Vampyr (1932)

I think it is a fair statement that the modern horror genre was born out of a marriage between the German Expressionism's easthetics and Hollywood’s big-budget, mainstream storytelling tradition. For good or bad, that combination has dominated horror film world-wide ever since.

But there were certainly other directions it could have taken. And did, in some cases. Carl Theodor Dreyer showed us a glimpse of one possible influence of avant-garde thinking in the horror genre in his first sound film, Vampyr.

In spite of the German language of this particular print, the film was produced in France. Like most French films from around this period, it has problems with the soundtrack, which is somewhat inexpertly dubbed afterwards. Look, for example, at Zéro de conduite (1933), which is even worse, and then compare with the Hollywood film White Zombie (1932). Even though the American film suffers from inferior recording equipment (compared with what would be the norm just a few years later), it sports sound recorded on location, perfectly synchronized with the images.

But that “perfect” sound comes at a prize. Another interesting comparison is how much more elegantly Dreyer was able to work with the light silent-era cameras that I assume he was still using. White Zombie, in comparison, is much more static and conventional in its imagery, and that is partly because they had to use heavier, sound-proofed cameras.

Dreyer sometimes inserts surrealistic elements, and even though the basic plot is fairly simple, he makes jumps that stretches the story’s credibility. The plot can therefore at times be difficult to follow, but that is a problem only if you expect a traditional story structure. This kind of avant-garde film is not one where comprehending is always the most important thing. Here, everything is designed to make you feel, rather than analyze. So let go your conscious mind, and allow your subconscious to guide the experience.

This film is best enjoyed for two reasons, both contributing to the tense atmosphere that is felt throughout. The first reason is Dreyer’s excellent use of camera, lighting and angles. The second is Wolfgang Zeller’s amazing score, in itself reason enough to watch the film.

Vampyr
Download link
Year: 1932
Language: German (English subtitles)
Running time: 1 h 13 min
Director: Carl Theodor Dreyer
Stars: Nicolas de Gunzburg (Julian West)
Image quality: Acceptable (poor in some scenes)
Resolution: Medium (574×434; not counting black border)
Sound quality: Acceptable
Best file format: MPEG4 (1,018 M)

A Diary for Timothy (1945)

It is 1945. The tide of war has finally turned in Great Britain’s favour. The Germans are retreating on all fronts, and victory is now more than just a vague dream. But many cities in southern England are in ruins, and the V2 rockets are still a very real threat. It is into this world that Timothy is born. As a tribute to him, director Humphrey Jennings tells the story of A Diary for Timothy.

I am not sure if Timothy actually existed, but whether he did or not is of minor importance. In this film, the infant baby is a storytelling device, and an effective one. Though the film is not really about Timothy, or his mother, the film repeatedly returns to them and their home in Oxfordshire.

But the stories told in this film are about other people. About the Air Force pilot recovering from his wounds. About the coal miner doing his best to produce as much coal as possible for the war effort.

This is pure propaganda, and well made. It stresses how both military and civilian personnel must work together to take Britain through the war. As a factual documentary, A Diary for Timothy has very little to offer, even though many factual events are doubtlessly recorded.

This film is best enjoyed for its effectively woven image of a strong and resilient country. A country that will not give in, no matter what. Additionally, it is interesting because of its narration, written by famous author E. M. Forster.

A Diary for Timothy
Download link
Year: 1945
Running time: 37 min
Director: Humphrey Jennings
Stars: Michael Redgrave (narrator)
Image quality: Good
Resolution: Medium (768×576)
Sound quality: Acceptable
Best file format: MPEG2 (1.4 G)

The Case of the Frightened Lady (1940)

If you have a soft spot for British mystery films, then you will not want to miss The Case of the Frightened Lady. It is a delightful, albeit fairly conventional, mansion mystery, complete with a serial killer, Scotland Yard detectives and a sealed room.

In The Case of the Frightened Lady we meet the elderly Lady Lebanon and her son, Lord Lebanon, the last in the line. Being suitably strong-willed, the Lady is set on having her son marry his cousin and secretary, Miss Crane. The young Lord, however, has other plans. As befits a good mystery, they are surrounded by a cast of strange characters, such as the two footmen who appear more like gangster thugs and the family doctor who definitely is involved in some shady business. And what about the architect, called in to plan some well-needed renovation?

The actors perform well, especially Helen Haye (not to be confused with American actress Helen Hayes, who has performed in a number of similar roles) as Lady Lebanon. George Merritt as the Scotland Yard inspector is also good, and Ronald Shiner is nice as the mandatory comic relief sidekick, possibly inspired by Nigel Bruce, who had premiered as Dr. Watson the year before.

This film is best enjoyed if you are willing to sacrifice credibility on the altar of entertainmet. The plot is definitely convoluted at times, not least so the ending, but it is told in a thrilling and involving way. Even though you may at times suspect the true killer, you will want to keep watching in order to find out the motives and all the background details.

The Case of the Frightened Lady
Download link
Year: 1940
Running time: 1 h 17 min
Director: George King
Stars: Marius Goring
Image quality: Good
Resolution: Medium (549×416)
Sound quality: Acceptable
Best file format: MPEG4 (560 M)

Three Songs About Lenin (1934)

Vladimir Lenin was the leader of the Soviet Union for only six years before he died. Ten years after his death, the Soviet filmmaker Dziga Vertov made a spectacular propaganda film, celebrating the great leader: Three Songs About Lenin (Три песни о Ленине or Tri pesni o Lenine in Russian).

As the title implies, the film is based upon three songs. Those songs were, so we are told, written and sung by anonymous Russians in their great love for their lost leader. I have no idea if this is true, but considering the naivete of the lyrics, it just may be. Unfortunately, we hear very little (perhaps nothing) of the original music of those lyrics. The lyrics themselves are presented as intertitles, to the background of a musical score that mostly consists of classical music by Russian composers. In my mind, this produces a somewhat jarring discord. I would much rather have listened to a score based on Russian folk music, which would have made the images come to life in a much more powerful way.

Each song expresses its own theme and its own message about Lenin, but today those messages are subservient to the means of expression. Vertov skillfully achieves a mixture of sentimentality and pride by interweaving images of nature, cities, factories, Lenin himself (from archive footage) and not least fascinating images of people.

This is the second film I have seen by Dziga Vertov, after (Man with a Movie Camera (1929)), and I guess comparison is inevitable. The older film is a playful avant-garde experiment, full of surprises and amusing banalities. Three Songs About Lenin, in contrast, attempts to be much more serious, but because of the heavy propaganda, it has aged much more rapidly, even though it was made five years later. Also, even though it was made well into the sound era, Vertov seems unable to let go of the silent era conventions. He does include a handful of monologues, but instead of using voice-over narration, he sticks to intertitles, which break the flow of the narrative.

The film was apparently re-edited in the 1960s. I suspect that the version available at the Internet Archive is that edited version.

Three Songs About Lenin certainly has its share of weaknesses. If you want to start exploring Soviet cinema, there are better places to go. But it has strengths, too.

This film is best enjoyed for its cleverly woven tapestry, partly made of archive footage, partly of scenes shot especially for this film. The propagandistic themes and symbolism are effective and powerful, and I am sure one could spend a lot of time exploring the depths of Vertov’s artistry in its better moments.

Three Songs About Lenin
Download link
Year: 1934
Running time: 58 min
Language: English/Russian (English subtitles)
Director: Dziga Vertov
Image quality: Good
Resolution: Medium (549×412)
Sound quality: Good
Best file format: Cinepack (700 M)