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Jahrmarkt der Liebe (1927) HD online

Jahrmarkt der Liebe (1927) HD online
Language: English
Category: Movie / Drama / Romance
Original Title: Hindle Wakes
Director: Maurice Elvey
Writers: Stanley Houghton,Victor Saville
Released: 1927
Duration: 2h
Video type: Movie
A celebration of working class leisure activities at Hindle, Lancashire, during "Wakes Week", an annual week still observed in parts of Lancashire and Yorkshire when all factories and schools take a holiday.
Cast overview:
Estelle Brody Estelle Brody - Fanny Hawthorn
John Stuart John Stuart - Allan Jeffcote
Norman McKinnel Norman McKinnel - Nathaniel Jeffcote
Marie Ault Marie Ault - Mrs. Hawthorn
Humberston Wright Humberston Wright - Chris Hawthorne (as Humberstone Wright)
Gladys Jennings Gladys Jennings - Beatrice Farrar
Irene Rooke Irene Rooke - Mrs. Jeffcote
Peggy Carlisle Peggy Carlisle - Mary Hollins
Arthur Chesney Arthur Chesney - Sir Timothy Farrar
John Rowal John Rowal - George Ramsbottom
Alf Goddard Alf Goddard - Nobby
Cyril McLaglen Cyril McLaglen - Alf (as Cyril Maclaglen)
Graham Soutten Graham Soutten - Edward Hollins (as B. Graham Soutten)

Reviews: [10]

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    The twenties version of the once sensational Stanley Houghton play must be considered central to it's makers' work and the British film of the pre-WW2 era. Both director and producer filmed it twice, Elvey shortly after the first stage performances in 1918 and Saville after the coming of sound. Mc Kinnel as the mill owner, who originated the part in the theatre, is in all of the productions and John Stuart played this son in the twenties and thirties films.

    The work was notorious for showing a mill girl heroine, for who casual sex was as normal as it was taken to be for men - one of the most intelligent representations of the then celebrated "Single Standard."

    Until we get a look at his first try, we must take Elvey's twenties version as the most important. It is remarkable that Elvey regulars Humberstone Wright and Marie Ault register more effectively than Saville's imposing Edmund Gwenn and Sybil Thorndyke doing the parent rôles with sound. The scene in Blackpool's Tower Ballroom is a quite hallucinatory climax to the extraordinary, protracted Hindle Wakes holiday sequence which outclasses similar material in the King Vidor THE CROWD.

    Indeed the Elvey HINDLE WAKES may be considered the best English silent film surviving, more imposing than the Asquith and Hitchcock films that have been thrust at us down the years. With his recently recovered LIFE OF David LLOYD GEORGE this marks Elvey as the most important English film maker of the period and one of the most important in Europe. We can only wonder about an industry and its commentators who did so little to nourish his output and allowed him to die in obscurity.

    Has anyone seen his Berlin and Hollywood work?
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    In a Lancashire mill-town, probably Bolton or Oldham, but here called Hindle, Fanny (Jenny in later film versions) Hawthorne scandalises her family by refusing to conform. The play has always been a favourite and this version of it is terrific. It has a modern feel, some of the shots in Blackpool are brilliant (the rides in particular), and the new soundtrack by In The Nursery, although perhaps a bit too contemporary, somehow fits (and makes a difference from the dreadful Hammond organ scores than accompany some silents). In the cinema the ballroom sequences were augmented by special lighting effects which worked well, but on video it shines as a good British silent (hooray!) well done, well acted, well written.
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    History of the finest kind, the social and the cinematic -- and a convergence of both.

    By contemporary standards it's over-long and over-wrought, yet its power to enthral rarely slips. And, damn it, it's cute: never mind the fallen woman's (Estelle Brody, magnificent) forlorn father, there's much more fun to be had watching the accurately rendered transition of the outraged mother into venal hag, desperate for the money and status her daughter's wedding now seems guaranteed to bring (and so compensate for the yesteryear failings of her husband -- yeah, back-story, and in 1927 too).

    Above all though, it's subversive, a Brit film so upbeat it makes you wonder why Kazan ever bothered with 'Splendour In The Grass'.

    Because the message of this movie is unencumbered by hysteria: sex is no big deal. Sex is good. Sex is normal. A girl takes a fancy to a fella, a fella takes a fancy to a girl. Falling in love: that's different. And getting wed. . . why, that's different again.

    Signal end of empires, crash of cathedral roofs, collapse of an entire social order -- all of which undoubtedly happened, and in all of which works like 'Hindle Wakes' played a crucial role (and for which purpose they were expressly written in the first place).

    So. . . watch Fanny having illicit fun in Llandudno (must be the first time anyone ever has, but that's by the way). And in amongst the dissolves and fades and SFX of eight decades past, consider too the brilliance of the inter-titles, the dialogue that's here presented with such phonetic accuracy that it's arguably the first, and last time, industrial Lancashire has been voiced so well on the silver screen.

    Do not, however, actually listen to the movie: the 'modern' score created for it lacks resonance in every respect, a repetitive, aimless farrago that endlessly reprises a distinctly unappealing motif as if in hope that at some stage during the proceedings, what's happening on screen will actually chime with what's happening on the soundtrack.

    That it never does would no doubt bring another smile to the face of the fabulous Fanny. . .
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    A stunning masterpiece from the silent era. The plot tells of the development of true financial and sexual independence amongst the working mill girls of Lancashire. Ok it's funny in places by our standards now, but so far ahead of it's time. The latter part of the film depends on dialogue. Now to do that and do that well in silent movie takes talent.

    I'm not asking anyone to go and see it. If you do, In The Nursery have put together a new soundtrack for it that captures the essence of the film perfectly.
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    Three things are at work here.

    The first is the music. It should be the image or the story or whatever first, but the music sticks out predominantly. It's actually really amazing music and very etherial, ephemeral, all those good dreamy-soft tones and stuff. They at first make the film seem VERY romantic and soft, and it's nice to watch and gets you into the film immediately.

    Unfortunately, it sets the tone for a film that doesn't really keep that tone all the way through. The second element of this film is its story, the most simplistic part of the entire movie. High-class guy meets low-class girl, have a scandalous affair, and try to work it out in the end. It's just simplistic enough to surprise modern-day viewers, and yet complicated enough that it's not clichéd and throws a real curve-ball at the end. It's a nice story that, with the music, seems like it should be a kind sort of sad, but which is really less transient than that. This is why this movie is difficult to watch, the music is so gripping in mysticism and the story isn't really mystical at all.

    The third element is the imagery. The music is great, but disjunctive. The story is great, but a little odd. The imagery is fantastic. Everything from this long, surreal shot of people dancing that is just amazing to a first-person roller-coaster ride that's more realistic-feeling than the many that have been made in color and with sound ever since.

    Thus, it's really a good movie. Acting is pretty good too, forgot to mention that. You can get into it and enjoy it (the music sucks you in like that), so it's a great experience. It's just that after a while the plot will start to feel a bit "off" because of the tone of everything else not necessarily working for the tone of the story proper.

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    Simple fellow

    Perhaps you've been under the impression that premarital sex wasn't invented until the 1960s. But, after seeing this film you'll find out this is not so--and apparently our grandparents and great-grandparents were quite a randy bunch.

    This film begins in the town of Hindle in Lancashire, where once a year the factory shuts down for a week and everyone goes on vacation. The film also takes place in towns like Llandudno as well as Blackpool--resorts on the west coast. I've actually been to these places--something you'd never expect of the average person from the States...or even England or Scotland, actually--at least when it comes to Llandudno. When I recently passed through, I never saw this particular Welsh town as a place of sin--perhaps I need to go back and visit it again, as I just passed through on the way to visit some castles!

    The first 30 minutes or so does not appear to be a narrative in a traditional sense--it really looks more like a documentary of this time and place and nothing more. However, at about the 30 minute mark, the story begins to slowly unfold. Two couples are involved in this reverie and both men try their hardest (perhaps a bad choice of words) to get inside the ladies' skirts. One dutifully fights off these advances--the other (the aptly named 'Fanny'--ask a Welsh person about this slang term) seems a lot more willing--though they are pretty vague as to how far this went--at least in this point in the film. When she returns home--days later--her parents are angry and they suspect she's been of easy virtue.

    What makes this premarital tryst interesting, however, is that the man is quite rich--the son of the mill owner and the lady is poor. Her father and the mill owner grew up together and the rich man insists that his son MUST marry the poor girl as he has 'dishonored her'. So, instead of marrying the rich daughter of another mill owner, he now faces the prospect of marrying someone far beneath him socially. Plus, his fiancée (the rich one) doesn't want him now that she's learned the truth. So, without much choice, he consents to marry the poor girl.

    When the families of both the prospective bride and groom meet to discuss the coming nuptials, it's an interesting study in contrasts. They obviously are so unlike each other and it's a rather uncomfortable scene--especially when the two mothers begin arguing. Then, the film takes a funny twist. She then refuses to marry the guy! I think this was because no one asked her and everyone just assumed she was the victim. Instead, she's rather liberated and is one of these 'modern girls' who enjoys sex! Shocking for 1927 and a bit today as well since too many delude themselves into thinking premarital sex is just a recent phenomenon.

    By the way, if you are a non-Brit who is curious about Lancashire (the region in which this town is set), it's in the western portion of England--north of Wales and south of the Lake District.
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    ... shame the new (year 2000) soundtrack was so intrusive. The idea of a pop group putting a new soundtrack isn't new - it was done before with Metropolis, but at least that had several different artists contributing. This has just one group with just one or two recurring themes which sometimes overwhelm the feel of the scenes. It would perhaps be better to get a proper cinema organist or pianist to add an AUTHENTIC or period feel to silent movies of this type. But the film was good, if a bit long, and interesting for its views of a working Lancashire Mill before we closed them all down. What a shame the producers felt the need to add incongruous sound effects to the mill scenes. This barbaric practice is bad enough on war documentaries. Apart from anything else, it's distracting. Film restorers should realise the difference between re-working and restoration.
  • avatar

    Super P

    Presented by A.C. and Reginald C. Bromhead for the Gaumont Company. Not copyright in the USA. New York opening at the 55th Street Playhouse: 9 November 1929. U.S. release: 17 November 1929 (sic). U.K. release: February 1927. 98 minutes. U.K. release title: Hindle Wakes.

    SYNOPSIS: For one short week in each long year, the mills of Lancashire are silent and the bond slaves of Cotton know the ecstasy of freedom. This is "Wakes" week.

    NOTES: Re-made in 1932 by producer Victor Saville, this time as adapter and director rather than producer. Both Norman McKinnell and John Stuart repeat their roles, but Fanny is now played by Belle Chrystall, with Sybil Thorndike as her mother and Edmund Gwenn as her dad.

    COMMENT: The first of the two versions that Victor Saville made of the Houghton play is actually not only a more faithful adaptation but a whole lot more interesting. It runs 20 minutes longer, partly due to the captions but also because it contains more background information to build up the characters and their setting.

    Even more important is the far greater skill of Elvey's direction. He has not only evoked the town and its "wakes" more powerfully, but drawn wonderful performances from all his players, particularly from Estelly Brody who creams the far less subtle interpretation offered by Belle Chrystall.

    As critic John Gillett aptly commented, "Brody has a homely sturdiness and looks more in period, whereas Miss Chrystall, though spirited enough, has a somewhat 'West End' approach and her accent is far from convincing." (By "West End", Gillett means more theatrical. The West End is London's equivalent of Broadway).
  • avatar


    HINDLE WAKES (1927) Maurice Elvey's version of the controversial story set during a workers holiday week in Lancashire. Several other versions followed but this is apparently the most notable. Often cited as the start of the British cinema's characteristic strain of social realism which pervades so many later films - Powell & Pressburger providing the main creative island of respite - this one has some convincing opening shots documenting the workers in their mills and then off to Blackpool for their holidays. WAKES' story is mostly the familiar, melodramatic one of poor girl 'led astray' by rich man and suffers from a long middle section containing all the expected moralistic, and now dated, chest beating about the perils of natural fun outside marriage. What entirely redeems the film from this fossil nose dive is the character of the heroine, Fanny (Estelle Brody, later to appear in TV's THE MARTIAN CHRONICLES, of all things) who ultimately is entirely unrepentent towards her days of sexual indiscretion in Llandudno, and even dismisses the affair as just a "little fancy" before leaving home to seek freedom elsewhere. Slightly shocking, when seen in context of the times, even today.
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    Just seen this on BBC4

    The previous reviewer was spot on, the "new" "soundtrack" started OK, a bit like Katurian's Gayaneh ballet suite which set the gray tone for the depressive backdrop of turn of the century industrial Lancashire. The two hour film then moved through many moods and scenes and yet still then same depressing dirge as in the first ten minutes. Maybe this was to preview some kind of fatalistic ending when the story curved back down to a point where it began, the effect was like watching the whole film though a wet dark cloud - an object lesson in why not to stretch a ten minute idea over two hours.

    One to watch with the sound turned OFF.