Rose Hobart

Joseph Cornell's Rose Hobart was, is and will always be a remarkable film. It was amazingly ahead of its time, and there's still little produced since that equals it. If you have focus and trust in it, Rose Hobert will take you on an increadible emotional journey through anger, anxiety, concern, lust, dissolusionment and even severe complasensy.

Of course, the images are now Cornell's. Nor is the somba music. His found object aesthetic is, however, unmistakably written in bold lettering all over Rose Hobart. His juxtapositions, editing and choice of music seem at first random, cluttered and even a little sloppy. Yet soon new and complex meanings and messages emerge from these "random" scenes. Like the expressive face of its namesake, Rose Hobart is at once humerious, sexy and chilling.

Bathing his disjointed valentine to a homegrown, third string Marlene Dietrich in purple and slapping a spicy little rhumba to the soundtrack Joseph Cornell's Rose Hobart can for some beg interpretation, others, be a waste of time.

Rose seems pensive (and naturally alluring) in most of the scenes with a variety of diverse studs in jump cut, her most relaxed moment spent with a monkey. Cornell clearly has a crush on this movie queen of indeterminate title as well. I'm not certain if it is Dada or a spoof on Dada but after two viewings can conclude, a waste of time.

This unusual and interesting experiment is a bit hard to categorize or even to describe. Edited together by Joseph Cornell entirely from preexisting footage, it doesn't really attempt to tell a story so much as to establish a mood (and/or an image) surrounding its star Rose Hobart. Her footage from "East of Borneo" makes up the bulk of the movie, supplemented by footage taken from some other sources.

Cornell clearly had great enthusiasm for the project, and he used some ingenuity in deciding how to piece everything together. Besides the main task of selecting and editing the footage, he used a filter to give the movie a distinctive purplish tint, adjusted the projection speed, and also chose a (seemingly incongruous) soundtrack. A different soundtrack might have given it an entirely different feel, although the samba music apparently gave it the tone that Cornell was looking for. The result is a very quirky movie that is pretty interesting despite some flaws.

It helps to watch it over again, because in so doing the overall pattern becomes clearer - not that you should expect it to make logical sense, but instead the more dreamlike unity of the collected footage begins to stand out. It is appropriate that the movie is named for Hobart, because her image is constantly on-screen, in a great variety of situations. Since there is never a story connection from one shot to the next, what you are left with is an increasing emphasis on Hobart herself, the various things she is doing, and how she seems to be feeling.

Overall, the movie might be more interesting than enjoyable, and it really is imaginative rather than masterful, but you won't see too many movies like this. It's worth seeing a couple of times, to take in everything that is going on.

Rose Hobart (1936)

** 1/2 (out of 4)

Actress Rose Hobart isn't that well remembered today even though genre fans might know her from roles in such films as DR. JEKYLL AND MR. HYDE (March), TOWER OF London, THE MAD GHOUL and THE SOUL OF A MONSTER. This short here is without a doubt one of the strangest you're likely to see as I'm not certain if it's an obsessed fan just showing his love for the actress or perhaps it's some art film that certain film snobs would see as a masterpiece and ground-breaking piece of work. Hobart's 1931 film EAST OF BORNEO is cut down to 19-minutes and we have a blue tint put over the image. What we basically get is an avant garde film where director Joseph Cornell takes footage from the film and re-imagines it by editing it in a different order and showing the sound film in a silent speed with Brazilian music. Sound weird? Well, it's pretty much is. I can appreciate what the director was going for but at the same time I can't say I was overly entertained by it. I think the director certainly did a good job with the editing, which was certainly the best thing. I'm sure the film would probably get better on repeat viewings to where one could really study the edits and see exactly what the director was going for. In the liner notes it's said people weren't too fond of the movie when it was released and that's probably the same reception it would get today. However, many consider it a masterpiece so you can be the judge!

Footage selected from 'East of Borneo' and other films is arranged and edited so as to highlight actress Rose Hobart.

Joseph Cornell cut and re-edited the Universal film "East of Borneo" (1931) into one of America's most famous surrealist short films. Cornell was fascinated by the star of East of Borneo, an actress named Rose Hobart, and named his short film after her. The piece consists of snippets from East of Borneo combined with shots from a documentary film of an eclipse.

Salvador Dalí was in the audience, but halfway through the film, he knocked over the projector in a rage. "My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made," he said. "I never wrote it down or told anyone, but it is as if he had stolen it." Other versions of Dalí's accusation tend to the more poetic: "He stole it from my subconscious!" or even "He stole my dreams!" The Dali incident is interesting because when you think surreal, you think Dali or Bunuel, so this seems oddly appropriate. Even stranger is that this is now the way Rose Hobart is remembered. She had a long career, was a SAG official, wrote an autobiography... but if you look her up, you'll instead find this film. An odd tribute from an obsessed fan is her legacy.