And so another London Film Festival winds to a close -- and I was a little more enthusiastic about our final three choices.
First up was "Lost in Paris" from the unmistakeably eccentric duo of Dominique Abel and the Australian-born Fiona Gordon, who wrote, directed, and starred in this eccentric tale. I first discovered them at the Festival five years ago when I was charmed by their film "The Fairy" and I made a point of searching out their earlier and equally delightful collaborations. Here Fiona plays a gawky Canadian tripper who manages on her first day in Paris to lose her backpack, money, and passport; these are found by the homeless Dom who dresses in one of her sweaters and takes himself to the fanciest restaurant he can find. Their paths cross and situations develop enabling them to demonstrate their elastic-jointed flexibility and quirky child-like chemistry. The addition of rather more dialogue than before does not distract from their visual comedy so reminiscent of silent cinema. The big surprise here, however, is their co-star, the 89-year old Emmanuelle Riva, playing Fiona's dotty aunt. Who would have believed that the star of "Hiroshima mon Amour" (1959) and more recently the tear-jerker "Amour" (2012) could have such a ball playing farce.
We're always game to view silent movies which we've not seen previously, so we booked tickets for "A Woman of the World" (1925), a showcase for the great silent diva Pola Negri. The showing was preceded by a recently restored 1926 short "What's the World Coming to?" which is the 'half' of this week's title. It's set 100 years in the future from that date, i.e. ten years from now when women and men have reversed their roles with the former being fierce and fearless adventurers and the latter helpless, blushing grooms. Michael thought it stupid, but I found this role-reversal comedy pleasing enough and mercifully sufficiently brief. Mind you, today's feminists would have a stroke to think that men might morph into a gender that they refuse to accept for themselves -- weak, silly, fashion-conscious, and vain.
As for the main feature, Negri plays a countess who discovers her lover (she has just had his family crest tattooed onto her arm) is unfaithful and she moves from the sophistication of the Riviera to her cousin's home in Maple Valley, Iowa. Said cousin is played by the silent clown Chester Conklin, whose goofy antics are a little out of place in this vaguely serious drama. The countess's worldliness (to say nothing of her tattoo) both awe and flabbergast the small-town busybodies, who think nothing of paying 25 cents each at the local fund-raiser to 'talk to a countess'! She is romantically pursued by an infatuated youngster Charles Emmett Mack (who tragically died in 1927) and the town's moral guardian Holmes Herbert, an actor with a long but relatively undistinguished career from 1915 to 1952. Despite resisting temptation he fails to drive her from Maple Valley and falls hopelessly for her charms. I stress the word 'charms' since despite her ability to fill the screen, Negri was never one of the great silent beauties. I'm glad I saw this programme, but neither of the two films were that wonderful.
Our last choice was "On the Milky Road" from the Serbian auteur Emir Kusturica, who not only wrote this epic three-part story, but also directs it and takes the lead role. Starting during the region's civil wars when his character Kosta rides his donkey to deliver milk across enemy lines, it moves to the period after the armistice when he falls in love with an outlaw, the still-gorgeous Monica Bellucci. Their love is doomed since the couple are relentlessly pursued by remorseless mercenaries who do not hesitate to slay all and sundry in their search. In the final section Kosta has become a monk constructing a never-ending monumental pattern of rocks in his great love's memory. The movie is a consummate mix of the realistic horrors of war together with more magical realism, elements of folk myths, and enchanting animal imagery -- a faithful falcon, a milk-loving snake, and a bear. In other words it's all very typical and satisfying Kusturican cinema.
Next up over the next few weeks, a pair of movies from the first London East Asia Film Festival and our regular Korean Film Festival selections.