Liliom
"The Story of a Love that Lived Beyond the Grave!"
Plot
In the bustling amusement parks of Budapest, Liliom is a charismatic but volatile carousel barker who falls for Julie, a quiet servant girl. Their romance leads to both losing their jobs, and they struggle in poverty while living with Julie's aunt. When Julie reveals she is pregnant, a desperate Liliom is coerced by a criminal named 'The Buzzard' into a botched robbery of a factory cashier to fund a new life in America. Cornered by the police, Liliom commits suicide to avoid capture and is transported via a celestial train to a heavenly courtroom. After sixteen years in a purgatorial state, he is granted one day on Earth to perform a good deed for his daughter, Louise, but his prideful nature leads to a bittersweet and controversial encounter.
About the Production
The film was a significant departure for director Frank Borzage, moving away from his typical sentimental realism into the realm of German Expressionism and fantasy. It was one of the first major sound productions for Fox Film Corporation to experiment with complex visual effects like rear projection. The production faced challenges with the early sound technology of 1930, which often restricted camera movement; however, Borzage and cinematographer Chester Lyons managed to maintain a surprisingly mobile camera. The film also marked a rare instance where the studio allowed a tragic ending for a high-profile romantic lead like Charles Farrell.
Historical Background
Released in 1930, 'Liliom' arrived during the 'Pre-Code' era of Hollywood, allowing for its frank depiction of suicide, domestic strife, and a morally ambiguous protagonist. It was also a pivotal moment in the transition from silent to sound cinema, where directors were still discovering how to integrate dialogue without losing the visual poetry of the silent era. The Great Depression was beginning to take hold, making the film's themes of unemployment and desperate poverty particularly resonant with contemporary audiences.
Why This Film Matters
While not a hit at the time, Borzage's 'Liliom' is now studied for its innovative visual style and its status as the first sound adaptation of Molnár's influential play. It serves as a fascinating bridge between European Expressionism and American melodrama. The film's controversial ending—where Julie claims that a blow from a loved one 'doesn't hurt'—remains a point of intense discussion in feminist film theory and cultural studies regarding the depiction of domestic dynamics in early cinema.
Making Of
The production was characterized by Borzage's attempt to blend the 'Fox look' (influenced by F.W. Murnau) with the new requirements of sound. The 'Heavenly Train' sequence was a technical marvel of its time, using miniatures and the newly developed rear projection to create a sense of ethereal movement. Charles Farrell struggled with the transition to sound; his performance was criticized for being too 'stagy' and slow, a common issue for silent stars who were taught to enunciate every syllable for primitive microphones. The sets, designed by Harry Oliver, were built to look like a stylized, dreamlike version of Budapest rather than a realistic one, emphasizing the film's fairy-tale qualities.
Visual Style
Chester A. Lyons utilized high-contrast chiaroscuro lighting and deep shadows to create a somber, expressionistic atmosphere. The film is noted for its 'privileged close-ups' of Rose Hobart, which use soft focus and specific framing to elevate her character's emotional state. The use of moving camera shots in the carnival scenes was highly advanced for a 1930 'talkie'.
Innovations
Pioneered the use of rear projection in a feature film.,Innovative use of miniatures combined with live action for the 'Heavenly Train' sequence.,Advanced use of high-contrast lighting to simulate German Expressionist aesthetics in a Hollywood studio setting.
Music
The score was composed by Richard Fall. It features a recurring musical motif for the carousel and a haunting, atmospheric soundscape for the afterlife sequences. The film also includes the song 'Look Out, Look Out, the Dumb Police are on Your Trail', which provides a moment of dark humor.
Famous Quotes
Julie: 'It is possible, dear, for someone to hit you and hit you and hit you, and not hurt you at all.'
Liliom: 'I'm not a good man, Julie. I'm a barker.'
The Magistrate: 'You have one day to go back and do one good deed. One day to wipe out a lifetime of mistakes.'
Memorable Scenes
- The Afterlife Train: A visually stunning sequence where a celestial train descends from the sky to pick up Liliom's soul, utilizing groundbreaking rear projection.
- The Deathbed Close-up: A long, intimate close-up of Rose Hobart as she weeps over Liliom's body, noted for its emotional intensity and unconventional framing.
- The Carousel Opening: A dizzying, rhythmic montage of the Budapest amusement park that establishes the film's frenetic energy.
Did You Know?
- This was the first film to ever utilize the technique of rear projection (process photography), specifically during the afterlife train sequence.
- The film is an adaptation of the 1909 play by Ferenc Molnár, which later served as the basis for the Rodgers and Hammerstein musical 'Carousel'.
- Charles Farrell and Janet Gaynor were a legendary screen duo; this film was notable for casting Rose Hobart instead of Gaynor, breaking up the 'America's Favorite Lovebirds' pairing.
- The film was banned in several Catholic countries upon release due to its 'irreverent' and non-traditional depiction of the afterlife and the heavenly magistrate.
- Rose Hobart made her film debut in this production, having previously been a stage actress.
- The character 'The Buzzard' was played by Lee Tracy, who became a specialist in fast-talking, cynical roles in the 1930s.
- The film features a very young Anne Shirley (credited as Dawn O'Day) in the role of Liliom's daughter, Louise.
- Director Frank Borzage was so dedicated to the project that he also served as an uncredited producer.
What Critics Said
Initial reviews were mixed to negative, with the New York Times calling it 'clumsy' and criticizing the slow pacing of the dialogue. Modern critics, however, have rediscovered the film as a visual masterpiece. Film historians praise Borzage's 'transcendental' style and the film's bold experimentation, though most agree that the acting is hampered by the technical limitations of early 1930s sound recording.
What Audiences Thought
1930 audiences found the film's blend of gritty realism and high fantasy jarring, leading to poor box office performance. Many viewers were also put off by Charles Farrell playing a 'tough' and unsympathetic character, as they were used to his softer roles opposite Janet Gaynor.
Film Connections
Influenced By
- The Passion of Joan of Arc (1928) - influenced the close-up style
- Sunrise: A Song of Two Humans (1927) - influenced the visual lyricism
- German Expressionism
This Film Influenced
- Liliom (1934) - Fritz Lang's adaptation
- Carousel (1956)
- A Matter of Life and Death (1946)
- Ghost (1990)
You Might Also Like
Film Restoration
The film is preserved by the Academy Film Archive. It was restored in the 2000s, ensuring that its innovative visual effects are available for modern study.