So very early in the history of cinema, there's much about this picture that seems to emphasize its place. Actors break the fourth wall to smile at the camera as the opening credits introduce them; sequencing, and the very execution of individual scenes, accentuate that they are pointedly staged in the course of the production. It's worth noting, meanwhile, that there are also some marvelous techniques employed here - double exposure to overlay one length of footage over another; rudimentary tracking shots - that mark the very, very beginning of development of the art form. There's an inarguable simplicity and even innocence in the very craft of the picture that is endearing, that makes it truly feel like the type of piece that would be displayed alongside wax cylinders in museums as an exhibition of budding technology - or which may make it difficult to abide for viewers who aren't already enamored of silent films. For all that, however, 'Twilight of a woman's soul' is well made and very enjoyable.
Between prohibitive cultural norms delineating "decency," presumed censorial rigor, and basic good taste, there are certainly some scenes and story beats that are somewhat curtailed with an austere hand that means they're not imparted with all due gravity as they present. That is to say, principally, that the film delicately tiptoes around acts of violence, and in a more general sense plot development sometimes skips from A to C. For that shortcoming, however, and for what we don't see - what we get instead are strong performances to highlight the perspectives, reactions, and mental states of the characters. This especially goes for star Nina Chernova, starring as troubled protagonist Vera, who even being thusly limited by the construction of the movie still demonstrates capable range and nuance. And though she is most prominent, so it goes as well with Chernova's co-stars.
Director Yevgeny Bauer shows a keen sense for shot composition - the fundamental arrangement of figures and objects, and indeed the camera itself, within a setting - and it's clear that his reputation as a pioneer of the medium is well-deserved. Rich details like filming locations, set design and decoration, costume design, and hair and makeup are all quite fetching, adding greatly to the worth of the feature. And not least of all - abbreviated (truncated?) as it may be, I quite admire V. Demert's screenplay. Though inherently condensed to their most elementary form in such a tightly structured film, characters as written possess plentiful depth. Scene writing is duly varied, ensuring each adequately conveys the course of events and all necessary feeling regardless of how the tableau is shown to us. And while certainly depressing - frankly what fiction out of Russia is most known for - the overall narrative is coherent, cohesive, and complete, telling a fairly compelling story; if anything, one wishes the tale could have been fleshed out more than what a 48-minute movie in 1913 could relate.
'Twilight of a woman's soul' is quite distinctly a title belonging to the earliest days of cinema, with all the indelicacies and burgeoning inventiveness that quality may carry with it. Yet even with all possible issues that one may perceive with the feature, it's anchored with excellent acting and writing. And despite clocking in at a hair under 50 minutes, the substance of the movie is given room enough to flourish and keep viewers engaged. Again, I think it's fair to say that this probably is a silent film for audiences who already favor the stylings of the era - but with that caveat in mind, I think this is well worth the minute span of time it takes to watch.
Between prohibitive cultural norms delineating "decency," presumed censorial rigor, and basic good taste, there are certainly some scenes and story beats that are somewhat curtailed with an austere hand that means they're not imparted with all due gravity as they present. That is to say, principally, that the film delicately tiptoes around acts of violence, and in a more general sense plot development sometimes skips from A to C. For that shortcoming, however, and for what we don't see - what we get instead are strong performances to highlight the perspectives, reactions, and mental states of the characters. This especially goes for star Nina Chernova, starring as troubled protagonist Vera, who even being thusly limited by the construction of the movie still demonstrates capable range and nuance. And though she is most prominent, so it goes as well with Chernova's co-stars.
Director Yevgeny Bauer shows a keen sense for shot composition - the fundamental arrangement of figures and objects, and indeed the camera itself, within a setting - and it's clear that his reputation as a pioneer of the medium is well-deserved. Rich details like filming locations, set design and decoration, costume design, and hair and makeup are all quite fetching, adding greatly to the worth of the feature. And not least of all - abbreviated (truncated?) as it may be, I quite admire V. Demert's screenplay. Though inherently condensed to their most elementary form in such a tightly structured film, characters as written possess plentiful depth. Scene writing is duly varied, ensuring each adequately conveys the course of events and all necessary feeling regardless of how the tableau is shown to us. And while certainly depressing - frankly what fiction out of Russia is most known for - the overall narrative is coherent, cohesive, and complete, telling a fairly compelling story; if anything, one wishes the tale could have been fleshed out more than what a 48-minute movie in 1913 could relate.
'Twilight of a woman's soul' is quite distinctly a title belonging to the earliest days of cinema, with all the indelicacies and burgeoning inventiveness that quality may carry with it. Yet even with all possible issues that one may perceive with the feature, it's anchored with excellent acting and writing. And despite clocking in at a hair under 50 minutes, the substance of the movie is given room enough to flourish and keep viewers engaged. Again, I think it's fair to say that this probably is a silent film for audiences who already favor the stylings of the era - but with that caveat in mind, I think this is well worth the minute span of time it takes to watch.