Much has been made of Murnau, but I'm more impressed by Borzage.
Yes, the subject matter is more lowbrow, but it is also more fully integrated into the cinematic flow, perhaps as a result.
I'm told this is his best in terms of what impresses me: the integration of space.
Nearly every shot is framed, not in two dimensions by three. There's impressive use of vertical space as well, even incorporating it into the story. Though the story is simple (love, war, return) it has certain narrative elements that bind it to space, and these aren't afterthoughts but essential elements of the story that rest easily in the big holes left by melodrama.
The love nest is literally on the seventh floor. Our hero literally starts in the sewer. He is elevated by intercession of the church, which provides him with a pair of religious medals. If the sewer-heaven dimension is vertical, these medals provide for horizontal space overlay via a sort of spiritually pure love each day at 11.
But the space idea is carried in every frame as well. Its not layers like Kurosawa with give us. Nor a camera that would explore and define space like Hitchcock the camera is stationary here. But its deep.
Gaynor is impressive.
Oh, and it has that most spatial of drugs: absinthe.
Ted's Evaluation -- 3 of 3: Worth watching.
Yes, the subject matter is more lowbrow, but it is also more fully integrated into the cinematic flow, perhaps as a result.
I'm told this is his best in terms of what impresses me: the integration of space.
Nearly every shot is framed, not in two dimensions by three. There's impressive use of vertical space as well, even incorporating it into the story. Though the story is simple (love, war, return) it has certain narrative elements that bind it to space, and these aren't afterthoughts but essential elements of the story that rest easily in the big holes left by melodrama.
The love nest is literally on the seventh floor. Our hero literally starts in the sewer. He is elevated by intercession of the church, which provides him with a pair of religious medals. If the sewer-heaven dimension is vertical, these medals provide for horizontal space overlay via a sort of spiritually pure love each day at 11.
But the space idea is carried in every frame as well. Its not layers like Kurosawa with give us. Nor a camera that would explore and define space like Hitchcock the camera is stationary here. But its deep.
Gaynor is impressive.
Oh, and it has that most spatial of drugs: absinthe.
Ted's Evaluation -- 3 of 3: Worth watching.