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The Shadow of the Silents – A Lady to Love 125
Still, despite several similar statements in favour of silent films, the practices
were gradually changing. 17 According to Bengt Forslund, Joseph Cohn, who
was head of production for Sjöström’s first sound film, stated that the director
had no problems in adapting to sound, which Cohn attributed to his long experience
from theatrical direction. 18 However, the sound equipment at the time
was both heavy and hard to handle. For a director who, like Sjöström, had been
used to creative camerawork, this must have meant a change in working methods
and thus, possibly, also in style.
It is, therefore, of particular interest, in analyzing A Lady to Love, to discuss
the different points where the transition to sound become apparent in the film.
To start with the dialogue – the most obvious device in sound cinema – these
mostly occur either within the frame or within the already-established pattern
of classical cinema, of shot-reverse shot. However, there are a few noteworthy
exceptions using off-screen space which all also occur at critical turning points
in the narration. The first of these is when Tony announces to the priest and to
Buck that he is going to marry. He then appears in medium shot, making the
announcement, which is followed by questions and comments coming from
two directions, from his interlocutors who both remain off screen, in a dialogue
sequence contained within one single frame:
21 388 8 CU TONY draining his glass. He puts it down and speaks:
Tony
Well, now I’m ready for tell everybody everyt’ing.
Buck
Yeah? What about?
Tony
About me – Tony; I’m gonna get married.
Padre
What!
Tony
Uh-huh!
Buck
You?
Tony
Yeh.
Padre
Married?
Tony
Yeh.
Buck
Who to?
Tony