DISRAELI
US, 1929, 90 minutes, Black and white.
George Arliss, Doris Lloyd, David Torrence, Joan Bennet, Florence Arliss.
Directed by Alfred E.Green.
Disraeli is one of the earliest of sound films. In its presentation, especially its series of set pieces and sequences, the use of captions and acting style, it shows its origins in the silent film. George Arliss won one of the earliest Oscars for his performance as Disraeli. He is supported by his wife Florence in the role of Lady Beaconsfield.
Of interest is the early performance of Joan Bennett who was to be a star for the next half century. The black and white photography is by veteran photographer Lee Garmes. The presentation of the politician and the Suez crisis is still of great interest. Enjoyable in its own way and an interesting historical film.
1. The awards that the film won, its merits in its time, the influence of silent films, impact now?
2. How evident was the transition from silent to sound in the techniques of the film: the setting up of sequences, the silent style of acting, the use of captions, the recording quality of the sound?
3. The black and white photography, the fluidity of the camera, the not pieces especially Parliament, royal receptions etc?
4. How interesting a portrait of Disraeli? for the thirties, as reflecting the impact in his own time and an understood by posterity? The portrait of a man, a politician, a statesman? An adequate tribute to the man and the politician and his achievement? The presentation of the man as a hero, his weaknesses and strengths?
5. The film's placing of Disraeli within British history: his dreams and plans of empire, his vision for England, the role of India. the Suez Canal and the comments made about it? Digging a ditch in the sand? The opposition of Gladstone and others? Was the opposition clear and its motives?
6. The initial portrait of the ordinary people opposed to Disraeli, the bankers? Considering him an alien? Anti-Semitic? feeling? The quick sketching-in of the opposition and then the presentation of Disraeli and his supporters?
7. The qualities of George Arliss's style in presenting Disraeli, visually, manner, Parliament, his office work, the encounter with Mrs Travers and counter-espionage? His home sequences and the bond with his wife? Her support in crises, the romantic melodrama with her illness at the end? His support of Charles and challenging him, his fondness for Clarissa? A rounded portrait of a man at home, coping with ordinary situations and coping with affairs of State? The importance of diplomacy and of concealment, in manner?
8. Disraeli as a politician: His way with words, the quality of his speeches and rhetorical skill? His basic insight for having the Suez Canal, his attitude towards the Russians? His encounters with the bankers and their opposition, reliance on Hugh Myers, the confrontation with the bankruptcy? Mrs Travern and her husband? The importance of his bullying the head of the Bank of England? The irony of the official rewards and the public words about the issues? Was he a credible Prime Minister in such times?
9. The portrait of Mary, her love for Disraeli, her standing by him, her coping with political difficulties, her illness and the happiness of the ending? sentiment appropriately incorporated into the political portrait?
10. Clarissa, as a fiery young woman, Charles and his stiffness? The humour of the proposal sequence, Clarissa, and Disraeli modifying Charles, the English hero and his valiant efforts for the Canal, his rewards? Clarissa and her being made party to the negotiations?
11. Mrs Travers as a spy, her place in society, her presence and her methods, her relationship with her husband? The confrontation scene and her not being defeated?
12. The qualities of the film as an early sound drama, political interest, dramatic suspense? The portrait of the British Empire in the 19th century, in the 1930's, the impact of the Empire now?
