imdb
Publicada por Malachi en Karagarga
Director: Maurice Elvey
Intérpretes:
Estelle Brody .... Fanny Hawthorn
John Stuart .... Allan Jeffcote
Norman McKinnel .... Nathaniel Jeffcote
Marie Ault .... Mrs. Hawthorn
Pais: GB
Género: Drama/romance
Duración: 115 min
Sinopsis: Durante un período vacacional una obrera inicia un romance con el propietario de la fábrica donde ella trabaja.
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The twenties version of the once sensational Stanley Houghton play must be considered central to it's makers' work and the British film of the pre-WW2 era. Both director and producer filmed it twice, Elvey shortly after the first stage performances in 1918 and Saville after the coming of sound. Mc Kinnel as the mill owner who originated the part in the theatre is in all of the productions and John Stuart played this son in the twenties and thirties films.
The work was notorious for showing a mill girl heroine for who casual sex was as normal as it was taken to be for men - one of the most intelligent representations of the then celebrated "Single Standard."
Until we get a look at his first try, we must take Elvey's twenties version as the most important. It is remarkable that Elvey regulars Humberstone Wright and Marie Ault register more effectively than Saville's imposing Edmund Gwenn and Sybil Thorndyke doing the parent rôles with sound. The scene in Blackpool's Tower Ballroom is quite hallucinatory climax to the extraordinary, protracted Hindle Wakes holiday sequence which outclasses similar material in the King Vidor THE CROWD.
Indeed the Elvey HINDLE WAKES may be considered the best English silent film surviving, more imposing than the Asquith and Hitchcock films that have been thrust at us down the years. With his recently recovered LIFE OF DAVID LLOYD GEORGE this marks Elvey as the most important English film maker of the period and one of the most important in Europe. We can only wonder about an industry and its commentators who did so little to nourish his output and allowed him to die in obscurity.
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Slant Magazine Review:
A remarkable synthesis of proto-feminist ideals and visionary aesthetics, Maurice Elvey's Hindle Wakes, adapted from Stanley Houghton's controversial play of the same name, begins with a loaded shot of two male factory workers shoveling coal into two small round-like ovens. Even without the names "Alice" and "Sally" scrawled in chalk above the fiery holes, the implication of this one shot is already extraordinarily clear: that women are the architects of life, a dominant view echoed in just about every scene in the film, including the ensuing image of factory chimneys pumping smoke into the morning air like excited phalluses. Elvey makes poetry out of the mundane, using images of clocks and machines and paralleling views of his characters' behaviors and routines to set up the vice-like class inequity of the time. Nearly everyone wants a reprieve from this banal, almost sinister clockwork, and as such its no surprise that when Franny Hawthorne (Estelle Brody) and her friend Marcy Hollins (Peggy Carlisle) go to Blackpool—Britain's version of Coney Island—for vacation, Hindle Wakes transforms itself into an orgiastic celebration of freedom. Elvey's images of rising and falling carnival rides, fox-trotting bodies, and sumptuous night lights are all implications for sex, their metaphoric energy matched only by their sumptuous visual sweep. In Blackpool, the collective effort of the people doesn't empower the state but the individual, a feeling of independence Franny looks to enable back home when she learns that her father, Chris (Humberston Wright), and his boss and childhood friend, factory owner Nathaniel Jeffcoate (Norman McKinnel), have learned of her affair with Nathaniel's son Allan (John Stuart). Social customs rule that Franny and Allan do one thing but Franny does something else entirely, a decision she makes not only for herself but the oppressed women of her time. Though the film's Victorian milieu may not be ready for her, Franny nonetheless remains true to her own sense of freedom, and as the opening spectacle of sexual codes repeats itself and night descends on the Lancashire mill town of the film, this fierce woman warrior charges straight into the 21st century.
Ed Gonzalez
slant magazine, 2005.
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AVI File Details
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Name.........: Hindle Wakes (Maurice Elvey, 1927).avi
Filesize.....: 692 MB (or 709,110 KB or 726,128,640 bytes)
Runtime......: 01:55:20 (172,990 fr)
Video Codec..: XviD
Video Bitrate: 787 kb/s
Audio Codec..: 0x0055(MP3) ID'd as MPEG-1 Layer 3
Audio Bitrate: 46 kb/s, monophonic VBR
Frame Size...: 432x320 (1.35:1) [=27:20]
Hindle Wakes (Maurice Elvey, 1927).avi
