DAS PHANTOM DER OPER (1916)

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The 1912 Jekyll and Hyde made me want to resurface this post on the lost 1916 version of THE PHANTOM OF THE OPERA, which is, for me - much as I want to see LONDON AFTER MIDNIGHT - the ultimate lost film.

This thread at The Classic Horror Board features some great information and discussion - especially this one, which includes the poster’s translation of a synopsis of the film (which seems to be quite faithful to Leroux's original) as well as the following translation of a review; image above from linked post.

"Fantastic drama  with Aud Egede Nissen. During the construction of an opera house, its designer had installed various mechanical and technological contrivances that ensured he could secretly access the rooms in the cellar. One day, illness prevents the diva from appearing as Gretchen [in Faust], and the designer - in the guise of an old regular visitor to the opera known by the name 'Phantom' - recommends an ingénue to the director to take her place; a recommendation the director accepts. The ingénue's appearance proves a success, only for her to then find herself held captive in the underground rooms by the ugly Phantom, who is in love with her. She is rescued by her fiancé and a Persian, while the master builder meets with his death. The subject matter is good, and the photography, acting and sets very good."

Will update accordingly if I find any new info.

DR. JEKYLL AND MR. HYDE (1912)

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Had never seen this one before. Quite good, actually.

HBO MARIO KART – SNL

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Pure brilliance.

links/2023w05

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TÁR (Field, 2022)

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(Written and directed by Todd Field; starring Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, and Mark Strong. Released 07 October 2022; watched: 2023w05 via Peacock).

Cate Blanchett in TÁR, on black, smoke coming out of her mouth

Given my creative history in the world of classical music, a world for which I hold both such utter love (the output) and utter contempt (the milieux) – fairly or otherwise – that Field and Blanchett capture with such startling accuracy, writing about TÁR with any objectivity has been a challenge: experiencing the film triggered more than a little bit of heretofore unknown and seemingly unresolved PTSD from my music school / conservatory days – none of it having anything to do with the film's overarching subject matter, but rather the onslaught of a creative doubt that I haven't felt since I ran away from the hallowed caocophy of institutionalized music education 20 years ago.

(It's not often that I can write the following words so I'm going to write them here, because they sum up the entirety of my music school experience: I should've listened to Branford Marsalis.)

Nonetheless, objectivity: Cate Blanchett is mesmerizing – as if she ever isn't – in a career-best performance in a career of career-best performances, thanks in no small part to the inspired writing (the pace and tone and subject matter brought to mind John Patrick Shanley's DOUBT) and directing of Field (I want to say he needs to make more films, but if we get a film like TÁR 16 years after the remarkable LITTLE CHILDREN, he can take as much time as he needs) and supporting players, especially Nina Hoss and Noémie Merlant – and a welcome small part from Julian Glover.

The thing that sticks with me, the thing I'm drawing into my own work, though, is Field's deft handling and rhythmic manipulation of the smallest elements into the most unmooring reverberations: a masterclass in the value of (hyper)vigilant attention to detail.