► Show Spoiler
I haven't seen this in literally a decade, so I'd forgotten nearly everything, including Louise and Henriette's backstory and them not being biological sisters.
What I did remember was the makeup used for Madame Frochard. They put an actual fake mustache on Lucille La Verne, why?? I guess to make her as conventionally unattractive as possible and emphasize that she's an old hag, yeah, but...
Anyway, I came away really liking these two parts of the production: the cinematography and the story weaving. I think the cut aways to Henriette and Louise's respective storylines helped keep it fresh—I have to admit, it being over 2 hours and a period piece to boot had me wondering if it'd be a slog—but I found it quite engaging. I didn't watch it all in one sitting since I kept getting interrupted, however, so that may have helped a bit.
In regards to the cinematography, the thing that stood out the most was the movement of the camera; there were a couple scenes where the camera would move backwards, usually to follow a character's entrance into the scene. Also some nice closeups that made me sorely wish I could see this in a theater with a sharp print and live accompaniment. Great work from Billy Bitzer, gotta give him his dues
Another thing I love is how strong Lillian Gish's character was in this. She's looks dainty and her mannerisms often reflect that, but I was pleasantly surprised to see her physically fighting against someone in the quest to find her sister not once, but twice! She even managed to bring Madame Frochard to the ground!
Unfortunately there was quite a bit of stagey acting from some folks, with the worst offenders being Madame Frochard's sons. There's a closeup of Jacques watching Pierre (hope I didn't get them mixed up...) creeping on Louise, and it's really exaggerated to the point it looks comical. There were also some instances of comic relief that seemed shoved in; the one that comes to mind is where the peasant sits on the bumbling aristocrat's back like he's a pony during the wild dancing after the Revolution has started.
What I did remember was the makeup used for Madame Frochard. They put an actual fake mustache on Lucille La Verne, why?? I guess to make her as conventionally unattractive as possible and emphasize that she's an old hag, yeah, but...
Anyway, I came away really liking these two parts of the production: the cinematography and the story weaving. I think the cut aways to Henriette and Louise's respective storylines helped keep it fresh—I have to admit, it being over 2 hours and a period piece to boot had me wondering if it'd be a slog—but I found it quite engaging. I didn't watch it all in one sitting since I kept getting interrupted, however, so that may have helped a bit.
In regards to the cinematography, the thing that stood out the most was the movement of the camera; there were a couple scenes where the camera would move backwards, usually to follow a character's entrance into the scene. Also some nice closeups that made me sorely wish I could see this in a theater with a sharp print and live accompaniment. Great work from Billy Bitzer, gotta give him his dues
Another thing I love is how strong Lillian Gish's character was in this. She's looks dainty and her mannerisms often reflect that, but I was pleasantly surprised to see her physically fighting against someone in the quest to find her sister not once, but twice! She even managed to bring Madame Frochard to the ground!
Unfortunately there was quite a bit of stagey acting from some folks, with the worst offenders being Madame Frochard's sons. There's a closeup of Jacques watching Pierre (hope I didn't get them mixed up...) creeping on Louise, and it's really exaggerated to the point it looks comical. There were also some instances of comic relief that seemed shoved in; the one that comes to mind is where the peasant sits on the bumbling aristocrat's back like he's a pony during the wild dancing after the Revolution has started.
