I Pray My Soul Comes To Maturity, Before It Is Reaped: The Phantom Carriage: 1921

When bringing up early silent cinema most discussion either lead to acknowledging the technical revolutions of Georges Melies, or the innovative narrative abilities of D.W. Griffith, and in most instances to the oneiric qualities of German Expressionist filmmaking.  Few, however, bring up Sweden's involvement in the movement, particularly Victor Sjöström and his horror drama The Phantom Carriage.  As technically unique as Melies and as narratively grandiose as Griffith, The Phantom Carriage is a thing of exceptional beauty and grace that manages to both astound general audiences and art house fanatics alike.  Not only is the film composed brilliantly and written with a astute understanding of human nature, but it has proved to be one of the most influential films to emerge from the silent era, something that has directly and indirectly influenced Ingmar Bergman and Stanley Kubrick amongst others.  The Phantom Carriage in a mere hour and forty minutes manages to take a deep look into human sacrifice and the nature of forgiveness with such meticulous care that it makes you wonder why this film is only beginning to reemerge as a silent classic, because it is equal to its contemporaries, if not a notch better.

The Phantom Carriage takes place on New Year's Eve in a small Swedish town.  Tragic news has emerged that a Salvation Army nurse named Edit (Astrid Holm) is in the through of death.  Meanwhile, at the local graveyard a drunkard named David, played by the director, spews out a story to his fellow drunks about the curse of the first person to die in the New Year taking over the job of the grim reaper's chauffeur.  After telling this tale, David is approached by an old friend named Gustafson (Tor Weijdan) who informs him of Edit's sickness and attempts to convince the inebriated David to return to her before she dies.  Confused and enraged a fight breaks out between David and the other drunks, which leads to David accidentally being killed right before the clock strikes midnight.  As a result, David's eerie tale becomes a reality as he is visited by death and is informed of his new duty for the coming year.   Death, however, turns out to be David's former friend from the story he told named Georges (Tore Svennberg) who realizes that he is in an unusual circumstance and takes David on a journey through his past before taking him to reap the soul of Edit.  In a series of flashbacks, it is revealed that David led a considerably bitter life, particularly following his bout with tuberculosis, which he spreads cynically to those around him.  He, in fact, is responsible for giving tuberculosis to Edit and desires greatly to receive her forgiveness before she dies.  In a bit of magnificently composed paranormal communication David is finally able to mend things with Edit and display his regret.  As such, Edit dies in peace and David is spared the job as the driver of the phantom carriage.  He is also allowed another shot at life, which he takes to the fullest, making sure to save his wife who was on the cusp of suicide.  The film closes with David and his wife embracing, as the previously cynical man now celebrates the fleeting moments that represent his life.

The Phantom Carriage is incredibly fixated on notions of sacrifice and forgiveness and the film focuses on these themes with a method that is both subtle and direct.  In the tradition of silent film styling, many of the title cards are composed with words like "forgiveness," "sorry" and "my fault," and are often followed by gestures of grand acting in which each performer depicts a hyper-sorrow, which ensures that viewers understand the characters guilt.  More subtly, the narrative approaches how one comes to deal with guilt and earn forgiveness.  In Sjöström's film one is not granted the comfort of forgiveness until they have gone through a Buddhistesque trial of loss, in which they learn the value of gaining.  It is not until David has assumed that he has lost everything, including his life, Edit's and that of his family that he realizes the true meaning of nothingness.  Prior to this he assumed that simply being sick was the worst thing God could do to him and that in rebellion against such an unfair treatment that spreading his disease was justifiable.  At this point his soul was not able to sacrifice for others and, thus, not able to receive forgiveness.  It is not until he can see the sacrificial actions of Georges, or the saintly patience of Edit that he comes to understand the nature of a truly loving soul.  Ultimately, the film reminds viewers that to sacrifice, means to accept ones own fortunes as well as ones own faults and that, in order to be forgiven, one must truly accept responsibility for their wrongdoings.  It is at this point that a soul can then be reaped.

The Phantom Carriage is yet another masterful release by Criterion.  The bluray is most excellent and comes with multiple scores to listen to while viewing the film, which is extraordinary and wholly captivating.

Oh Professor, You're Full of Whimsy: Horse Feathers (1932)

The Marx Brothers were comedic masters, between the wry sexual innuendos of Groucho and the elaborate slapstick work of Harpo, they covered every possible avenue of humor and continue to serve as the pinnacle of how to make people laugh.  While Duck Soup is certainly their masterpiece, Horse Feathers is an equally hilarious romp through college life as seen through the Marx Brothers.  This of course means that the film has little to nothing to do with college and everything to do with winning the hearts of women and belittling the foolish people who attempt to exist in their presence.  Cohesive narrative is sacrificed for lengthy comedic routines, yet the film manages to flow nicely and offers a few moments of cinematic grace that can bring a new level of respect to the staunchest critics of comedic work.  Horse Feathers is how you make a comedy, ensure laughter first and a story will formulate in the process.

Horse Feathers begins with the inauguration of Professor Wagstaff (Groucho Marx) to the position of president at Huxley University.  The school is infamous for continually replacing presidents in the face of constantly loosing football games to a rival college. Wagstaff's son, and Huxley student, Frank (Zeppo Marx) suggests that he hire some local thugs from the local speakeasy to play for Huxley in the upcoming game, thus assuring their victory.  In desperation Professor Wagstaff agrees to pursue this plan and arrives in the speakeasy after a hilarious exchange of passwords.  Unfortunately for Wagstaff,  the two players his son had in mind are already hired out and he must instead settle on the speakeasy proprieties Baravelli (Chico Marx) and the mute dog catcher Pinky (Harpo Marx).  The duo are bumbling idiots who cannot exist in society with any sense of normalcy and certainly lack the athletic skills necessary to help Huxley win a football game.  The film then takes a tangent as the four men attempt to woo the college widow Connie (Thelma Todd).  After proving unsuccessful, the group plays their football game, which proves ill-fated until the shenanigans of Pinky allow them to score multiple touchdowns thus winning the game by a large margin.  This concludes the films narrative in a brief, but damn funny fashion.


I am a bit lacking in ideas for criticism on this film and would simply hope that this review inspires you to revisit the classic comedies.  Along with Keaton, Chaplin and The Three Stooges, The Marx Brothers are funny regardless of your age.  I was able to view Horse Feathers with a varied crowed  both of age and gender allowing to catch the full spectrum of jokes presented, some relative to thirties culture, others highbrow political critiques and some just plain raunchy.  If possible, watch this film with an older relative as they will make the experience more pleasurable given that you are being provided a window into what was considered funny over eighty years ago.  It is a comedy transcendent of time and one to be shared widely and regularly.  I am glad to have had the viewing opportunity.


Snag this film up, along with Duck Soup, a copy on any medium will work as it is not a particularly visual film, although the harp scene is rather beautiful.