Ingmarssönerna (1919) and inter-titles...

More views of - or before - Cambridge Film Festival 2014 (28 August to 7 September)
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20 November

* Contains spoilers *

In their role in the status of what a silent film presents, inter-titles are a thing in themselves, carrying more weight than a voice-over often does now – since they intercede in the action, literally interrupting it, and interpret to us what has been seen, what is to come :

Provided, of course, that one can read them in time (especially with inter-titles in translation), there is no escaping them, no doubting their authoritativeness. Not, at any rate, in the way that one can ascribe an interpretative bias to (or infer one from) what a narrative voice says, suggesting that maybe it is not to be trusted…

Taking Ingmarssönerna (Sons of Ingmar) (1919) as an example, we ‘get told’ the following things (about Birta, played by Harriet Bosse), that, having moved from her parents’ property at Bergksog to Ingmar’s Farm (following the reading of the banns), she :

* Became ‘more quiet and strange’

* Had ‘a wild look in her eyes’


In between, we are also told that, in Young Ingmar (Victor Sjöström), there is ‘suspicion brooding’ (although he may have said these words to Old Ingmar). Informing us, in any case, that Brita is behaving ‘strangely’ or has ‘a wild look’ obviates the need to show such things – just as it does to try to present us physically with Ingmar’s brooding suspicion : we can have them implanted as facts, or givens, and make of them as seems fit.

Meanwhile, Kajsa, who seeks to minister to Birta at the farm by assuring her that all is well, seems of a piece with the travelling painter : it seems quite apt that they will meet on the precipice, where Birta says that she desires ‘Peace in my soul’.

The cause, maybe guessed at, of her pain and hurt is learnt in actual speech, to Old Ingmar (and to the judge ?), when Young Ingmar says (of Birta) I forced myself on her : Even so, it ‘came out in the land’ earlier, in Biblical outworking / pathetic fallacy such as we later see, say, in Days of Heaven (1978), and, before it, in DeMille’s The Ten Commandments (1956).

Unlike The Holy Family, Ingmar trusts to his material resources, and so fails to have the wedding that he does not think that he can afford, and does not realize what he has turned his fiancée into – in her eyes – as a result. We have the grandeur of the magnificently visual wedding, but it is just what should have been, not, for all its reality before us, what was…

In saying that he forced himself on Birta, he is ready to abase himself, though acknowledging less, at the very same moment, how Birta actually felt about this, or his own failure to address her feelings. Outside the very prison, he is still pleased to imagine that other victims have ‘suffered less’ than he, but it is where but begins the dance between them, as she challenges him – R. D. Laing style – to respond to her, responding to him.

And Mother Märta, who could not have been at church (but maybe she is exempted on account of her great age), pronounces sentence on her son for wanting Birta back, but finds herself forced to reverse it – and to literal rejoicing in heaven, which is suddenly cognisant of the mortal realm, or Ingmar of it, once more.


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

What if we read the book from 1853 ?

A rating and review of 12 Years A Slave (2013)

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)

15 January

A rating and review of 12 Years A Slave (2013)

77 = S : 11 / A : 13 / C : 11 / M : 10 / P : 12 / F : 10

S = script

A = acting

C = cinematography

M = music

P = pacing

F = feel
9 = mid-point of scale (all scored out of 17, 17 x 6 = 102)

Is @12YearsASlaveUK a modern The Emperor's New Clothes... ?
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 15, 2014

Well, @JeanieFinlay - the big display at @CamPicturehouse states that @12YearsASlaveUK is 'one of the best films ever made'. Pretty average.
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 13, 2014

If you think that, as films go, 12 Years A Slave (2013), despite its emotive content, is just an average piece of film-making, and patchy in places, you are almost damned before you open your mouth : people refuse to separate the content of a film, when it is such as this, from the worth of the film itself, even if it does function in large part as a medium for the story (or message).

Ridiculously inflated claims for @12YearsASlaveUK - it's like inverted racism, to have to exaggerate how good it is. It's pretty average.
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 11, 2014

Of course, what happens is objectionable (either crime, or people turning their eyes from it), but one cannot make out that slavery exclusively resides in the cotton-fields of Georgia, not, say, in tribes in Africa long subjugating each other's people by war or raiding, and with the well-known example of the people of Israel in captivity in Egypt. In the same way, The Roman Empire had freemen and slaves, and that goes back two thousand years, such that the New Testament is talking about slaves obeying their masters almost as a given (and which is a source for the preaching heard in the film).

Why not compare @12YearsASlaveUK (2013) with As if I am Not There (2010) - where is the unique injustice, brutality, inhumanity ?
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 11, 2014

The same director's (Steve McQueen's) film Hunger (2008) evokes The Maze Prison, but making a feature about the IRA hunger-strikers in the early 1980s was likely to make a modest gross at the box office (IMDb reports $154,084 at 5 June 2009 in the States, with $1,980 for the opening weekend (5 December 2008)), compared with the relative distance that one has on events 130 years earlier in Slave. As to a powerful piece of film-making, one may think that Slave does not pull any punches, but, compared with Hunger, it is all of these things - mainstream, stereotypical, and stylized in a very conventional way - and feels like a betrayal of that earlier aesthetic.

There are also scenes in the film (of which follow a few) in which McQueen seems to revel as moments, whether or not they work with the film, and so lose its direction and weight :

* For no very good reason (when he would not help her as asked), Northup, when he brings Patsey back to the drunk Epps as requested, tries to pretend that he has not whispered to her to make herself scarce (which he could have done at any point), and a ludicrous chase, in and out of the piggery, ensues - does it do any more than show Epps as gross, and that Northup is capable of a tactical misjudgement ?

* When Northup makes a request for a letter to be carried to his family, he certainly is - it is only by conceiving that he had worked out the lies of his cock-and-bull story beforehand, in case he was betrayed (but, then, he would not already have written the incriminating letter), and that he catches Epps at a good time, that it is credible that he escapes punishment or death by his excuses

* It is clever, but very foolish reasoning (as in any workplace), to contradict and show up your overseer in front of the owner, because, even if you demonstrate your cleverness by proving him wrong and that hardly justifies him finding fault to have an excuse to lynch you, you must know that he will not see it thus Your slick nigger ways

* A more subtle enemy might have got at Northup by breaking the violin that he has been given, and then showing it up as his ingratitude - that approach might have got Ford on his side and against Northup, where this one of finding fault to provoke a fight did not

* Patsey is almost definitely flogged out of deeper motives than whether she went to a neighbouring property for a bar of soap, and no one wants to flog or see another flogged, but can the irrational zeal of Epps (for once in tune with that of his wife against Patsey, whose urging renders him impotent to the task and makes him involve Northup) be yoked to the explicit reasoning of spelling out the doctrine that a man's 'property' is his to do with as he wishes (as Epps' wife would be, since she has no rights except through him, and so he early on chooses Patsey over her, if she wishes to exert herself) ?

* The uneasy moment when other men whom Northup finds on the way to the store are being strung up - maybe just scene-setting that lynching is a part of life (though that seems contrary to a film whose ethos is not to make everything normative), but a lost opportunity, with Ford's wife (who declared, when Northup and the fellow woman slave arrived, that the latter would soon forget her children) to set up some other resonance

What does not seem like a betrayal is simply lifted from someone else's vision (that of Terrence Malick) :

It is, @olidogwoof @JeanieFinlay ? Nicks the treatment of the forbidden fruit / blight theme straight from Days of Heaven (1978) anyway...
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 13, 2014

The vision was in the cinematographic ethos, for example the gorgeous close-up of the caterpillar that, although Epps (Michael Fassbender - also in Hunger as Bobby Sands) denies it, is causing the blight of his cotton-plants : it feeds into other moments of the film, but not in the absorbed way that the wide landscapes do of Days of Heaven, and so makes the downright ordinary photography seem gratingly poor and uninspired.

The film contains four main moments of extended dialogue, first with the weeping woman who has been separated from her children (when sold with Solomon (Chiwetel Ejiofor)), then when Patsey (Lupita Nyong'o) makes a request of him, then when he makes a request of a white former overseer with whom he is working, and finally when he makes the same request of Bass (Brad Pitt). Certainly, the first two (whether or not the conversation is written out in full by Solomon Northup's memoir Twelve Years A Slave (in which he was assisted by a local writer, David Wilson)) sounded very stagey, trying too much to imitate the manners, language and diction of the age to be more than artificial - even if people ever did talk to each other in that way, it sounded more Shakespearean than from the mid-nineteenth century, and one felt that one was being told that these were Important Words to Heed : for example, How came you there ? How is this ? Tell me all. (I doubt it, but maybe some sort of attempt at Brechtian alienation, as when Northup arrives home and says I have had a difficult time these several years ?)

Hans Zimmer's soundtrack sought by means of rumbling, low-frequency percussive sounds, which would not have been out of place in Peter Gabriel's Millennium Show Ovo (e.g. the machine music of the track 'The Tower That Ate People'), or even The Wachowskis' The Matrix (1999), to impart a sense of menace or the like, but it lacked subtlety for a composer who had scored Inception (2010), and sounded derivative :

In @12YearsASlaveUK, deliberately iconic echoes of the arpeggios of Arvo Pärt's evocative Spiegel im Spiegel ?
— THE AGENT APSLEY (@THEAGENTAPSLEY) January 12, 2014

If this film is remarkable, and breaks ground, it would be good to know in what way, and how one's understanding is advanced beyond that of Alex Haley's t.v. series Roots in 1977, or even the t.v. film Solomon Northup's Odyssey (1984) and the slavery strand in Cloud Atlas (2012).


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Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Days of Heaven

6 September

This 'new digital restoration' from the British Film Institute of a title from 1978 is what the Arts Picturehouse, the BFI and the festival are all about : the opportunity to see something that is only just being premiered or has otherwise not been easily obtainable.

The feature itself was, for me, a bit like a fairy tale - it appears, although not accurately in terms of any correlation between what the images show us and what the voiceover seems (or seeks) to tells us about the underlying situation, to be the narration of a 12-year-old girl, but, for my mind, not nearly as cleverly as in the case of the narrator of Haneke's The White Ribbon.

Richard Gere & Brooke Adams Days of Heaven (1978) pic.twitter.com/IynS09DaUD
— Mademoiselle Cinéma. (@BelleDeJour15) December 2, 2014

The person with whom I watched it - and the lobby card, issued with a still (not, as I recall, a scene from the film as screened), bears this view out - commented that there were people in rags posed against the stunning landscape in neat array, and even the rags were beautifully done. Maybe that is part of the fairly tale, the mystification and magification of the (to my mind) somewhat unlikely series of events that unfolds:

If it hadn't come first, one could have sworn that Days of Heaven was playing with the theme of Indecent Proposal - as it is, given that Demi Moore in the latter film bears what I would say is more than a passing resemblance to Brooke Adams (playing Abby), I wonder whether there was a tribute being paid, and, if so, how many spotted it at the time. Certainly, as to the result of these interactions (on the world and the characters), one thinks inevitably of Exodus (if that isn't the young girl's wishful thinking of vengeance, stirred up by some religious teaching to which she makes reference), or even Genesis and the garden of Eden, but, with what one source states is a quotation from Leviticus.

Maybe, maybe not, and with the Bonnie and Clyde tone of part of the close of the film, one isn't exactly encouraged to dwell on it, or, with that strand, how Abby seemingly ends up unscathed and able just to disappear from sight (unless, again, as a fairy-tale fictionalizing, where actions don't necessarily have consequences).

What did, though, for me give the greatest reward, other than the photography of wide skies, are the minute depictions of nature (locusts, otters (?), pheasants, and so on), which are interspersed with (what one would assume is) the main action, and which, with the adept editing, give it richness and texture, and, even, a hint of heaven.


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