The Blackguard

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THE BLACKGUARD GRAHAM CUTTS, GREAT BRITAIN/GERMANY, 1925 Screening: Sunday 22nd April, 9am Studios during and after the Second CAST World War – had encouraged Hitchcock to study the production methods of UFA, and, in an attempt to capitalise upon the Jane Novak ... European market, Balcon sent Cutts and Hitchcock to Berlin for the production of Prinzessin Maria The Blackguard. Cutts – the director re- Idourska / Princess Ma- sponsible for the BBFC-baiting Cocaine rie Idourska (1922) screened as part of Friday’s ‘What Walter Rilla ... The Silent Censor Saw’ presentation – had collaborated with Hitchcock on a Michael Caviol, The number of occasions. The Blackguard rep- Blackguard resents Hitchcock’s last role as art direc- Image courtesy of bfi Stills, Posters and tor, but he had previously work under Frank Stanmore ... Designs Graham Cutts in that role on four occa- Pompouard sions: Woman to Woman (1923), The White Shadow (1924), The Prude’s Fall (1924) and Bernhard Goetzke ... Graham Cutts’ 1925 film, The Black- The Passionate Adventure (1924). The Black- guard, precedes probably his most fa- guard, however, is the first instance of a Adrian Levinsky mous work, the Ivor Novello vehicle The Gainsborough film being shot abroad, and Rat, by one year, and is notable for Al- was budgeted at considerable expense for fred Hitchcock’s significant contribution the time. It was released in multilingual – he fulfilled the role of scenarist by versions, being retitled Die Prinzessin und adapting the original Raymond Paton der Geiger for the German market. novel for the silver screen, and also con- tributed his considerable talents to the Based on the 1917 Raymond Paton novel art direction of the film, while being re- of the same name, The Blackguard’s plot is sponsible for some second-unit photog- a melodrama set during the Russian Revo- raphy. The film is a co-production be- lution, involving a French violinist’s ef- tween Gainsborough Studios – the pro- forts to rescue a Russian princess from duction company formed by Graham execution at the hands of revolutionaries Cutts and Michael Balcon – and the Ber- led by his former musical mentor. The lin-based studio UFA, famed for its Ex- film is of interest, then, as an early exam- pressionist aesthetic and such output as ple of European co-production tech- The Cabinet of Dr. Caligari (1920), Dr. niques, and also for the fact that the film Mabuse (1922) and, later, Fritz Lang’s represents one of Hitchcock’s final roles dystopian masterpiece, Metropolis (1927). as understudy before embarking on his own directorial career. Michael Balcon – perhaps most re- nowned for his role as head of Ealing Programme notes by Alex Rock, Programme Design and Layout by Molly Cotterill and Emma Jezard .

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