TWILIGHT OF A WOMAN'S SOUL (1913) tells the story of Vera, a reserved young Russian noblewoman who accompanies her mother as she provides charity to the poor. She meets a poor, seemingly injured man who lures her to his home under false pretenses and violates her. Vera struggles with the shame and stigma of this attack, and whether or not to disclose it to the prince whom she is engaged to marry. When she does, there are great consequences for both of them. Directed by Evgeni Bauer.
This film is Bauer's earliest surviving work, and an early example of the feature film (clocking in at approximately 48 minutes). The story is told in an economical and straightforward fashion, something from which this reviewer feels modern-day movie makers could learn. The actors here are effective in their roles, and one can perceive in this film a transitional style of film acting, between the dramatics of the stage and the more intimate, restrained approach demanded by the movie camera. Vera Chernova is particularly effective as Vera, showing all facets of her character's personality and emotions. I found her interesting to watch because she did use some graceful stage gestures, but was able to scale her performance down for the camera appropriately. A. Ugrjumov also does fine work as the prince, although he is a bit more given to big emotive gestures and expressions at times (but come on, this was made in 1913! Let's not be too harsh).
The cinematography in this film is also indicative of the transition between the tableaux style of earlier films, and the more refined cinematic approach that was being pioneered by DW Griffith and others. There are no close-ups, and the camera is stationary for many scenes. The takes can be a bit lengthy, although Bauer does show awareness of the impact of editing, and there is a flashback scene. Bauer does use expressive lighting at times, like when the deceitful Maxim sneaks into Vera's room. He also chooses some interesting angles for overhead shots, and makes use of double exposure during a dream scene.
Overall, TWILIGHT OF A WOMAN'S SOUL is an understated and haunting film, and it displays Evgeni Bauer's emerging talent as a director who is able to produce a memorable work of emotional power. It is an intriguing early feature film, and is worth watching for those interested in early cinema. SCORE: 7/10.
This film is Bauer's earliest surviving work, and an early example of the feature film (clocking in at approximately 48 minutes). The story is told in an economical and straightforward fashion, something from which this reviewer feels modern-day movie makers could learn. The actors here are effective in their roles, and one can perceive in this film a transitional style of film acting, between the dramatics of the stage and the more intimate, restrained approach demanded by the movie camera. Vera Chernova is particularly effective as Vera, showing all facets of her character's personality and emotions. I found her interesting to watch because she did use some graceful stage gestures, but was able to scale her performance down for the camera appropriately. A. Ugrjumov also does fine work as the prince, although he is a bit more given to big emotive gestures and expressions at times (but come on, this was made in 1913! Let's not be too harsh).
The cinematography in this film is also indicative of the transition between the tableaux style of earlier films, and the more refined cinematic approach that was being pioneered by DW Griffith and others. There are no close-ups, and the camera is stationary for many scenes. The takes can be a bit lengthy, although Bauer does show awareness of the impact of editing, and there is a flashback scene. Bauer does use expressive lighting at times, like when the deceitful Maxim sneaks into Vera's room. He also chooses some interesting angles for overhead shots, and makes use of double exposure during a dream scene.
Overall, TWILIGHT OF A WOMAN'S SOUL is an understated and haunting film, and it displays Evgeni Bauer's emerging talent as a director who is able to produce a memorable work of emotional power. It is an intriguing early feature film, and is worth watching for those interested in early cinema. SCORE: 7/10.