| For obvious reasons, very few people have become silent film stars since the ascendancy of "talkies." Nevertheless, it’s something that could still happen. Hey, why aspire to be the next Rob Schneider when you could be the next Charlie Chaplin?
The use of synchronized sound in film was an incredible innovation, but it caused filmmakers to jettison a number of cinematic techniques that remain effective (if seldom used) today. A few of my favourites include:
· Title cards or Inter-titles – This is nothing more than a black screen, with unheard dialogue or narration printed out for the audience to read. Clever filmmakers can use these for all kinds of comedic or dramatic effects, or to mess with the rhythms of the story. Consider the ominous absurdism of title cards like "The pilotless aircraft returns!" or the delayed cry of "Ouch!" from a man who has just slipped on a banana peel. Inter-titles have been largely replaced by subtitles, which have the advantage of conveying the printed word without interrupting background action, but good, old-fashioned title cards still have their uses. "Meanwhile, in his vast subterranean lair, Prof. Moriarty plots his revenge."
· The Iris (a personal favourite) – This is when the screen goes black except for one little circle, centred on a character’s face. To me, this technique expresses a delightfully playful quality. As effective in silent film as it is in the talking pig epic Babe (1995), or in Dudley Do-Right cartoons.
· Black and white photography – Still popular, and rightly so. There’s nothing wrong with colour, but there’s no reason to eschew monochrome entirely, because so many dazzling moods and effects can be captured with it.
· Over-demonstrative "acting" – Sure, less is more, but sometimes more is more. Playing a villain? Rub your hands together and cackle like a maniac. Got a brilliant idea? Switch from a scowl of concentration to a manic grin and point one finger skyward as the invisible light bulb manifests itself over your head. Frightened? Give a properly exaggerated scream, complete with fingers clawing at the face and vibrating shoulders. You won’t win any Oscars, but the audience will know exactly what you’re supposed to be feeling in an instant.
Many creative people who have studied silent film have become immersed in its delightful but abandoned iconography, and made new films using these techniques. Canada’s own Guy Maddin has made a career out of his mastery of the "language" of vintage cinema, with films like Archangel (1990), Cowards Bend the Knee (2003) and The Saddest Music in the World (2003), proving to audiences that these methods are ripe for rediscovery.
Interestingly, many of today’s digital cameras and video editing software include means of making films look older than they are. Digital images captured on a video cell phone can be made monochrome, and can even be given the grainy, scratched-up appearance of a 90-year-old piece of celluloid. Add some title cards and an Iris or two, and you’ve got yourself a proper silent movie. Omit recorded dialogue in favour of cool period music, and you won’t even have to worry about audio hassles like flubbed lines, traffic noise or passing aircraft.
Relying on silent filmmaking technique simplifies the process to the point that filmmaking can be a fun hobby like it was in the early days of cinema, rather than the bloated business juggernaut it is today. Not convinced? Check out the marvellous short film I Put a Spell on You (2006), which is making the rounds on YouTube. Produced and directed by someone billed only as "renlil," this charming short not only makes good use of an awesome Screamin’ Jay Hawkins song, but also tells a simple, engaging story in a pleasingly retro manner. A bearded devil (Robert Starnes) happens across a lovely woman (Jamie Eby) sitting on a park bench, and he becomes instantly enamoured. Cardboard hearts dangle on strings around his head as he clutches his chest and wobbles on unsteady, love-weakened knees. The woman runs away, but the lovelorn devil is determined to win her affection despite the many obstacles in his path. It’s obvious that a lot of real talent went into the making of I Put a Spell on You, but it also illustrates how such talent doesn’t require a large budget to manifest itself.
Chaplin used to boast that all he needed to make a movie was a pretty girl, a policeman and a park to film in. Now you can do the same. |
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