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Posted by / 19-Aug-2016 20:23

Undoubtedly, my initial viewings of Robert Wiene’s The Cabinet of Dr. Dreyer's The Passion of Joan of Arc (1928), Jean Cocteau’s Le sang d'un poète (1930) aka The Blood of a Poet, and F. Murnau’s Nosferatu (1922) and especially Sunrise: A Song of Two Humans (1927) proved to be such profound cinematic experiences for me to the degree that I found myself questioning the power of a cinema and ultimately coming to the natural conclusion that it is an artistic medium that is truly unrivaled when it comes to pleasurably imprisoning the subconscious and putting the viewer in a waking trance of sorts.

Hell, even a largely forgotten silent short like Das Wolkenphänomen von Maloja (1924) aka Cloud Phenomena of Majola directed by Teutonic mountain film maestro Arnold Fanck has a certain exceptional ethereal quality that seems impossible to reproduce nowadays.

written by Nobel prize-winning Swedish author Selma Lagerlöf whose works auteur Sjöström had already cinematically adapted three times previously, the film is like a gothic proto-psychedelic fable on acid-laced steroids where the good, the bad, and the ugly of humanity is depicted and where human frailty in the face of both addiction and disease is handled with a refreshing lack of sentimentalism, at least in comparison to other films from that era.A smart and charismatic yet oftentimes savagely sadistic bastard that prefers hanging out with his wino buddies at a sleazy bar to spending time with his family, the lead character's behavior so closely mirrors the description that the woman in my life constantly gave of her own father to such a startling degree that it almost felt like the film was an occult form of déjà vu and specially made for me as a form of esoteric art therapy.Undoubtedly, watching Sjöström’s cinematic masterpiece is probably the closest I will ever come to meeting the miserable man that unleashed so much senseless trauma on the woman I loved.Indeed, while I have thankfully never had the misfortune of having alcoholic parents, the three most important women in my life were the daughters of pathetic boozers.While I have met two of these men, it is, somewhat ironically, the one that I have never met that has haunted me the most, so naturally I was somewhat startled when I first watched Sjöström’s film and discovered that the quasi-antihero bears a striking resemblance to this man in both appearance and character.

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In short, I have never felt so haunted by a film, especially one that oftentimes takes place in haunts where dipsomaniacs act like boorish buffoons and beat the shit out of each other for the most trivial reasons.

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