Posted 29 October 2011 - 09:31 AM
Posted 29 October 2011 - 10:31 PM
I've seen it on hte small screen, too -- but the big screen, with those monumental stage sets andthe huge crowds -- it must be overwhelming. but don't let me lead you on.
Please, say more!!!
how do the stars make their effect against all hte anonymous people?
Posted 30 October 2011 - 06:23 AM
And it got too expensive. When movies came along, they thoughtt this was the way to solve a practical problem: put one of these spectacles on film. That way it could be shown many times, in many cities, to recoup the costs.
I don't remember the stars -- I do remember the (I hope this is right) Temple of Babylon? I think that's where Ruth St. Denis's dancers were -- though I knew nothing about dance at the time.
Posted 30 October 2011 - 11:33 AM
Posted 31 October 2011 - 10:28 AM
"The Dear One" and "Little Brown Eyes" played very young and sporty -- lots of kicking up heels, skipping and playful fighting with their leading men, who seem to skew older. Compared to contemporary images of girls and women, they both appear pre-pubescent -- there is a child bride vibe to both of them. In contrast, Seena Owen was very womanly, as were all the women in the Babylonian court. In that context, Talmadge was almost asexual -- she reminded me of Leni Riefenstahl's early work as an actress.
And Gertrude Bambrick apparently also worked as a choreographer on the project -- I don't know anything about her dance background, but IMDB says she was a choreographer on Judith of Bethulia as well.
The film actually felt shorter than I knew it to be, and the switching between stories and settings was relatively easy to follow, though a bit arbitrary at times. I can certainly understand how early audiences could be confused by the parallel plots -- I think we've learned a great deal about following that kind of structure over time, but this was pretty early in the process.
The 'action scenes' had a fairly contemporary feel, which isn't to say I enjoyed them (I'm not a big fan of screen violence), but it seems that many of the camera and editing techniques that are used with that kind of storytelling today were already available to Griffith and his colleagues -- they are not that new.
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