Film Persona

  Carl Theodor Dreyer's "Master of the House" When most people think of Carl Theodor Dreyer, they usually think of his 1928 masterpiece " The Passion of Joan of Arc ." However, it is also important to think about what led to this stunning achievement. It is obvious that the French production studios gave him creative license to make such a stunningly creative piece of work. But before he set out to France to make such a production, he utilized some creative techniques with a small Danish film that came three years prior, " Master of the House ." In fact, it was this film that caught the attention of the French market which allowed for such an accomplishment. " Master of the House " is a simple domestic comedy. It takes place in one apartment loft with a father, his wife, and their three children. Right from the beginning, the father is very tyrannical. He expects to have his food ready when he sits down, he berates the mother, and mistreats h

  Carl Theodor Dreyer's "Michael" Carl Theodor Dreyer's " Michael " is considered a landmark film due to the fact that it was one of the first films to openly deal with homosexual relationships, with 1919's " Different from the Others " coming prior. " Michael " marked a departure for Dreyer, as it was the first film he made in Germany. Despite the bold nature of the subject matter, the film was not well received for many reasons (the disdain for the homosexual plot being one of these reasons).  The film centers on a famous painter named Claude Zoret. Claude is in love with his model, Michael. The two seem to be satisfied lovers until an economically destitute countess begins seducing Michael. Despite the fact that she uses him to steal from Claude, Michael is drawn to her and even helps her in the thieving of his master. Despite knowing this, Claude cannot move himself to punish Michael due to his undying love. One day, Claude falls

  Carl Theodor Dreyer's "The Parson's Widow" Carl Theodor Dreyer started his career as a journalist. He was very fond of films, especially the films of Victor Sjostrom, whose films astonished him in the neighboring country of Sweden. Dreyer often would write glowing reviews for these films. Eventually, Dreyer would join the film industry by writing title cards. During the first World War, European films became scarce, and audiences only had American imports to rely on. Because of this scarcity, Dreyer became more and more involved in the filmmaking process and eventually started making his own films. One of his very first films, " The Parson's Widow ," was noted for its interesting direction. The film takes place in the mid-1600s. A young theologian is granted a parsonage, much to the joy of his fiancé. However, in order to become a parson, he must marry the elderly widow of the previous parson. The young man marries this old woman and tries to increase

  Frank Borzage's "The Mortal Storm" In 1940, World War II had already commenced. America had not yet entered into the conflict. Despite America's lack of commitment to one side, a small group of filmmakers produced anti-films in Hollywood. One such film, Frank Borzage's " The Mortal Storm " was so critical of the Nazi movement, Germany banned all subsequent MGM films after its release.  The film takes place in a small mountain village in Germany on the border with Austria. A tight-knit family is celebrating the 60th birthday of their distinguished patriarch, Professor Viktor Roth. Suddenly, the news spreads that Adolf Hitler has become the Chancellor of Germany. This news begins to tear the family apart, as the two older brothers pledge their support to the new regime. The other members of the family, however, are less enthusiastic, as Professor Roth is a 'non-Aryan.' Soon, hatred and violence begin to spread. The youngest daughter breaks off wi

  Frank Borzage's "Three Comrades" By 1938, Germany had been through so much in the decades prior - the first World War, the Weimar Republic, and the rise of Nazism. Frank Borzage's " Three Comrades ," chronicled this period through the eyes of three comrades. The film follows three male friends after the first World War. Their bond is strong, and they have each other's backs through every situation. One of the friends ends up falling in love and marrying a woman. Another begins getting involved with anti-Nazi organizational groups and ends up murdered. It is not outright clear that this rising German aggressor is the Nazis, but it is very contextually clear if you're familiar with what is going on in the country. It is important to note that Borzage never really focuses on the societal aspects of the story in great detail. Borzage is more focused on the bond between the three men, as well as the romantic bond between the two lovers. As with every Bo

  Frank Borzage's "History is Made at Night" Frank Borzage is traditionally known for his romance films. His films often deal with a couple in love who must overcome both their own prejudices as well as external forces trying to separate them. Why does Borzage put his on-screen couples through so much hardship? In " Seventh Heaven ," he threw economic tribulations at his couple, as well as separation and near-death by the war. With " Bad Girl ," it was just economic troubles, stemming from the economic depression of 1929-1933. In his adaption of Ernest Hemingway's " A Farewell to Arms ," it was only the war that caused the separation of the on-screen couple. By 1937, Borzage had been notable for these melodramas and received wide critical and commercial acclaim for them. When he made " History is Made at Night ," he kept the same framework from his other films, while also infusing comedy, drama, suspense, and disaster to boot. 

  Frank Borzage's "A Farewell to Arms" In 1929, one of the most important novels in American literature was published by Ernest Hemingway. The novel, " A Farwell to Arms ," tells a semi-autobiographical story about a love affair between an American ambulance driver and an English nurse during the first World War. The novel was a major success and eventually adapted for the screen in 1932. The film was regarded as a major studio success and was even nominated for four Academy Awards, winning Best Cinematography and Best Sound Recording.  However, many are quick to point out how short and slimmed down the film is compared to the source material. One such critic was Hemingway himself. As Dan Callahan of " Slant " magazine notes in 2006, "Hemingway...was grandly contemptuous of Frank Borzage's version." Many film critics in 1932 shared with the original author's sentiment. For example, Mordaunt Hall of " The New York Times " cri

  Frank Borzage's "Bad Girl" After the fallout of the Great Depression in 1929, many Americans were facing uncertain financial times. Many films were being made to distract Americans from their economic woes, like new sound-era musicals. However, some films were directly addressing or subtly backdropping these hardships. One such film, " Bad Girl ," ended up being a commercial success for this very reason.  Directed by Frank Borzage, the film stars a woman named Dorothy who falls in love with a man one night, only to be married to him the next day. The film showcases the anxiety and uncertainty of not only starting a new relationship but also having a baby. The couple is constantly disagreeing about what to do in life because every decision they make has to be financially certain. Dorothy's new husband, Eddie, doesn't want to have children because he can't envision bringing a child into this economically destitute world. He also is trying to save his

  Frank Borzage's "Lucky Star" " Lucky Star " is yet another Frank Borzage production starring Janet Gaynor and Charles Farrell. It follows a young man who comes back paralyzed from the war. The greater theme of the film is that of 'purity' or 'cleanliness.' This is represented through the character of Mary, who is a poor farm girl. She is unclean, both physically and morally. After returning from the war, the wounded Timothy tries to not only teach her about hygiene but how to be honest, respectful, and decent. The film was considered lost for a number of years until it was recovered at the Dutch Filmmuseum in the late 1980s. 

  Frank Borzage's "Street Angel" After the massive success of " Seventh Heaven ," Frank Borzage reunited with his two leads, Janet Gaynor and Charles Farrell, for " Street Angel ." The plot of " Street Angel " seems to closely resemble the plot of " Seventh Heaven " with a few major differences.  In " Street Angel ," Janet Gaynor plays Angela, who must become a prostitute to make money for her dying mother. However, after getting arrested, she escapes and joins a circus troupe. There, she meets Gino, and the two fall in love. However, after breaking her ankle, she moves back into the city with Gino. There, she is discovered again by the police. She remains in prison for a year while Gino is unaware of her whereabouts. After reemerging, Gino discovers the reason for her imprisonment and becomes angry. He then realizes his hurtful prejudices and asks Angela for forgiveness. Like " Seventh Heaven ," " Street An

  Frank Borzage's "Seventh Heaven" On May 16, 1929, the very first Academy Awards were held in Los Angeles, California. There, the film " Wings " by William A. Wellman went home with the very first Best Picture award. However, Best Director, Best Actress, and Best Writing (Adapted Screenplay) all went to participants of the film " Seventh Heaven ." The film is an adaptation of the stage play by the same name, with the script penned by Benjamin Glazer. Frank Borzage, a director who had been working in the Hollywood industry for almost 15 years, adapted Glazer's script to the screen. For the main star of the production, Janet Gaynor, an up-and-coming actress, was cast in the lead role. For her screen partner, Charles Farrell was cast. The collaboration of these filmmakers proved to be enormously successful, as both critics and commercial audiences raved about the film. Not only did it receive 3 Academy Award wins but was so successful that Janet Gayn

  Teinosuke Kinugasa's "Gate of Hell" In the 1920s, Teinosuke Kinugasa was not renowned in Japan. He had made some small avant-garde films like " A Page of Madness " and " Crossroads ," which were not heavily considered films at the time. Because of this frustration, Kinugasa took " Crossroads " to the Soviet Union, where he met renowned filmmakers Sergei Eisenstein and Vsevolod Pudovkin. Despite the film gaining some recognition for its creativity in the Soviet Union and the rest of Europe, it did not gain that much traction. Because of this, Kinugasa was forced to retreat back to Japan where his failures forced him to close his film company. For the rest of his career, Kinugasa made the more commercially viable jidaigeki, or 'period drama,' films. After Japan was defeated in the second World War, an explosion of artistic expression sent Japan into its greatest critical period in the nation's history. Filmmakers such as Akira Kur

  Teinosuke Kinugasa's "Crossroads" Believed to be the first Japanese film shown in Europe, " Crossroads " continues in Teinosuke Kinugasa's avant-garde filmmaking style. The film is about a man and his sister who have been brutalized by the man's courting rival. The film is regarded as being heavily influenced by German Expressionist films, including those of Fritz Lang. The film was released in Japan in 1928 and later in Europe two years later.

  Teinosuke Kinusaga's "A Page of Madness" Teinosuke Kinusaga was certainly not the first successful Japanese filmmaker. However, because many Japanese films are now considered lost, there is very few in the catalog to really study. That being said, Kinusaga is a standout amongst the best and most creative. One of his most well-known films is an avant-garde film called " A Page of Madness ." The film is considered to belong to a Japanese group of artists known as 'Shinkankakuha,' or 'School of New Perceptions, who tried to overcome naturalistic representations of filmmaking. " A Page of Madness " is a very non-traditional film. First and foremost, the film does not contain any title cards. To film historians watching the film now, it may be very confusing what is actually happening in the story. However, in 1920s Japan, silent films were often narrated by a 'benshi.' A benshi had no interaction with the filmmakers in any way. Rather