Ingeborg Holm's husband opens up a grocery store and life is on the sunny side for them and their three children. But her husband becomes sick and dies. Ingeborg tries to keep the store, ... See full summary »
Fantômas makes it as the emperor of Crime. First is the robbery at the Royal Palace Hotel. Then he abducts Lord Beltham. As Fantômas' fame increases actor Valgrand creates the rôle of ... See full summary »
As inspector Juve seems to be unable to put Fantômas behind bars the Press comes up with the idea Juve must be Fantômas himself! Juve is soon jailed as an attempt to ease the stress on his ... See full summary »
Three centuries before Christus. Young Cabiria is kidnapped by some pirates during one eruption of the Etna. She is sold as a slave in Carthage, and as she is just going to be sacrificed to... See full summary »
In Hungary, the national movement led by Kossuth has been crushed and the Austrian hegemony re-established, but partisans carry on with violent actions. In order to root out the guerilla, ... See full summary »
A stranger comes to work at widow Halla's farm. Halla and the stranger fall in love, but when he is revealed as Eyvind, an escaped thief forced into crime by his family's starvation, they ... See full summary »
Based on a fable by Krylov, and other sources: All summer, the grasshopper sings, plays music, and visits with it's friends. Meanwhile, the ant works hard collecting food and building a ... See full summary »
After watching the two Leonce Perret films in the Gaumont set released by Kino, the word that seemed to sum him up for me is "cerebral." I don't mean that there's psychological depth such as you might find in Scandinavian films of the teens here; the characters in both are more or less the standard two-dimensional types of Victorian melodrama, vigorously portrayed by French actors with obvious stage training, but types nonetheless.
But the films take a cool, methodical approach to melodramatic tales that others (not least of them Perret's coworker Louis Feuillade) would have made more lurid. That's both their weakness and their strength, for movies of 1912-3; they are carefully worked out, logical, and thus unusually credible for melodramas of their time. If the delight of Feuillade's serials is the sense that any social order could be overturned at any moment, part of the satisfaction of Perret's is this sense that his world is so solid.
Both films on the set are crime films, that genre which simultaneously presents a vision of the world's proper order and of its subversion. In The Mystery of the Rocks of Kador, which runs about 45 minutes, a guardian (played by Perret himself) conspires to steal his ward's fortune in a manner that turns violent; she winds up in a sort of catatonia, and to jog her memory, a film is made of the events and shown to her (and us). More could have been made of this theme of a film within a film, how true what we see is, etc., but it's pretty remarkable that it's being done at all in 1912.
The one major flaw in this film is Perret's own casting-- plump and genial-looking, he's a natural comedian (which he was, in fact), and he doesn't exude the cold Victorian heartlessness the part wants. Still, the open air photography and the clinically precise staging of events in medium shot make this an unusually fluid and lucid film for 1912, that could easily have come from five years later.
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