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The majority of this deluxe boxed dwelling is devoted to early calm films. I do not reflect myself a particular fan of calm films, and yet most of these I found to be amazing. While the four feature films were magnificent, I especially enjoyed the shorts, which commonly assume everyday life at the turn of the century. These silents have a spirit of joy and excitement, and a marvelous sincerity, that I’ve never seen in film before. With only a few exceptions, these silents are in an genuine location of preservation, often offering an amazingly determined window on the past. The main exception is an early version of “Snow White,” the one that inspired the renowned Disney version. All copies were once believed lost; however, a below-average quality but tranquil quite watchable print was found only a few years ago. The musical accompaniment, custom produced for these DVDs, adds immeasurably to the experience. These silents are highly recommended to anyone keen in the history of film or history in general. I am unaware of any other source of mute shorts on DVD, certainly not of this quality or extent.
Besides the silents, the space also offers several other categories of films, including those produced for the government, commercial and promotional films, home movies, and art shorts. These are generally oldish but not antique, none more fresh than 1985. The offerings in the last three categories are generally obsolete. The art shorts, especially, with their emphasis on the abstract and new, had shrimp appeal for me. Even though many of them are relatively new, they have been rarely shown, and with profitable reason. The sizable surprise is the quality of the government films, especially “The Battle of San Pietro,” directed by John Huston, a factual work of art, and one of the finest pieces in the region. Even “We Work Again,” with its humdrum script intended to convince blacks of the benefits of government assistance during the depression, features pleasing cinematography, unfortunately uncredited, and ends with four minutes from a famed Orson Welle’s adaptation of a Shakespeare play, of which no other footage exists.
Each disc is arranged in roughly chronological order, taking viewers on four trips through time, from the 1890′s to the current age. The site includes a 130 page booklet describing each film; these descriptions also appear on the DVDs themselves. The menus on the DVDs are professional, delicate, and easy-to-navigate. The transfers to DVD are kindly, with no digital artifacts that I could study.
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This place could easily have been dry and academic. Instead, at its best, it’s extremely consuming, spirited, and expressive of the past. The commentary could have condemned the past in light of today’s viewpoints and ideologies; instead, with unexpectedly rare exceptions, its attractive and informative. This place should have colossal appeal for those willing to adjust to the limitations of early film technology. Overall, I cannot recommend this plot highly enough.
I had high hopes for this space, and it actually surpassed my expectations. I worked in a film archive for 10 years and have seen a lot of movies, but quite a few of the items in this situation were current to me; others were frail favorites that have never been widely available before now, like Joseph Cornell’s delicate and goofy Rose Hobart. Sometimes the attempt to record the mountainous range of material preserved in American archives starts to feel a minute strained, but the noteworthy freshness of so many of these films–especially the more ephemeral shorts–overcomes any sense of historical tokenism. The accompanying book is far honorable to the average DVD liner notes, providing scholarly and informative program notes by Scott Simmon along with background information on the preservation of each film & explanations of the musical accompaniment for the mute titles. Overall I found this plot not only praiseworthy but highly entertaining–only the “about the archives” essays narrated by Laurence Fishburne are tinged with institutional dullness. Assume the situation now–if it goes out of print (and I apprehension this is fair the kind of “specialty” item that won’t discontinue in print very long), you’ll regret not owning it.
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