The second of a series of conversations about books on cinema with their authors. The intention is to expand and disseminate our understanding of cinema and its diverse histories and various cultures by bringing attention to recently published books in the field in order to enhance understanding of and access to the knowledge the books provide.
This one is with Pamela Hutchinson, founder of the great Silent London website and a regular correspondent for Sight and Sound, The Guardian and many other outlets on various aspect of Silent Cinema. The occasion for the chat is the publication of her wonderful new book on G.W. Pabst’s Pandora’s Box, a BFI Film Classic, so recent that it’s literally hot off the press, and as witty as it is informative.
What you hear in the background is the bubbles in a glass of champagne and one can only hope that our chat is as fizzy. The conversation ranges from the film’s aesthetic achievements to its continued influence, the appeal of Louise Brooks, what Marlene Dietrich might have done with the part and what the film has to tell us on sexual desire, the options open to women and the prevalence of rape culture then and now. Pandora’s Box seems more pertinent than ever and just as powerful and hypnotic as it always was. Pamela Hutchinson’s book is not just a beautifully written introduction to the film but one which provides new information and enhances our understanding in various ways and does so with great charm and wit.
I hope that the quality of the chat compensates for that of the editing and recording. It can be accessed above or directly on this link,
We couldn’t stay away. And with a second viewing, time to percolate, and responses from friends informing us, Eavesdropping once again delves into Blade Runner 2049.
What to make of the film’s representation of women? How does the film use names? Why did Mike have a little weep at the end this time? Do gay women have cottages? Does the film function as a story about slavery? What about criticisms of its lack of diversity in casting?
Why do people think this film is dull? Is it the film’s fault? Television’s? Humanity’s? Why don’t we care to engage visually any more?