AN AUTEURIST HISTORY OF FILM 73 VIGO – BL ASETTI – FL AHERTY & GRIERSON

Part of the problem in dealing with Blasetti is War Canoes (In the Land of the Headhunters: A Drama
that, whatever his deeply held beliefs may have been, he of Primitive Life on the Shores of the North Pacific) in 1914.
is forever linked with Benito Mussolini and the Fascist Flaherty had previously tried and failed to capture
regime. He never even came close to the glorification of the lives of the Baffin Island Eskimos, and was inspired
fascism that Leni Riefenstahl achieved in Triumph of the by Curtis’s film to try again. The resulting work was
Will (1935), but many of his views on Italian society Nanook of the North (1922). Although both men shared a
seemed to coincide with those of Il Duce. It can be argued, romantic desire to preserve native cultures on film
however, that there are veiled criticisms of the regime before the incursion of “civilization,” I think Flaherty was
between the lines (frames) of several of his 1930s films. more adept at co-opting the zeitgeist of Hollywood.
The Old Guard (1934), for instance, recounts Mussolini’s Such a judgment would be anathema to the Flaherty cult
1922 March on Rome, which led to his ascent to power. that flourished for a long time, but it’s indisputable that
The film was criticized by the Fascists as being Flaherty’s pure, authentic vision was tempered by an
insufficiently enthusiastic, and ultimately I think Blasetti irrepressible artistry that caused him to shape and
was too sophisticated be a true believer in Il Duce. manipulate his material while remaining true to his
In 1952, Blasetti appeared as a cynical movie basic principles. Nanook made a lot of money and was
director named Blasetti in Visconti’s Bellisima, portraying critically acclaimed, as was his later South Seas film,
himself as a purveyor of “amusement of idiots.” His Moana (1926).
half-century-long career was too influential and After his falling out with F. W. Murnau over Tabu
successful for either Blasetti or Visconti to really believe in 1931, Flaherty made a few short films in Britain. Man of
that, but an enigmatic quality is still associated with this Aran (1934) was his first sound feature, and while it fits his
director who thrived and became a dominant figure in established anthropological pattern, it tends toward
cinema under a totalitarian regime. Blasetti was perhaps greater narrative coherence. The poetry is supplied by
the canniest Don Quixote of them all, appearing in photos the enormity of the natural forces with which the Aran
like the genially obese proprietor of a spaghetti joint islanders must contend, and by the fathomless,
while still exercising his intelligence and talent wherever unforgiving beauty of the shark-infested sea. The film was
and whenever he could. Ted Perry, former Director criticized by his friend John Grierson, among others, for
of the Department of Film at MoMA, has made the point ignoring the contemporary reality of the Depression and
that Blasetti’s contributions went well beyond his own the economic exploitation of the islanders. Grierson
films. He was an influential theorist and founder of the wrote: “I imagine they shine as bravely in pursuit of Irish
school that was to become the Centro Sperimentale, landlords as in the pursuit of Irish sharks.” In Flaherty’s
Rome’s noted film archive. So, we owe him not just for (and auteurism’s) defense, historian Jack Ellis said: “In
the gift of his own films, but also for the preservation of so some respects his films are as much about him... as about
much of early Italian cinema — even the films he the people he was filming.”
vehemently attacked as a young critic. After one more frustrating attempt to participate
in the commercial film industry with Zoltan Korda’s
Elephant Boy (1937), Flaherty returned to documentaries.
His The Land (1942), produced by the U.S. government,
Documentary Develops dealt with contemporary social issues he had previously
avoided, and was cited by the critic Stuart Byron as the
Robert Flaherty and greatest documentary ever made. Flaherty’s final feature,
John Grierson Louisiana Story (1948), is beautifully photographed but
its message about the harmlessness of oil drilling has
Although Robert Flaherty is credited with being the been somewhat undermined by, among other disasters,
father of the documentary, there had been “actuality” the BP spill in the Gulf of Mexico. The film was produced
films since the very beginning of cinema. The Lumière by Standard Oil of New Jersey.
brothers sent film crews around the world to bring John Grierson (1898–1972) was a disciple of
audiences the wonders of the planet long before jets Flaherty’s, and was critical of his mentor’s detachment
made it possible to travel to exotic or remote locales. from the real world. Grierson’s films, such as The Drifters
The great photographer of Native Americans, Edward (1929), Granton Trawler (1934), Song of Ceylon (1934),
Curtis, released his only motion picture, In the Land of the and Night Mail (1936), were authentic but generally didn’t
1930–1939 74

aspire to poetry. They were mostly directed by others, like Vidor for the resemblance to be dismissed as
and Grierson was usually listed as the supervising coincidental. Keene’s freewheeling performance,
producer. Grierson was the central figure in the establish­ however, is one of the film’s problems. He is a bit too
ment of the National Film Board of Canada during the toothy, loud, and ingratiating for sound. His character has
Second World War, and he not only invented the term not changed much since The Crowd (he still has “big
“documentary” but also developed a coherent theory ideas”), but Vidor could get away with things in his silent
of its meaning. Because he was involved in so many films films that are just too grating and abrasive in a talkie,
seen by so many people, Grierson was in many ways a and the problem is accentuated by Karen Morley’s
more influential figure than Flaherty. We are in his debt subtle performance and Alfred Newman’s beautifully
every time we turn on our television to watch a lilting score.
nonfiction program or tune in to one of the numerous The climactic ditch-digging sequence, however
cable channels that specialize in the genre. He was an derivative of Soviet films it might be, remains one of
able teacher, if not an artist. the greatest of all experiments in cinematic rhythm.
Vidor dusted off the metronome he used previously in
Three Wise Fools (1923) and The Big Parade, and enhanced
the power of his cadenced cutting and action through the
King Vidor and Pare Lorentz creative use of sound effects and music. The result,
from the first pick breaking ground to the moment where
Confront the Great Depression Vidor appears on screen and shouts, “O. K. to go,” is
1934–1937 arguably the most exciting final reel in any American
movie since Griffith’s Intolerance (1916).
When I wrote about Our Daily Bread (1934) in 1972 as It is a measure of the ardor that Vidor felt for Our
part MoMA’s massive King Vidor retrospective, I Daily Bread that he managed to make it outside the studio
described the film as naïve, simplistic, and awkward, but system and in spite of American cinema’s traditional
nonetheless extremely lovely in its innocence. I stand by aversion to controversial subjects. The film sprang from
this assessment. Intended as a sequel to Vidor’s silent the director’s deeply held conviction that it needed to be
masterpiece The Crowd (1928), its message is not so much made, and became a passionate obsession. This is, after
a plea for agrarian communism as it is for humanity. The all, what art — and certainly the best of Vidor’s films —
film has much in common with the work of Vidor’s is all about.
acknowledged master, D. W. Griffith, and had he remained Pare Lorentz (1905–1992) was for a short time a
active, one could easily imagine Griffith making a film pivotal figure in documentary films, largely through
similar to Our Daily Bread at some point during the 1930s. his association with President Franklin D. Roosevelt. Like
John and Mary Sims, having failed in the city like an American John Grierson, but on a smaller scale, he
millions of other victims of the Great Depression, are made two classic propaganda films for the U.S.
given the opportunity to start a new life by returning to government: The Plow That Broke the Plains (1936) and
the soil. They are joined on the farm by a group of people The River (1937), which one critic has suggested may be
who probably lived just around the corner from the set “the finest American documentary to date.” He also
Richard Day designed for Vidor’s adaptation of Elmer directed a longer but less focused film about a Chicago
Rice’s Street Scene (1931). (In fact, John Qualen reprises maternity center, The Fight for Life (1940). His agency
his role in Street Scene in Our Daily Bread, and would produced Joris Ivens’s Power and the Land (1940) and
revive it again in many brilliant performances for John Robert Flaherty’s The Land (1942), and Lorentz’s efforts
Ford, who would soon be Vidor’s rival for Griffith’s led to the extensive use of film by the government during
mantle.) There are echoes of other Vidor films in Our World War II. (His The Nuremberg Trials, which was
Daily Bread: A scene in which farmers go into the released in 1946, sadly, was never quite finished).
cornfield singing “You’re in the Army Now” gestures to Lorentz was friendly with King Vidor, who
The Big Parade (1925), and John’s abortive flight with a acted somewhat as his mentor. Vidor brought Lorentz to
seductress, delightfully played by Barbara Pepper, recalls Britain in 1938 as an adviser, and through the intervention
Zeke’s weakness in Hallelujah (1929). of Iris Barry (first curator of MoMA’s Film Library, as the
With his wide-open face, very American charm, Department of Film was then known), a special screening
and “Vidorian” hat, star Tom Keene looks just too much of The River was arranged for Grierson, Flaherty, and