The Hands of Orlac (1924)

This is, surprisingly given my somewhat limited experience of silent cinema, the third time I've blogged a film by Robert Wiene. Although, strictly speaking, an Austrian film, with  Wiene and a starring performance from Conrad Veidt this is a somewhat well-known example of German Expressionist cinema, and would go on to inspire a dizzying number of remakes.

The Expressionist sets are less overt than in The Cabinet of Dr Caligari, but the film is drenched throughout in deep emotional passion- much of which is erotic- which is subtly inferred by sets, lighting and cinematograpy and not-so-subtly conveyed through the far from naturalistic style of acting.

The film is over-long and drags in places, but it is difficult to pass judgement on this; the version we see today, in the reverse of the usual situation with silent cinema, is an extended version. Certainly, though, the central decision to replace concert pianist's hands, following his train accident, with those of a supposed murderer feels rushed to the point of elision. Why those hands in particular? Furthermore, even in an age before a basic heath service, surely Paul Orlac could claim some sort of insurance or similar to avoid penury? Either way, this part of the plot feels unconvincing. But on the other, er, hand we have a very clever ending and a touching (and sexualised) relationship between the protagonist couple. It's also refreshing, and effective, that the obvious option of having the hands make Orlac become a murderer is avoided, despite some misdirection, and the film is essentially psychological- and all the better for it.

There's a lot to like about this film and it's main fault, that it is over-long, is a result of modern re-editing. Alas, Wiene died in 1938, so a Director's Cut will not be forthcoming, but the film is nevertheless in the public domain and easy to find online.

Sherlock, Jr. (1924)

I haven't blogged a silent comedy for years, so here's Buster Keaton in what may be his most famous film. I've blogged one of his shorts before- Neighbours- but this is my first proper look at his work. Incidentally, it’s also the first time I’ve seen actors introduced on the intertitles after they first appear, not a bad idea.

First impressions are that Keaton himself is brilliant at comic facial acting, as you’d imagine. Second impressions are that the humour is reminiscent of what you’d think of today as cartoon humour, and there are lots of amusing moments but the film is clearly not renowned specifically for its humour. It’s often funny, but many silent comedies are funnier.

There are little jarring reminders of just how long ago 1924 was- the spelling “to-day”and pianos in cinemas. But much else feels surprisingly timeless, not least the humour. And the most impressive thing about the film is, of course, the violence done to the fourth wall as the Keaton character dreams his dreamy little dream and there’s an extraordinary sequence of him walking into the cinema screen amongst various different scenes. And the comical centre of the film- the attempts of “Sherlock Jr” to solve a crime while the culprits try to kill him by, among other things, blowing him up with an exploding pool ball, is both laugh out loud funny and utterly surreal, along with the extraordinary chase sequence at the end. All these scenes are enormous technical accomplishments.

No more than quite good as a comedy, then, despite Keaton’s personal talent. But the film is surreal, groundbreaking and splendidly weird. I think my next silent comedy won’t be after so large a gap.