Major star power is no guarantor of the success of a picture. Esteemed actors have participated in some of the best films in the world, and in some of the worst, and even as Rudolph Valentino's fame outshines his short life and career, not all his works are equal, either. I see both the strengths and the weaknesses in Rex Ingram's 'The conquering power,' and while the former outweigh the latter, even at its best I don't think this is a title that specifically, majorly stands out among its contemporaries. It deserves remembrance, certainly, both on its own merits and as a surviving piece of silent cinema - only, maybe just don't go out of your way for it.
When I last watched a feature that was based on classic literature by Honoré de Balzac, the viewing experience clocked in at a walloping thirteen hours. By all means, Jacques Rivette's 'Out 1' is an outlier, both for its extraordinary length and for the experimental nature by which it adapts 'History of the thirteen.' Be that as it may, the frame of reference is not a useless one, for the chief issue I take with this 1921 flick is that one need not be familiar with Balzac's 'Eugénie Grandet' to readily gain an understanding that the adaptation, even by so highly regarded a screenwriter as June Mathis, removes details and nuance. I'm sure it was necessary to condense the source novel into a more digestible, conventional length of film stock; even so, there is a brusqueness in the storytelling that to me suggests chunks of plot were left out to simplify the cinematic rendition. This is understandable in some measure, but in another it is unfortunate as the full breadth and depth of the tale, and the impact it might carry, is diminished.
With that in mind, however, by and large 'The conquering power' is terrifically well made, and more than not it's surely a fine credit to all involved. Overall the narrative remains intact, and the scene writing is fabulously strong; as director Ingram works hard to ensure that the gravity of each beat is conveyed as faithfully as possible, and there is some splendid shot composition throughout. In both the writing and direction, even down to some intertitles, there is sometimes a masterful sense of poetic flourish, and otherwise artistry, that definitely captures the imagination; this is a drama, but there are deliciously dark vibes coursing throughout, and noteworthy themes. I love the costume design, and the sets, and even the hair and makeup is lovely. Perhaps more than anything else, much of the success of this movie can be attributed to the superb acting. The entire cast is outstanding, breathing vivid life into their characters and infusing the proceedings with stark vitality, and that applies even to those in smaller supporting parts. Valentino may be the most famous participant all these decades later, but swell as he is here, I think he's rather outshone by Edward Connelly in his subtle performance; by Ralph Lewis, with the intense fervor and malignance with which he embodies Père Grandet; and not least, by Alice Terry, who as beleaguered, lovestruck Eugenie is arguably given the most opportunity to illustrate her range.
The picture is a tad rough around the edges, and it seems clear to me that 'Eugénie Grandet' was somewhat gawkily abridged in its translation into a script. I can hardly blame Mathis for this, nor Ingram as director or producer, but the incidence is discernible and is therefore regrettable. I'd go one step further and say that this is even a tad uneven, for while some scenes are altogether brilliant, other moments (maybe in the third act most of all) were plainly less carefully crafted. And still it speaks so well to the skills and intelligence of all involved that the end result is nonetheless fantastic at large - engaging, compelling, and highly satisfying. In whatever ways this is troubled, when all is said and done such matters are fairly minor and forgivable. I don't think it wholly demands viewership, and strictly speaking it may not be the feature to change the minds of anyone who isn't already enamored of the silent era, but whether you have a particular impetus to watch or are just looking for something good, ultimately I'm pleased to give 'The conquering power' my firm recommendation.
When I last watched a feature that was based on classic literature by Honoré de Balzac, the viewing experience clocked in at a walloping thirteen hours. By all means, Jacques Rivette's 'Out 1' is an outlier, both for its extraordinary length and for the experimental nature by which it adapts 'History of the thirteen.' Be that as it may, the frame of reference is not a useless one, for the chief issue I take with this 1921 flick is that one need not be familiar with Balzac's 'Eugénie Grandet' to readily gain an understanding that the adaptation, even by so highly regarded a screenwriter as June Mathis, removes details and nuance. I'm sure it was necessary to condense the source novel into a more digestible, conventional length of film stock; even so, there is a brusqueness in the storytelling that to me suggests chunks of plot were left out to simplify the cinematic rendition. This is understandable in some measure, but in another it is unfortunate as the full breadth and depth of the tale, and the impact it might carry, is diminished.
With that in mind, however, by and large 'The conquering power' is terrifically well made, and more than not it's surely a fine credit to all involved. Overall the narrative remains intact, and the scene writing is fabulously strong; as director Ingram works hard to ensure that the gravity of each beat is conveyed as faithfully as possible, and there is some splendid shot composition throughout. In both the writing and direction, even down to some intertitles, there is sometimes a masterful sense of poetic flourish, and otherwise artistry, that definitely captures the imagination; this is a drama, but there are deliciously dark vibes coursing throughout, and noteworthy themes. I love the costume design, and the sets, and even the hair and makeup is lovely. Perhaps more than anything else, much of the success of this movie can be attributed to the superb acting. The entire cast is outstanding, breathing vivid life into their characters and infusing the proceedings with stark vitality, and that applies even to those in smaller supporting parts. Valentino may be the most famous participant all these decades later, but swell as he is here, I think he's rather outshone by Edward Connelly in his subtle performance; by Ralph Lewis, with the intense fervor and malignance with which he embodies Père Grandet; and not least, by Alice Terry, who as beleaguered, lovestruck Eugenie is arguably given the most opportunity to illustrate her range.
The picture is a tad rough around the edges, and it seems clear to me that 'Eugénie Grandet' was somewhat gawkily abridged in its translation into a script. I can hardly blame Mathis for this, nor Ingram as director or producer, but the incidence is discernible and is therefore regrettable. I'd go one step further and say that this is even a tad uneven, for while some scenes are altogether brilliant, other moments (maybe in the third act most of all) were plainly less carefully crafted. And still it speaks so well to the skills and intelligence of all involved that the end result is nonetheless fantastic at large - engaging, compelling, and highly satisfying. In whatever ways this is troubled, when all is said and done such matters are fairly minor and forgivable. I don't think it wholly demands viewership, and strictly speaking it may not be the feature to change the minds of anyone who isn't already enamored of the silent era, but whether you have a particular impetus to watch or are just looking for something good, ultimately I'm pleased to give 'The conquering power' my firm recommendation.