Casanova

"Casanova" (1927) is absolutely from start to finish a complete romp and a hoot. Starring Ivan Mosshukhin in the titular rôle, along with a huge cast of ladies, including Suzanne Bianchetti, Diana Karenne, Jenny Jugo, Rina De Liguoro, and many others, plus great extra character actors such as Rudolf Klein-Rogge, this is the supposed biography (read "fantasy") of the 18th century rake Giacomo Casanova. Some will find Mosshukhin's rendition somewhat too old for the actor, or his gaze a little perturbing, but overall he acquits himself very well. The star, even the story, are all secondary to the immense sets, the gorgeous scenery, the pomp, the circumstance, some of which is the finest I've ever seen in any film, silent or sound! The scene where Queen Catherine of Russia is led into her hall at a ball for her inauguration as Czaress, and those with her behind are carrying her robe train is incredible!! Her train must be thirty or thirty five feet long, and it's wide, a huge and heavy train. It's a marvelous and beautifully filmed episode.

This is the fairly recently restored version, now available through Flicker Alley. The IMDb says the film is 132 minutes long. This version is 159 minutes, and I guarantee that it seems it. Not to quibble, but I had to divide my viewing over two nights.

Certainly recommended for those who wish to be enthralled in a silent film that has so much to offer. It's light-heartedness completely charms, though the length sometimes makes one wonder if it will ever end. Go for it!

Providing one can overlook its biographical inaccuracies this is a gloriously entertaining piece.

As the title character Ivan Mozzukhin is wonderfully seedy and combines a lightness of touch with the look of a sexual predator who encounters precious little resistance. This great actor's sense of comedy is very much to the fore in the scene where he gives a manicure to crackpot Czar Peter 111 played by the excellent Rudolf Kleine-Rogge. The eagle-eyed might spot an uncredited young Michel Simon as a buffoonish soldier.

Venice of course loomed large in Casanova's life and the images of that city, especially during carnival time, are simply stunning. The art direction is superlative and as a bonus, rather than the curse of a totally incongruous 'specially composed' score that blights so many silent film restorations, we have one by maestro Georges Delerue which suits the material admirably.

Mozzukhin and director Alexandr Volkoff were a formidable team and this is arguably their finest achievement.

Ivan Mosjoukine is an odd specimen of early movie stardom. He can be handsome or grotesque, quirky or intense. Another reviewer described him as a combination of Buster Keaton and Bela Lugosi, and it's hard to come up with a better descriptor. Regardless, he was a major talent of the 1920s and his films are always worth seeking out.

CASANOVA might not be the most high brow of his oeuvre. It's a spectacle first and foremost, tossing its ne'er do-well hero from one amorous escapade to the next. Clocking at almost three hours, one might be tempted to think this souffle of a film overstays its welcome, but the action keeps moving so quickly and the visuals are so sumptuous that the time flies. Mosjoukine acquits himself well as the mischievous lady killer, coming off as both opportunistic and weirdly guileless in the elegant but dangerous world of 18th century Europe.

Flicker Alley recently put this one out on blu-ray and DVD, so if you're a silent film buff, I would definitely grab a copy while you can!

Ivan Mosjoukine pulled out all the stops to make the notorious rake look like a prototype James Bond. We've seen this in countless silent films already: historical and pseudo-historical figures such as Don Juan, Villon, any Doug Fairbanks movie. He's a superhero: irresistible lover, unbeatable swordsman (in both senses), daring spy, flashy gambler, unstoppable polymath, contortionist and escape artist, international man of mystery, debonair socialite, hero of the common people, and officially a wanted/outlawed desperado.

The weirdest thing is that that's exactly what Casanova was in real life, according to himself, but more or less substantiated by official documents and other persons' accounts. He was far, far more than merely the inveterate lover that his name has come to signify.

The film is spectacular, sensational, dazzling, a Baz Luhrmann extravaganza that even features stencil coloring (although pretty bad in some places: highlighting Casanova in red and white usually smears other characters in a bilious all-over green). The settings, including real Venetian and fake Russian exteriors, are fabulous; the interiors are sumptuous; the costumes and powdered wigs are superb (I'm happy to have finally discovered what makes farthingales stick out so absurdly on both sides).

Alexandre Volkoff directs magnificently. Mosjoukine is long in the tooth but full of commanding force. I struggled to keep the women distinct - those wigs and the clown-white makeup were an identity handicap for me - but they were all competent, while the main male supporting actors managed to stay just this side of farcical.

'Casanova' shows Mosjoukine at his most light-hearted - like the great artist he was, he makes everything seem easy. This movie is episodic in structure, almost like a collection of short stories. Casanova bounces from one adventure to another, going from Venice to Austria to Russia and finally back to Venice again, and always in the service of women, as he puts it in a letter to a man he's good-naturedly robbed. In the end, all his romancing catches up with him, and he's forced to choose between two women - the scene where they both confront him reminds me a little of Moliere's Dom Juan, though Mosjoukine's Casanova is far more innocent. He delights in tricking and robbing men, especially the pompous and undeserving, but the moment he realizes that he has hurt a woman, his heart is crushed, and he surrenders to his enemies. Mosjoukine always demonstrates great sensitivity to women and I think this is at the root of his only unconvincing moment in the film. When he meets a young girl who is disguised as a boy, he's just too aware of her as a woman to be able to play the role of someone who's fooled into thinking that he's dealing with another man. But apart from this, Mosjoukine's performance is flawless. Rudolf Klein-Rogge, as the half-mad Czar Peter, is also brilliantly funny, marching around barking orders for his soldiers to recover from typhoid, and complaining that the business of state keeps distracting him from his fat, plain mistress. He also accomplishes the rare feat of upstaging Mosjoukine in their one scene together, when Casanova gives the Czar a manicure, and where they play off each other like a seasoned comedy team. Their by-play is so natural, and almost under the radar (the scene is mostly filmed in a kind of medium long shot, not at all focusing on them), it makes me think that they might have been ad-libbing. Klein-Rogge is obviously very comfortable playing comedy, and it would have been nice to see him do more in this vein. The music by Georges Delerue for the restoration of 'Casanova' is perfectly suited to the light-hearted freedom of the piece, and makes the whole experience a joy.