obscureandoffbeatcinema:

Le Pompier des Folies Bergeres (1928)

obscureandoffbeatcinema:

Le Pompier des Folies Bergeres (1928)





In Alfred Hitchcock’s Blackmail, released in silent and talkie versions in 1929, Alice White (Anny Ondra) kills an artist who has attempted to rape her. She is protected by her boyfriend, a London detective, but blackmailed by a petty thief who had witnessed her leaving the scene of the crime. In the original ending, the thief dies being pursued by police when he becomes the prime suspect for the  murder. Here, Hitchcock outlines how he would have preferred the film to end:
"The blackmailer was really a subsidiary theme. I wanted him to go through and expose the girl. That was my idea of how the story ought to end. I wanted the pursuit to be after the girl, not after the blackmailer. That would have brought the conflict on to a climax, with the young detective, ahead of  the others, trying to push the girl out through a window to get her away, and the girl turning round and saying: “You can’t do that – I must  give myself up.” Then the rest of the police arrive, misinterpret what  he is doing, and say, “Good man, you’ve got her,” not knowing the relationship between them. Now the reason for the opening comes to  light. You repeat every shot used first to illustrate the duty theme, only now it is the girl who is the criminal. The young man is there  ostensibly as a detective, but of course the audience know he is in love with the girl. The girl is locked up in her cell and the two detectives walk away, and the older one says, “Going out with your girl to-night?”  The younger one shakes his head. “No. Not to-night.”
That was the ending I wanted for Blackmail, but I had to change it for commercial reasons. The girl couldn’t be left to face her fate. And that shows you how the films suffer from  their own power of appealing to millions. They could often be subtler than they are, but their own popularity won’t let them.”

— Alfred Hitchcock, “Direction” in Charles Davy (ed.) Footnotes to the Film. London: Lovat Dickson Ltd, 1938.
(Image and words via Spectacular Attractions)

In Alfred Hitchcock’s Blackmail, released in silent and talkie versions in 1929, Alice White (Anny Ondra) kills an artist who has attempted to rape her. She is protected by her boyfriend, a London detective, but blackmailed by a petty thief who had witnessed her leaving the scene of the crime. In the original ending, the thief dies being pursued by police when he becomes the prime suspect for the murder. Here, Hitchcock outlines how he would have preferred the film to end:

"The blackmailer was really a subsidiary theme. I wanted him to go through and expose the girl. That was my idea of how the story ought to end. I wanted the pursuit to be after the girl, not after the blackmailer. That would have brought the conflict on to a climax, with the young detective, ahead of the others, trying to push the girl out through a window to get her away, and the girl turning round and saying: “You can’t do that – I must give myself up.” Then the rest of the police arrive, misinterpret what he is doing, and say, “Good man, you’ve got her,” not knowing the relationship between them. Now the reason for the opening comes to light. You repeat every shot used first to illustrate the duty theme, only now it is the girl who is the criminal. The young man is there ostensibly as a detective, but of course the audience know he is in love with the girl. The girl is locked up in her cell and the two detectives walk away, and the older one says, “Going out with your girl to-night?” The younger one shakes his head. “No. Not to-night.”

That was the ending I wanted for Blackmail, but I had to change it for commercial reasons. The girl couldn’t be left to face her fate. And that shows you how the films suffer from their own power of appealing to millions. They could often be subtler than they are, but their own popularity won’t let them.”

— Alfred Hitchcock, “Direction” in Charles Davy (ed.) Footnotes to the Film. London: Lovat Dickson Ltd, 1938.

(Image and words via Spectacular Attractions)




obscureandoffbeatcinema:

Intolerance (D.W. Griffith, 1919)

obscureandoffbeatcinema:

Intolerance (D.W. Griffith, 1919)




billyjane:

first i thought it’s some Weimar party,then I figured it isn’t,and then again that it is, just seen thru eyes of someone from xxi century;] It’s from Erich von Stroheim’s The Wedding March, 1928 with Zasu Pitts [stockings and silents;]
and the artist is Jason Eberspeaker[via douxquelamort]

billyjane:

first i thought it’s some Weimar party,then I figured it isn’t,and then again that it is, just seen thru eyes of someone from xxi century;] It’s from Erich von Stroheim’s The Wedding March, 1928 with Zasu Pitts [stockings and silents;]

and the artist is Jason Eberspeaker
[via douxquelamort]




Italian silent film publicity - Dov’è la mia vita? / Where is My Life?, Guglielmo Braconcini, 1920. With actress Liana Kàdmina.
(via lastdreamofjesus)

Italian silent film publicity - Dov’è la mia vita? / Where is My Life?, Guglielmo Braconcini, 1920. With actress Liana Kàdmina.

(via lastdreamofjesus)




ajourneyroundmyskull, defrag, thetranscendentalmodernist:



David Wark Griffith’s An Unseen Enemy (1912)
MoMA

ajourneyroundmyskull, defrag, thetranscendentalmodernist:

David Wark Griffith’s An Unseen Enemy (1912)

MoMA




queering:

via extranuance:

mothgirlwings:Lillian and Dorothy Gish

Orphans Of The Storm - (1921)

queering:

via extranuance:

mothgirlwings:Lillian and Dorothy Gish

Orphans Of The Storm - (1921)