A colonial scene in the U.S. An old lady sits astride a bell while a man in blackface, wig, and livery pulls the bell rope. From an upper door emerges an old man, dressed as a dandy, who ... See full summary »

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Cast

Credited cast:
...
Virginia Nicolson ...
Old woman / Keystone Kop (as Virginia Nicholson)
William Vance ...
Indian in blanket
Rest of cast listed alphabetically:
Edgerton Paul ...
Bell-ringer in blackface (as Paul Edgerton)
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Storyline

A colonial scene in the U.S. An old lady sits astride a bell while a man in blackface, wig, and livery pulls the bell rope. From an upper door emerges an old man, dressed as a dandy, who tips his hat to the woman as he walks down stairs grinning. Others leave the same door and walk down the same stairs: a shabby man, a cop, and, several times, the same dandy. The man in blackface hangs himself; the dandy continues to smile. A bell tolls, a grave beckons. In the dark, the dandy plays the piano. Is he Death? Written by <jhailey@hotmail.com>

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Short

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Release Date:

26 November 1999 (Taiwan)  »

Also Known As:

Corazones del tiempo  »

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Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Orson Welles's first film. See more »

Connections

Remade as The Hearts of Age (1997) See more »

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User Reviews

 
The Hearts of Age was a fascinating early look at Orson Welles' technique
26 August 2009 | by (Baton Rouge, La.) – See all my reviews

Just watched on UbuWeb this early experimental short film directed by William Vance and Orson Welles. Yes, you read that right, Orson Welles! Years before he gained fame for radio's "The War of the Worlds" and his feature debut Citizen Kane, Welles was a 19-year-old just finding his muse. Besides Vance and Welles, another player here was one Virginia Nicholson, who would become Orson's first wife. She plays a woman who keeps sitting on something that rocks back and forth courtesy of an African-American servant (Paul Edgerton in blackface). During this time a man (Welles) keeps passing her by (courtesy of the scene constantly repeating). I won't reveal any more except to say how interesting the silent images were as they jump-cut constantly. That's not to say this was any good but it was fascinating to watch even with the guitar score (by Larry Morotta) added in the 2005 print I watched. Worth a look for Welles enthusiasts and anyone with a taste of the avant-garde.


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