a cottage on dartmoor 1929
directed by anthony asquith
cinematography by stanley rodwell
it starts with a dramatic scene in which an escaped convict enters a lonely farmhouse. the woman, home alone, discovers him and screams- his name.
after that, the suspense hangs over the flashback that takes up most of the film. in no time, i noticed that my arm muscles hurt from clenching my fists, i was holding my breath, my pulse was racing and that sitting anywhere other than the utmost edge of my seat was way, way too far from the screen. and you know, everyone in the theatre row beside me was sitting the same way. i think at times the entire audience was holding its breath. no one was talking or fidgiting through this showing.
it was at times [often overlapping] hitchcockian in suspense, dziga-vertov-like in the editing, german-expressionist in the lighting and composition and film-noirish in the script. somehow, every element in film that creates the irresistible magic which steals my heart is combined in a cottage on dartmoor. it was a sublime hour and a half.
the musical score written and performed by stephen horne was a large portion of why the showing was so impressive. you may know from my earlier posts that i'm very discerning about musical accompaniment to silent films. now, mr horne has raised my standards much higher. it was a true soundtrack that deftly followed the on-screen action, subtly nuanced to increase the suspense and at times even completely silent. it was almost seamless- the only time my attention was drawn to the piano was to realize how it was heightening the tension, cranking it up to a delicious, almost unbearable level.
if i was independantly wealthy, i'd be following this film which is showing in film festivals around the world. somebody better put out a copy of this on dvd, and with the stephen horne score. i can't wait to get my hands on that!
read more here
and here
5 comments:
This really is a good film--formally inventive in very unforced ways. I wouldn't say no if another screening conveniently popped up here in NYC.
By the way, I can't remember if I've ever said how much I like this blog, but if not, I enjoy it a lot. Keep up the good work!
thank you, zach! in a crisis of faith, i had been thinking of shutting this thing down. its a nice thing to hear, so thanks for leaving a comment [it is your first]. films like this one make me happy i have an outlet in which to rave about them.
i hope the musical score you heard in nyc was steven horne's, or someone equally as talented.
I too was floored by this film - and this score. I was really impressed with the musical lineup at the SFSFF this year: Dennis James, Donald Sosin, Mont Alto Motion Picture Orchestra, Serge Bromberg (I confess I took a breather and missed Clark Wilson, but based on his performances last year I'm convinced he was terrific; word on the street confirmed). No duds in this bunch, that's for sure. But of all of them, I think it's fair to say that Horne has the most "untraditional" style. His score for this film is full of modernist flourishes (dare I say "Herrmann-esque"?) of the sort that surely must have been pretty rare to hear silent-era musicians employ.
But a Cottage on Dartmoor seems precisely suited to this kind of score. The film's tendency to be "formally inventive in very unforced ways," as Zach so nicely put it, was perfectly matched by Horne's compositional invention.
I hope there are more opportunities to further delve further into Asquith's early filmography.
I'm really glad you're still running this blog. Your approach is quite a refreshing one.
thanks brian!
after ...dartmoor i'd include mr horne with the great film composers. moderist touches are fine when they are as effective as his. i'm not such a purist as to demand the music originally intended. in fact the mont alto orchestra's score that was introduced as being close to original left me a bit flat- although a fine orchestra they are.
camille made me cry, in which i'm sure clark wilson had a big part. i had to go back to my volunteer post all weepy.
i'd like to see judith rosenberg playing next festival. she played the piano to accompany the films kevin brownlow brought to the pfa.
one of the links i included mentions other early asquith films being shown...maybe here in sf too.
and thanks for your kind words about my blog.
I'm not a purist either, but I generally appreciate them in contexts like this. They help keep the rest of us on our toes.
I might as well come out with the hidden subtext of my previous comment: that while I was astounded by Horne's showstopper of a score for a Cottage on Dartmoor, I thought his style didn't quite mesh right with the Valley of the Giants, the only minor reservation I noticed having with the music the whole weekend.
Judith Rosenberg is a reliably wonderful pianist. I too hope she makes an appearance at the SFSFF soon.
Apparantly, both of Asquith's other silent films have played the PFA: Shooting Stars back in 1992, and Underground in 2005, both with Jon Mirsalis at the piano.
Enjoy New York City and your birthday!
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