In my discussion of Ford's "Hurricane" below, I mentioned Richard Landes and the 13-seater cinema in his garden. The above Cecil B DeMille spectacular was last night's delight and on one level I am amazed that I have not seen this silent previously, especially since it is claimed that it has been viewed by more people around the world than any other movie, having traditionally been given free showings during Lent from the late 20s to the early 50s. Then again I am hardly a fan of po-faced religious movies, or even un-po-faced ones for that matter.
This film deserves its classic status as a typical DeMille extravaganza, but two hours of freely composed scenes from the life of Christ with intertitles largely from the gospels is a little more than I can really enjoy. Fortunately the 155-minute version which is out on DVD was not yesterday's selection. I can admire the opulence of the production, some beautifully composed crowd scenes, and even some of the special effects. The Seven Deadly Sins being cast away from Mary Magdalene was imaginatively conceived. However in general, I found it something of a plod, despite being pleased to have finally seen it.
The cast was competent but largely composed of unknown actors. The exceptions were H. B. Warner unrecognizable in the beautific lead role (a frequent character actor in the 30s and 40s, his most memorable late role was as the chemist that Jimmy Stewart prevents from mis-prescribing in"It's a Wonderful Life"), Joseph Schildkraut as Judas (far different from his serious dramatic and light comedy roles in the 30s), and a small bit for one William Boyd, better known in movie history as Hopalong Cassidy. He plays the man who is shamed into carrying the cross to Cavalry for Christ -- a sort of Hopalong Crossidy (yes, I know, very bad pun).
The music score was interesting, incorporating some well-known hymn tunes, but I am never too happy with choral additions to what is meant to be silent cinema. Anyhow, thank you Richard, a memorable experience.
1 comment:
De Mille strikes me as the cinema's equivalent of Robert Ludlum and others in the
thriller novel genre - overblown and not that well done if considered critically. He
did have a way with crowds and special effects on the grand scale and knew that
sex and religion prove a powerful mix. The score was mildly interesting with the
well-known hymn tunes there doubtless to emphasise the conflated Gospel story
and I do agree wholeheartedly that any sort of vocal music is out of place in silent
cinema (and quite often in the talkies).
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