years Old

Haxan (1922)

Haxan is a 1922 documentary directed by Benjamin Christensen that explores and depicts the history of witchcraft and witch hunts in the middle ages.

Using various devices such as stills of medieval woodcuts and manuscripts, dramatisations of actual events, recreations of recollections, stop motion animations, and some pretty lurid sex and nudity (by 1920s standards, at least), Haxan isn’t so much a documentary as a near two hour nightmare, surprisingly unsettling in many ways, not least the wholly demented behaviour of the witch-hunting clerics and monks.

This was banned on release across a lot of Europe, and in America too, just as much for it having the temerity to portray the church as absurdly evil as for its nudity and naughtiness (there’s a wonderful scene of the witches all giving Satan a surprisingly chaste kiss on the arse).

Even a hundred years later there’s still a strange, mesmerising power to its imagery, the ferocity of the performances and the sheer strange delight in some of the black mass scenes that’s kind of unsettling, a weird energy that’s impossible to ignore.

The final section, where it contrasts witch hunt mania to 20th century psychiatric diagnoses of female hysteria, feels startlingly modern, too, after all that’s gone before, and ends the film on a fittingly upsetting note.

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Notes

1. I watched this on an old Tartan Video DVD.

2. Which contained two versions – the original 1922 version, with Danish intertitles (basically this youtube version that I took the screenshots from), and various different soundtracks (included what supposedly was the original score from its premiere), and a 1968 American re-edited version called Witchcraft Through The Ages, with a William Burroughs narration and a wonderfully demented 60s jazz soundtrack.

3. I hadn’t seen that version before and it was wonderful, especially the nice stark black and white look, which I like a lot more than the red tinting on the majority of the 1922 version.

4. And William Burroughs has the best voice. He really does.

5. Anyway I’d seen this a couple of times before.

6. Once was the original version on Film Four a few years back.

7. And the other time was about ten years ago in a pub in Chelmsford, where a textless edit of the film was being projected onto a sheet while a very loud band played a live soundtrack to it very loudly.

8. Which was wonderful obviously

9. I have no idea who the band were I’m afraid.

10. They sounded quite a lot like Earth

11. But they were not Earth.

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Film Information

Title: Haxan
Director: Benjamin Christensen
Year: 1922
Duration: 1 hour 46 minutes
Watch: youtube; Mark Kermode BFI Intro

Categories
This Film Is 100 Years Old

Felix In The Swim (1922) / Felix Comes Back (1922)

Here we have two different 100year old Felix The Cat cartoons, both of which are directed by Margaret J. Winkler, who took over producing duties from Pat Sullivan and Paramount Pictures in 1922 and made over 60 Felix The Cat cartoons between then and 1925.

I’ve never quite worked out why Felix The Cat was so wildly popular for so long (it’s not that he’s necessarily bad, it’s just that he’s not that good), and Felix In The Swim (one of 17 Felix The Cat cartoons released in 1922 alone) doesn’t really do much to illuminate things, with some pretty charmless visuals, inert jokes and consistently bad comic timing (although the mice playing the piano are lovely).

Felix Comes Back, though, from later in the year, is much better, with better animation, funnier jokes, some inventive mild surrealism, and a penguin in the Arctic (where all the best cartoon penguins live).

So, if you’re going to watch one hundred year old Felix The Cat cartoon today, make it that one. Or maybe one of the other fifteen, who knows.

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Notes

1. I watched both of these on youtube. Felix In The Swim has added sound effects and music, which don’t actually add that much, while Felix Comex Back is nice and silent, just as nature intended.

2. I previously reviewed a couple of earlier Felix The Cat cartoons on here: Feline Follies (1919) and Frolics At The Circus (1920).

3. Oddly, the title of Felix Comes Back spoils the final joke (when Felix does indeed come back).

4. But maybe they were worried you’d think he was trapped in the Arctic forever otherwise.

5. And didn’t want anyone to become upset.

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Film Information

Title: Felix In The Swim
Director: Otto Messmer
Year: 1922
Duration: 7 minutes
Watch: youtube

Title: Felix Comes Back
Director: Otto Messmer
Year: 1922
Duration: 7 minutes
Watch: youtube

Categories
This Film Is 100 Years Old

Cinderella (1922) / The Secret Of The Marquise (1922)

Cinderella (or Aschenputtel) is a short film from 1922, directed and animated by Lotte Reiniger in her signature paper cut outs and shadow silhouette style. It’s beautiful.

An adaptation of the traditional Cinderella story (unsurprisingly, given the title), this includes almost everything you could want from such a thing: evil mothers, grotesque sisters, wonderful transformations, beautiful costumes, dancing, surprisingly horrific mutilations, and even an exploding step-mother.

(Also there’s a nice example of the perils of outdated old language usage changing the entire meaning of the piece, when poor old Cinderella isn’t allowed to the party because she’s a “slut”.)

Lots of early cartoons seem to start with a sequence showing the artist drawing a characters before they magically come alive, and this has a nice variation on that with a pair of magical scissors cutting blank lumps of paper into shape, which I liked a lot. And as ever with Lotte Reiniger’s work is the sheer expressive artistry of it all.

The Secret Of the Marquise is also from 1922, and it seems to be unique (as far as my inexpert knowledge of Lotte Reiniger’s career can tell) in that it’s been reversed/inverted, so that the cutouts are in white and the backgrounds in black, which gives it all a nice ethereal air. It’s only short (2 minutes or so), but it’s as charmingly animated as ever, and whhen I watched this I was assuming it was another one of Lotte Reiniger’s fairy tale adaptations, so the reveal of what the Marquise’s secret actual was was unexpectedly funny, like some long lost 1920s Reeves and Mortimer sketch.

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Notes

1. I watched this on various BFI collections (Cinderella is on the Lotte Reiniger Fairy Tales collection DVD, and The Secret Of The Marquise is an extra on The Tales Of Prince Achmed blu-ray).

2. But they’re also on youtube, which is where, as usual, I grabbed the screenshots from. The Secret Of The Marquise is exactly the same as the disc version, while Cinderella has music on youtube, and also maybe a clearer picture).

3. I’ve reviewed a couple of Lotte Reiniger’s other films here before: Der Fliegende Koffer (1921) and Das Ornament des verliebten Herzens (1919).

4. I don’t know why I gave them the German titles and these the English ones but I did so there.

5. Also I liked both of those just as much as I liked these probably.

6. Lotte Reiniger also made a version of Sleeping Beauty in 1922, but I can’t find any versions of it anywhere so is presumably lost. Although it might just be that my cursory Tuesday afternoon searching skills are off.

7. She remade that, and also Cinderella, in the 1950s, but that’s a long way beyond the scope of this website.

8. (But it’s good I liked it).

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Film Information

Title: Cinderella
Director: Lotte Reiniger
Year: 1922
Duration: 12 minutes
Watch: youtube

Title: The Secret Of The Marquise
Director: Lotte Reiniger
Year: 1922
Duration: 2 minutes
Watch: youtube

Categories
This Film Is 100 Years Old

Foolish Wives (1922)

Foolish Wives is a 1922 film, written, directed by and starring Erich von Stroheim, about a con artist Russian count and his cousins who descend on Monaco to fleece the rich via several different nefarious schemes.

Inexplicably lavish – although it’s set in Monte Carlo, it was filmed in Hollywood on huge sets recreating almost the entire town – it’s widely believed to be the first film with a $1 million budget, with Universal Studios eventually using the colossal price as publicity (presumably creating modern Hollywood in the process).

Erich von Stroheim plays Count Sergius Karamzin, with Mae Busch and Maude George as his cousins (and, apparently, lovers). The three of them live in what looks like aristocratic luxury in a beautiful villa by the sea, but they are in fact penniless crooks. Bored with their small time petty counterfeiting schemes, the three of them hatch a plan for the Count to seduce and swindle a fortune out of the wife of the recently arrived American ambassador.

The Ambassador’s wife, all naive sweetness and charming honesty, is the perfect mark for the Count, who goes about inveigling his way into her life and conscience through a series of contrived encounters, building up to their attempt to emotionally blackmail her out of a hundred thousand francs.

Thematically, this plays out in a way suggesting the inversion of assumed morals, with the Europeans being shown to be obsessed with money to the point of amorality, while it’s the Americans that maintain the supposedly European values of nobility and chivalry, honesty, integrity. Also the Ambassador gets to punch the Count in the face, thereby proving his moral superiority and his masculinity at the same time.

(Incidentally, the actor playing the American ambassador, Rudolph Christians, died half way through filming, so there’s some awkward use of body doubles and obvious insert shots from previously filmed scenes towards the end of the film, which are oddly distracting.)

(As another aside – and not really shown in any of these images, although there are two dogs and a parrot in the image above – but I do like the way a lot of very old films seemed to enjoy filling almost every scene with entirely incidental animals, despite the fact you’d think that’d increase the complexity of filming exponentially, and be the sort of thing you’d avoid unless it was absolutely necessary. Here there’s a constant parade of dogs, cats, goats, horses, pigs, chickens, cockatiels, finches, lurking at the edges and sometimes the centre of the screen.)

Anyway, finally, and maybe most importantly, there’s Erich von Stroheim. In almost every single frame of the film, he’s mesmerising as the Count, swaggering and preening, impossibly beautiful in his immaculate attire, filled with evident delight at his absurd duplicity, his petty thievery, his lascivious licentiousness.

You obviously can’t get the same sense of shock and horror and moral disgust this character would have originally provoked at a remove of a 100 years (not least because a lot of his performance was removed and destroyed at the behest of the censors), but even with that distance he’s still just amazingly unrepentantly despicable. Just an absolute utter bastard through almost every second of the entire film. Wonderful stuff.

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Notes

1. I watched this on Mubi, but you can’t take screenshots on there, so I got them from this identical version on youtube.

2. This was long. Really long.

3. Yet nowhere near long enough.

4. It was originally meant to be 6 hours.

5. Maybe even 10 hours, if wikipedia is to be believed.

6. But now all that’s left is this 2 and a half hour version.

7. Cobbled together from various versions of differing quality.

8. So some of it’s a lot more degraded than the rest.

9. It still frequently looks incredibly nice, though.

10. Even when the screen is 90% murk.

11. That’s a shot of swirling waves which end up looking like some distant galactic nebula.

12. They’re only on screen for 3 seconds but I wish they lasted forever.

13. I love waves.

14. Another thing I liked a lot are the slightly odd intertitles that occasionally pop up

15. Full of snippets of descriptive language assembled like cut up poetry.

16. Which are absolutely lovely.

17. And increasingly convoluted.

18. There’s also some mild post-modernism, with the diplomat’s wife reading a book called Foolish Wives (by an author called Erich von Stroheim) on and off throughout the film, the passages we see from it commenting on (and might well possibly actually be describing exactly) the incidents we see on screen.

19. Which is nice.

20. And I liked too the repeated technique of superimposing various shots over a textured canvas to create the appearance of moving paintings.

21. Some of which are just impossibly beautiful.

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Film Information

Title: Foolish Wives
Director: Erich von Stroheim
Starring: Erich von Stroheim, Mae Busch, Maude George, Miss DuPont, Rudolph Christians
Year: 1922
Duration: 143 minutes
Watch: Mubi; youtube