MAKSQUIBS CINEMATHEQUE: THE RING (1927)

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Like just about everyone with an interest in the movies, I'm watching more films on DVD and going out to movie houses a lot less. Convenience trumps the better experience.
Of course, you lose audience interaction and the poor film now has to compete with all the comforts of home.
It's a bit like seeing Rembrandts & Titians in a book reproduction, or from posters with iffy color values, no texture or weight to the surface and the wrong dimensions . . . all while snacking on chips & soda. (Oops! You get that at your local cinema,too.)
The ease of instant movie gratification risks turning an art form (well, sometimes) into little more than low-grade eye-candy & mindfodder. So, maybe it's worthwhile to write a bit down on what we're all viewing, just to keep fully engaged.

DVDs: the latest opiate of the people meets the internet, where everyone's a critic.
God help us.

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Sunday, August 1, 2021

THE RING (1927)

In their indispensable career conversation book HITCHCOCK/TRUFFAUT, Alfred Hitchcock tips this film, his sixth as director, to François Truffaut as the second ‘real’ Hitchcock movie. (THE LODGER/’27, three films earlier, being the first.*) Thematically unHitchcockian in most ways (it’s a love triangle with a sports background), perhaps he meant it as the second film he was happy to put his name on. Rightfully so as it’s a fine late silent, loaded with visual wit, imaginative montage sequences, associative dissolves & transitions (made in the camera back then, presumably by regular lenser Jack Cox); much influenced by German UFA house style and show-offy in a manner he’d soon refine. The story mirrors E.A. Dupont’s VARIETÉ/’25, with boxing rivals taking over from trapeze artistes, and Hitch, in a rare writing credit, getting things off with an Amusement Park montage/prologue that leads to character intros for Carl Brisson’s One-Round Jack (a take-all-comers boxer), his ticket taking gal, later wife, Lillian Hall-Davies and reluctant challenger Ian Hunter. Then, when the impossible happens and the underdog’s knockout causes positions to change in & out of the ring, it leaves Brisson to fight his way back for love & championship. (Hunter is rather overshadowed by Brisson’s striking athleticism in what was effectively his film debut. What a physical specimen! And darn good in the part.) The first reel of the third act bogs down a bit, but the rest holds up remarkably well, with an unexpectedly strong supporting cast that includes a few non-stereotypical Black actors rare for the period.

READ ALL ABOUT IT: As mentioned: HITCHCOCK/TRUFFAUT.

SCREWY THOUGHT OF THE DAY/LINK/DOUBLE-BILL: *Hitchcock always seemed a bit embarrassed by DOWNHILL/’27, his Ivor Novello led follow-up to THE LODGER. An awfully good film to be embarrassed about! Perhaps there’s some personal explanation to his dislike. https://maksquibs.blogspot.com/2016/03/the-lodger-1927.html OR: Also mentioned above, E.A. Dupont’s VARIETÉ.

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Sunday, August 1, 2021

THE RING (1927)

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