La rosa sulle rotaie

Roue, La (1923)

*** 1/2 (out of 4)

French master Abel Gance's 260-minute epic tells the story of Sisif (Severin-Mars), a railroad worker who discovers a young girl named Norma after a horrible train wreck. Sisif takes the girl home to his young son Elie where he plans on raising them as brother and sister. Flash forward several years and Elie (Gabriel de Gravone) has started to fall in love with Norma (Ivy Close) even though he thinks she is his sister. At the same time Sisif has also fallen in love with her, which leads the two men down a road of tragedy. A lot of the epic films released after The Birth of a Nation dealt with epic themes, usually something to do with war, but that's not the case here as you would call this a film that deals in melodrama and character study. It's rather amazing that Gance would try to take this material and push it to over eight hours, which was the original running time. I was a little worried going into this version, running 260-minutes but it turned out to be a great beauty of a film. I really don't think the film ran too long and in fact, the running time goes by quite fast but the only thing I'd question is some of the stuff that we go through two or three times. This includes one character attempting suicide numerous times and I think this could have been handled in a different way. The legendary editing is the main highlight of this film as it goes in a maniac style way. There are numerous edits each second during certain scenes and I'm really not sure if it could be done better even with today's standards. Even though the editing is quite sharp and fast, it never gets in the way of the story trying to be told. Another fascinating aspect is when the main character starts to go blind. The director then turns the visuals on screen to an all white setting to where we're seeing things just like the character who is going blind. the final sequences of the film are quite beautiful and haunting and really puts everything we've seen before it into justice. I think for the most part that the performances are good but I think at times the director would have been wise to bring them down a little bit. Severin-Mars really steals the film as the love struck father who is slowly losing his mind, life and eyes due to the love his has for the girl he raised as his daughter. Close gives the weakest performance of the three but she still handles the screen quite well. La Roue is certainly a demanding film to sit through but at the end of the film I was quite happy to take the ride and this is certainly a film that every film buff should see at least once in their life.

Director Jean Cocteau said: "There is cinema before and after 'La Roue' ("The Wheel") as there is painting before and after Picasso." So influential was French director Abel Gance's February 1923's "The Wheel," that it has been carefully studied frame by frame ever since its release. Famed Japanese director Akira Kurosawa claimed the movie made a huge impression on him before he became interested in working in the film business. Today its importance towards cinema's impact merits an inclusion into the "1001 Movies To See Before You Die" reference book.

What makes "The Wheel" so interesting is Gance's use of lighting and unconventional editing to unveil the emotions and tensions of the movie's characters. Right from the start he purposely designed his film to undergo a series of quick cuts, beginning with a two-train crash. The multi-casualty accident heightens the tragedy where our protagonist, Sisif, a train engineer, ends up with Norma, a little girl whose mother died. "The Wheel" also contains an inordinate amount of multiple exposures, thrusting the narrative forward through a dizzingly series of events within several decades. Even its title symbolizes that every life in the movie is a dramatic example of a cycle of lives who are part of a rotation of a wheel that constantly repeats itself every generation.

"The Wheel" is a story revolving around the widower Severin-Mars, as the engineer, who raises the little girl, acted as a grown-up by Ivy Close, along with his son, Elie. The aging engineer becomes attracted to Norma, as well as Elie. Conflicts abound. The film's second half abruptly shifts to the Alps, where the three, as well as Norma's husband, end up in a topsy-turvy meshing of dramatics. The decision to film in the Alps, not in Gance's original script, was made because the director's wife, Marguerite, came down with tuberculosis and the doctor recommended the mountains to help alleviate her symptoms.

Gance's use of several innovative cinematic features also are presented in "The Wheel." Included is one of the first examples of a swish (or whip) pan where the camera quickly pans and transitions to a new scene at a point where Sisif is relating about Elie's death. Gance also introduces to French cinema a precursor to Sergei Eisenstein's more definitive examples of 'intellectual montage.' In "The Wheel," Gance shows a train laboriously climbing up the Mont-Blanc mountain side, then he cuts to a snail, showing how slow the train in moving.

Gance always saw himself as "the Victor Hugo of the screen," and as with the famous French writer, the director loved long, long productions. "The Wheel" at first was 32-reels, clocking in at over eight hours. The most common length of the movie on today's DVD's is four and a half hours long. The production was so long that actor Severin-Mars died of a heart attack soon after his parts were filmed. Despite looking old for his age, he was only 48 when stricken. His leads in "The Wheel" as well as Gance's earlier 1918 "The Tenth Symphony" was a powerful presence on the screen.

This was also Ivy Close's last movie in a major role. Voted by the Daily Mirror as the World's Beautiful Woman in 1908, the English actress beat out 1,500 contestants. She married filmmaker Elwin Neame and was one of the first film stars to begin a movie production company, in 1914. She left cinema after "The Wheel" when her husband wanted her to stay home to raise their kids, only to see him die shortly after in a motorcycle crash. She appeared in secondary parts in two movies in the late 1920's before talkies ended her 44-film career. Her son Ronald Neame, a producer, worked alongside director David Lean to create his classic 1945 'Brief Encounter' and 1946 'Great Expectations,' while her great grandson, Gareth Neame, was responsible in bringing the worldwide phenomenon television series, 'Downton Abbey,' to the airwaves in 2010.

La Roue / The Wheel (1923) : Brief Review -

Abel Gance's visionary and mind-shattering take on disturbed relationships. La Roue is not a film for everyone so be careful before watching it and make sure whether you can handle it or not. I will give you 2 big reasons for it. One is, it's a long film about 7 hours and second, it shows relationships in disturbing ways which might just shatter your mind. A railway engineer adopts a young girl orphaned by a train crash. Years later when she starts getting suitors, he feels like falling in Love with her. The same happens with her brother too which is actually a very terrible and mind shaking idea at first place. Later the father recovers from the delusions but then grapples with whether or not to tell her the truth about her parentage. Firstly, i wanna salute the writer and the director for taking this concept to make a movie on it because however wrong it seems, it still has reasonable causes to believe it. Just imagine loving your beautiful sister or your daughter and the same when you realise she is not in with your blood relations and suddenly the meaning of that Love changes. Such an Astounding Idea it was. I was sold here only, i just had to see it getting through with it till the end formally. Séverin-Mars, Ivy Close and G. Gravone gives super performances and Magnier in supporting role also gets it right. Abel Gance (assisted by Cendrars) uses then-revolutionary lighting techniques, and rapid scene changes and cuts in this grand scale presentation. I must admit that Gance was truly a visionary director and La Roue is his third film after J'Accuse (1919) and Napoleon (1927) which has left me stunned. Overall, a Grand Classic which uses the philosophy of Wheel to show the different meanings of Relationship and Love.

RATING - 8/10*

By - #samthebestest

An intimate, sprawling epicn, nearly unreviewable, it veers wildly from brilliance to hypnotic ennui, dulling the senses.

Impressive train wreck opens this five hour (originally nine hours) meditation on a small family living and working in train yards, beginning in 1923 France, and the next several decades.

Experimental in the extreme: narrative structure (and largely, coherence) is dismissed from minute one. Many scenes appear as though the cinematographer was hypnotically drawn to something, and just filmed it endlessly. An editor should have cut this footage down tremendously, but the editor appears to be suffering the same malady.

Surreal set designs and lighting, backlighting to produce silhouettes, actors walking in and out of focus as they walk in the frame, and quick-cut editing give this an impressive, hallucinatory feeling, like a very long, meandering hallucination, with circular lenses and shapes to impart on the audience the father's failing eyesight.

Entire reels of film roll through, where I am left with a sense of "What am I watching, and why is it taking so long for something to happen?" Free form filmmaking, partially engrossing, but one can't help but wonder if a LOT of editing would have improved this by adding a bit of coherency? Yet would that have cost the film its hypnotic, hallucinatory feel?

Abel Gance is not a filmmaker who thinks small. There is something to be said for a master filmmaker (for Gance clearly is a master) pursuing his vision at all cost. In subject matter, La Roue possess similar qualities to early 20th Century realist novels. Frank Norris comes to mind. Of course Norris's novel McTeague was the subject of another grand visionary director, Erich Von Stroheim.

Sisif, an engineer, a "man of the rails," finds an orphaned child after a railroad crash. He takes this child, Norma, home to raise as his own, alongside his son Elie. Fifteen years pass, Norma grows into a beautiful, free-spirited woman. Sisif begins to look at his adopted daughter in a way that is very unfatherly, nor is he alone in his desire. Elie, Sisif's son, seems to have feelings for his "sister," feelings Norma shares. Uncontrolled passions lead to tragedy until the (somewhat) optimistic ending. The film's first half takes place either in the family home surrounded by rails or around the railyards. The background of the railroad, with its grime and smoke, does add to the ambiance of the film. The second half is largely set in the snow covered alps. Both halves possess a realism due to the locations.

There are sections in La Roue that rank among the best in silent cinema. My favorite is the sequence where Norma leaves for Paris, a sequence about halfway through the film. She says goodbye to her home in a series of beautifully poetic shots. Then, she boards a train driven by her "father." En route, a fit of jealousy consumes Sisif. He plans to crash the train. What follows is a series of fast edits that are as advanced as anything used by the Russians from this time period. It is hard not to be awed by the sequence. Nor, is this the only one. La Roue has about half a dozen such eye-popping moments. It also features a moving finale that seems earned.

It should also be noted that La Roue, even in the shortened cut that remains, runs four hours and twenty minutes. It cannot be watched casually! I spent one whole day with Flicker Alley's DVD, homebound due to an aching leg and a reeling stomach. Others may not have the infirmity (and the patience) for that type of commitment. I can understand. The running time, even shortened, is overly generous for the story told. There are sections that drag. A certain repetitious quality hurts the film (one character tries three separate times to kill himself with a train). La Roue is not an epic like Lawrence of Arabia, or, rather, La Roue is an intimate epic, about people, about desire, and about despair. Most certainly the story did not need the indulgent running time, but I'm glad the film exists just as an example of a filmmaker going for broke. I even felt my day was well spent, even if the idea of watching La Roue in its entirety a second time seems more like combat than entertainment.