By Tom Ryall
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Charles Barr has suggested that: To most people other than specialist academics and historians, British silent cinema is an unknown country. No British feature films from the silent era belong to an internationally known repertoire, or to a national tradition that is absorbed by, or at least known to, later generations of film-makers and cinephiles. Our film culture has no roots in, and no memory of, the formative silent period. 7 The British cinema, it is suggested, failed to contribute to the ‘internationally known repertoire’ of films of the period despite the fact that it did possess an industry with a history comparable to its European neighbours.
Examples of directorial ingenuity could be multiplied. 21 The bravura shots from Andy’s point of view from the swinging chandelier recall the shots from the trapeze artist in Dupont’s Variety. The finale – Mae in a studio church set which is being dismantled around her – is a skilful illustration of the ways in which miseen-scène and theme can work together without recourse to overt expressionism. The film embodies the range of stylistic currents discernible in mid-1920s cinema though in a ‘contrived’ manner, according to Manvell;22 it also effectively documents British film-making towards the end of the silent era and is a satire on popular film magazines and fan culture.
The film embodies the range of stylistic currents discernible in mid-1920s cinema though in a ‘contrived’ manner, according to Manvell;22 it also effectively documents British film-making towards the end of the silent era and is a satire on popular film magazines and fan culture. Contemporary comment ranged from the abusive to the congratulatory. 26 The reflexive qualities of the film, its stylistic virtuosity, merged with its accessible melodramatic romantic triangle theme, places it in a category of films which sit somewhat precariously in between the popular conventions of the Hollywood film and the more arcane demands of the art film.
Anthony Asquith by Tom Ryall