HIGH TREASON (1929)

Foolish but fascinating, this cautionary tale warns of the next World War only a decade after the last.  Technically, it looks back at Fritz Lang’s METROPOLIS/’27 for physical inspiration; morally it looks ahead toward H.G. Wells THINGS TO COME/’36 in ideas.*  If only it lived up to them.  Made for simultaneous release in silent & Talkie format*, there’s less difference than you’d expect between the two, largely because journeyman director Maurice Elvey has little aptitude for epic scale in presentation or politics.  Neat opening though, as a border incident between WEST & EAST alliances escalates to war mongering from Fifth Columnist agitators & munitions profiteers.  Only a World Peace Organization holds out against the rush to war, their messianic leader a prophet who can shoot to kill if necessary.  Normally seconded by fervid daughter Benita Hume, currently in thrall to military man Jameson Thomas (hopelessly miscast), who opposes everything she believes in .  Less stately than you fear, but weightless, missing the scale and dramatic use of mass movement Lang brings to his wildly influential film.  Elvey’s spectacular city of the future and airborne ships of war still a fun watch in spite of looking like Tinker Toys, prophesizing WWII’s Blitz attacks as well as TV news.  Best effect here is no effect at all, but a set, a long futuristic office space with serried rows of young female secretaries at their desks all with freshly ‘bobbed’ hair-dos.  There are also a few unintentionally funny title cards like: We’re prepared to fight to the Death for Universal Peace!  Of the miniatures, best is a neat cutaway of a high-speed ‘Chunnel’ train that’s been targeted for bombing.  But alas, none of the splendor & threat Lang got out of these future indicative things.

ATTENTION MUST BE PAID:  *Also in casting; look fast to spot that film’s lead, Raymond Massey, here making a brief film debut.  And note that for some reason the Silent film’s future is set to 1950 whereas the Talkie takes place in 1940 . . . not that you’d notice.

DOUBLE-BILL/LINK:  Of his nearly 200 directing credits, Maurice Elvey’s HINDLE WAKES/’27 is the best seen here.  (Only 197 left to see.)  https://maksquibs.blogspot.com/2008/05/hindle-wakes-1927.html