Film Form

Essays in Film Theory

Houghton Mifflin Harcourt Publishing Company

Contents

Through Theater To Cinema

IT IS interesting to retrace the different paths of today's cinema workers to their creative beginnings, which together compose the multi-colored background of the Soviet cinema. In the early 1920s we all came to the Soviet cinema as something not yet existent. We came upon no ready- built city; there were no squares, no streets laid out; not even little crooked lanes and blind alleys, such as we may find in the cinemetropolis of our day. We came like bedouins or gold-seekers to a place with unimaginably great possibilities, only a small section of which has even now been developed.

We pitched our tents and dragged into camp our experiences in varied fields. Private activities, accidental past professions, unguessed crafts, unsuspected eruditions — all were pooled and went into the building of something that had, as yet, no written traditions, no exact stylistic requirements, nor even formulated demands.

Without going too far into the theoretical debris of the specifics of cinema, I want here to discuss two of its features. These are features of other arts as well, but the film is particularly accountable to them. Primo: photo-fragments of nature are recorded; secundo: these fragments are combined in various ways. Thus, the shot (or frame), and thus, montage.

Photography is a system of reproduction to fix real events and elements of actuality. These reproductions, or photoreflections, may be combined in various ways. Both as reflections and in the manner of their combination, they permit any degree of distortion — either technically unavoidable or deliberately calculated. The results fluctuate from exact naturalistic combinations of visual, interrelated experiences to complete alterations, arrangements unforeseen by nature, and even to abstract formalism, with remnants of reality.

The apparent arbitrariness of matter, in its relation to the status quo of nature, is much less arbitrary than it seems. The final order is inevitably determined, consciously or unconsciously, by the social premises of the maker of the film-composition. His class-determined tendency is the basis of what seems to be an arbitrary cinematographic relation to the object placed, or found, before the camera.

We should like to find in this two-fold process (the fragment and its relationships) a hint as to the specifics of cinema, but we cannot deny that this process is to be found in other art mediums, whether close to cinema or not (and which art is not close to cinema?). Nevertheless, it is possible to insist that these features are specific to the film, because film- specifics lie not in the process itself but in the degree to which these features are intensified.

The musician uses a scale of sounds; the painter, a scale of tones; the writer, a row of sounds and words — and these are all taken to an equal degree from nature. But the immutable fragment of actual reality in these cases is narrower and more neutral in meaning, and therefore more flexible in combination, so that when they are put together they lose all visible signs of being combined, appearing as one organic unit. A chord, or even three successive notes, seems to be an organic unit. Why should the combination of three pieces of film in montage be considered as a three-fold collision, as impulses of three successive images?

A blue tone is mixed with a red tone, and the result is thought of as violet, and not as a "double exposure" of red and blue. The same unity of word fragments makes all sorts of expressive variations possible. How easily three shades of meaning can be distinguished in language — for example: "a window without light," "a dark window," and "an unlit window."

Now try to express these various nuances in the composition of the frame. Is it at all possible?

If it is, then what complicated context will be needed in order to string the film-pieces onto the film-thread so that the black shape on the wall will begin to show either as a "dark" or as an "unlit" window? How much wit and ingenuity will be expended in order to reach an effect that words achieve so simply?

The frame is much less independently workable than the word or the sound. Therefore the mutual work of frame and montage is really an enlargement in scale of a process microscopically inherent in all arts. However, in the film this process is raised to such a degree that it seems to acquire a new quality.

The shot, considered as material for the purpose of composition, is more resistant than granite. This resistance is specific to it. The shot's tendency toward complete factual immutability is rooted in its nature. This resistance has largely determined the richness and variety of montage forms and styles — for montage becomes the mightiest means for a really important creative remolding of nature.

Thus the cinema is able, more than any other art, to disclose the process that goes on microscopically in all other arts.

The minimum "distortable" fragment of nature is the shot; ingenuity in its combinations is montage.

Analysis of this problem received the closest attention during the second half-decade of Soviet cinema (1925–1950), an attention often carried to excess. Any infinitesimal alteration of a fact or event before the camera grew, beyond all lawful limit, into whole theories of documentalism. The lawful necessity of combining these fragments of reality grew into montage conceptions which presumed to supplant all other elements of film-expression.

Within normal limits these features enter, as elements, into any style of cinematography. But they are not opposed to nor can they replace other problems — for instance, the problem of story.

To return to the double process indicated at the beginning of these notes: if this process is characteristic of cinema, finding its fullest expression during the second stage of Soviet cinema, it will be rewarding to investigate the creative biographies of film-workers of that period, seeing how these features emerged, how they developed in pre-cinema work. All the roads of that period led towards one Rome. I shall try to describe the path that carried me to cinema principles.

Usually my film career is said to have begun with my production of Ostrovsky's play, Enough Simplicity in Every Sage, at the Proletcult Theatre (Moscow, March 1923). This is both true and untrue. It is not true if it is based solely on the fact that this production contained a short comic film made especially for it (not separate, but included in the montage plan of the spectacle). It is more nearly true if it is based on the character of the production, for even then the elements of the specifics mentioned above could be detected.

We have agreed that the first sign of a cinema tendency is one showing events with the least distortion, aiming at the factual reality of the fragments.

A search in this direction shows my film tendencies beginning three years earlier, in the production of The Mexican (from Jack London's story). Here, my participation brought into the theater "events" themselves — a purely cinematographic element, as distinguished from "reactions to events"— which is a purely theatrical element.

This is the plot: A Mexican revolutionary group needs money for its activities. A boy, a Mexican, offers to find the money. He trains for boxing, and contracts to let the champion beat him for a fraction of the prize. Instead he beats up the champion, winning the entire prize. Now that I am better acquainted with the specifics of the Mexican revolutionary struggle, not to mention the technique of boxing, I would not think of interpreting this material as we did in 1920, let alone using so unconvincing a plot.

The play's climax is the prize-fight. In accordance with the most hallowed Art Theatre traditions, this was to take place backstage (like the bull-fight in Carmen), while the actors on stage were to show excitement in the fight only they can see, as well as to portray the various emotions of the persons concerned in the outcome.

My first move (trespassing upon the director's job, since I was there in the official capacity of designer only) was to propose that the fight be brought into view. Moreover I suggested that the scene be staged in the center of the auditorium to re-create the same circumstances under which a real boxing match takes place. Thus we dared the concreteness of factual events. The fight was to be carefully planned in advance but was to be utterly realistic.

The playing of our young worker-actors in the fight scene differed radically from their acting elsewhere in the production. In every other scene, one emotion gave rise to a further emotion (they were working in the Stanislavsky system), which in turn was used as a means to affect the audience; but in the fight scene the audience was excited directly.

While the other scenes influenced the audience through intonation, gestures, and mimicry, our scene employed realistic, even textural means — real fighting, bodies crashing to the ring floor, panting, the shine of sweat on torsos, and finally, the unforgettable smacking of gloves against taut skin and strained muscles. Illusionary scenery gave way to a realistic ring (though not in the center of the hall, thanks to that plague of every theatrical enterprise, the fireman) and extras closed the circle around the ring.

Thus my realization that I had struck new ore, an actual-materialistic element in theater. In The Sage, this element appeared on a new and clearer level. The eccentricity of the production exposed this same line, through fantastic contrasts. The tendency developed not only from illusionary acting movement, but from the physical fact of acrobatics. A gesture expands into gymnastics, rage is expressed through a somersault, exaltation through a salto-mortale, lyricism on "the mast of death." The grotesque of this style permitted leaps from one type of expression to another, as well as unexpected inter-twinings of the two expressions. In a later production, Listen, Moscow (summer 1923), these two separate lines of "real doing" and "pictorial imagination" went through a synthesis expressed in a specific technique of acting.

These two principles appeared again in Tretiakov's Gas Masks (1923–24), with still sharper irreconcilability, broken so noticeably that had this been a film it would have remained, as we say, "on the shelf."

What was the matter? The conflict between material-practical and fictitious-descriptive principles was somehow patched up in the melodrama, but here they broke up and we failed completely. The cart dropped to pieces, and its driver dropped into the cinema.

This all happened because one day the director had the marvelous idea of producing this play about a gas factory — in a real gas factory.

As we realized later, the real interiors of the factory had nothing to do with our theatrical fiction. At the same time the plastic charm of reality in the factory became so strong that the element of actuality rose with fresh strength — took things into its own hands — and finally had to leave an art where it could not command.

Thereby bringing us to the brink of cinema.

But this is not the end of our adventures with theater work. Having come to the screen, this other tendency flourished, and became known as "typage." This "typage" is just as typical a feature of this cinema period as "montage." And be it known that I do not want to limit the concept of "typage" or "montage" to my own works.

I want to point out that "typage" must be understood as broader than merely a face without make-up, or a substitution of "naturally expressive" types for actors. In my opinion, "typage" included a specific approach to the events embraced by the content of the film. Here again was the method of least interference with the natural course and combinations of events. In concept, from beginning to end, October is pure "typage."

A typage tendency may be rooted in theater; growing out of the theater into film, it presents possibilities for excellent stylistic growth, in a broad sense — as an indicator of definite affinities to real life through the camera.

And now let us examine the second feature of film-specifics, the principles of montage. How was this expressed and shaped in my work before joining the cinema?

In the midst of the flood of eccentricity in The Sage, including a short film comedy, we can find the first hints of a sharply expressed montage.

The action moves through an elaborate tissue of intrigue. Mamayev sends his nephew, Glumov, to his wife as guardian. Glumov takes liberties beyond his uncle's instructions and his aunt takes the courtship seriously. At the same time Glumov begins to negotiate for a marriage with Mamayev's niece, Turussina, but conceals these intentions from the aunt, Mamayeva. Courting the aunt, Glumov deceives the uncle; flattering the uncle, Glumov arranges with him the deception of the aunt.

Glumov, on a comic plane, echoes the situations, the overwhelming passions, the thunder of finance, that his French prototype, Balzac's Rastignac, experiences. Rastignac's type in Russia was still in the cradle. Money-making was still a sort of child's game between uncles and nephews, aunts and their gallants. It remains in the family, and remains trivial. Hence, the comedy. But the intrigue and entanglements are already present, playing on two fronts at the same time — with both hands — with dual characters ... and we showed all this with an intertwined montage of two different scenes (of Mamayev giving his instructions, and of Glumov putting them into execution). The surprising intersections of the two dialogues sharpen the characters and the play, quicken the tempo, and multiply the comic possibilities.

For the production of The Sage the stage was shaped like a circus arena, edged with a red barrier, and three-quarters surrounded by the audience. The other quarter was hung with a striped curtain, in front of which stood a small raised platform, several steps high. The scene with Mamayev (Shtraukh) took place downstage while the Mamayeva (Yanukova) fragments occurred on the platform. Instead of changing scenes, Glumov (Yezikanov) ran from one scene to the other and back — taking a fragment of dialogue from one scene, interrupting it with a fragment from the other scene — the dialogue thus colliding, creating new meanings and sometimes wordplays. Glumov's leaps acted as caesurae between the dialogue fragments.

And the "cutting" increased in tempo. What was most interesting was that the extreme sharpness of the eccentricity was not tom from the context of this part of the play; it never became comical just for comedy's sake, but stuck to its theme, sharpened by its scenic embodiment.

Another distinct film feature at work here was the new meaning acquired by common phrases in a new environment.

Everyone who has had in his hands a piece of film to be edited knows by experience how neutral it remains, even though a part of a planned sequence, until it is joined with another piece, when it suddenly acquires and conveys a sharper and quite different meaning than that planned for it at the time of filming.

This was the foundation of that wise and wicked art of reediting the work of others, the most profound examples of which can be found during the dawn of our cinematography, when all the master film-editors — Esther Schub, the Vassiliyev brothers, Benjamin Boitler, and Birrois — were engaged in reworking ingeniously the films imported after the revolution.

I cannot resist the pleasure of citing here one montage tour de force of this sort, executed by Boitler. One film bought from Germany was Danton, with Emil Jannings. As released on our screens, this scene was shown: Camille Desmoulins is condemned to the guillotine. Greatly agitated, Danton rushes to Robespierre, who turns aside and slowly wipes away a tear. The sub-title said, approximately, "In the name of freedom I had to sacrifice a friend...." Fine.

But who could have guessed that in the German original, Danton, represented as an idler, a petticoat-chaser, a splendid chap and the only positive figure in the midst of evil characters, that this Danton ran to the evil Robespierre and ... spat in his face? And that it was this spit that Robespierre wiped from his face with a handkerchief? And that the title indicated Robespierre's hatred of Danton, a hate that in the end of the film motivates the condemnation of Jannings-Danton to the guillotine?!