The Square and Compass

Beginning of yore as an alehouse in 1776, (the Harvey review does follow), it’s retained its original charm and architecture, (by and large), ever since. Attracting a variety of bohemians throughout the years they’re notable for their many events such as the ‘Square Fair’ and, recently, through the landlord Charlies aforementioned Cider as well. It also bares the Masons insignia but, (quickly moving on), in short it has a vast history within.

Going into a cobbled alcove type room with wooden beams and a projector screen above an open fire-place, (which luckily wasn’t burning), it was as if I’d stepped into a medieval fashioned cinema like something out of a steam-punk novel. There was a small crowd, some leaving from the previous showing, (including one enthusiastic guy in a rabbit outfit who I hoped everyone else could see). Although the chairs were slightly uneven I quickly forgot as the place definitely had atmosphere. We were then given an informal introduction as to why Harvey before commencing.

The sound was good and the acoustics, (along with the room size), made it seem like a fairground simulator; I half expected to be suddenly jolted forward with the opening trailer. It was snug though, (especially considering the wind outside).

Anyhow, on with the film review itself:

Harvey

Before Wilfred and Donnie Darko, (which, despite similarities Richard Kelly has stated it was ‘not influenced by), there was Harvey. Only this time its title star was actually invisible leaving the audience to decide whether or not he was really there. Directed by Henry Koster in 1950 it’s based upon Mary Chases 1944 Pulitzer Prize winning Broadway play of the same name, (and star Josephine Hull), who here adapts her work to the screen. Not just inspiring ‘numerable’ television remakes along with the recently ill-fated attempt by Spielberg, (whose particular brand of sentimentality would’ve been suited to it I think), but also as a guide-post for more light-hearted fare as a whole. Whether that’s for better or for worse you decide, either way it’s a difficult genre to get right as seen with the proliferation of mediocre ‘Hollywood Lite’ that followed in its wake. Harvey contained a level of subversiveness as its core that kept it going and for all its faults it did offer a message of tolerance. This was extremely prescient considering the decade of McCarthy-ism that was just coming under-way. I’d seen this film intermittently before in more of a ‘Sunday afternoon’ type of sitting so it was interesting to view it on the big screen in all its, (black and white), glory. I think there was a colourised version but the less said about that the better…

Harvey is the classic tale of Elwood P. Dowd, (enunciated by James Stewart throughout), who’s a perfectly genial but eccentric barfly, (although his ‘alcoholism’ is only hinted towards). Incidentally he’s also befriended a six foot invisible rabbit called Harvey much to the gaping horror of Veta Simmons, his neurotic sister, (Josephine Hull), who tries to have him committed. Things don’t work out as planned though as the charismatic Elwood ambles innocently around acting as a catharsis to the problems of others. Ultimately it’s a comedy of manners centred upon the ambiguous definition of madness along with his alienation and outsider status.

I’ll re-iterate once again that I realise there are faults to this film despite which I did and do enjoy it, (I did decide to go and see it after all). I’ll get these set-backs out the way first though before going onto explain why I think this is a decent film. I’ve mentioned before, (albeit in more crass turns), why I’m not usually so keen on Hollywood’s breezy ‘shine on you crazy diamonds’ handling of mental illness and insanity that they’ve pushed throughout the years so it might seem contradictory of me to enjoy a film such as this. This added to its cheery handling of alcoholism, (something which I’ve seen parodied in shows like The Simpsons since), but it would’ve been a whole other film if Elwood took a turn for the worse and decided to bottle someone. It wasn’t that film though but a film that needs to be seen within the context of its time, (I could probably be classified as a celluloid enabler now). This is also the case with the ‘emancipation through madness’ trope that’s been peddled and diluted over the years peaking with films such as ‘One Flew Over the Cuckoos Nest’, (which is obviously a far more insightful analysis of the subject), but it had to gain its feet somewhere. Whilst other films like Ian Softleys K-Pax may have slipped through the net more recently by and large this theme has become sullied and generic but it wasn’t always the case of which the evidence is Harvey. Don’t get me wrong, there’s still a lot to be said upon the theme of madness I just feel it’s become slightly coying when we get stuck romanticising it in the way Hollywood does. This brings me to my next point which is its use of whimsy that could be seen as mawkish but I feel is genuine in its intent and, while it would definitely be viewed as over-earnest by today’s standards has again got to be viewed within its time. When compared to films like ‘The Notebook’, (or any other number of god-awful Nicholas Sparks adaptations), this shows evidence of Harvey as a film that used sentimentality effectively for its time whilst still retaining a sense of purpose to it, (unlike any number of those god-awful Nicholas Spark adaptations). We may have become cynical in it over-use of these conventions now but here, (and I’m sticking to this), it seems original in its low-key approach.

Being adapted from a stage-play could also have been a hindrance in many respects which shows in its long static shots and the dialogue heavy script, (especially with film being a visual medium and all). Other films similar to this were Sidney Lumets ’12 Angry Men’ which came out not long after in 1957 which drew the location down to a minimum of one thereby resting the action primarily upon the actors themselves. As with that Harvey also bases itself on its performances which, while they maybe slightly over the top at times, (occasionally the sister pushes it a bit too far), they nonetheless keep it fun and lively. So often it can be the case that a stage translation doesn’t work so well such as Alan Bennett’s ‘The History Boys’ which lost itself despite its strong source material but this manages to overcome these difficulties with its upbeat pace. The minimum of locations also works in its favour keeping it grounded thus avoiding the pitfalls of any potential ‘schmaltz’ lurking round the corner. As I say it could so easily have veered into the territory of Hallmark but it doesn’t keeping it just on the right side of heart-warming. We may now have great masterpieces like Donnie Darko now but credit where credit’s due; Harvey is a classic whether it inspired it or not.

Finally all in all it was an ideal place to show this film, it fitting the venues charm and, although it was pleasant watching it there next time I’ll remember to bring a cushion. Another plus point is their on-site brewed cider that could lead to you seeing a Harvey all of your very own, (not forgetting there’s the driving distance to consider with its fairly remote location). Overall though I did enjoy going as it was great viewing this classic properly so I would definitely recommend something similar next year. Hell, maybe even braving your own fancy dress…

History

Now in its 15^th year it’s the longest, (and largest), running rural film festival in the UK, (and there have been plenty of others). With its flagship cinema being the antiquated Rex cinema in Wareham it main aim is to celebrate films in rural areas by bringing it, (and I quote), ‘wherever we can find a 13 amp plug and an enthusiastic local organiser’, (which makes it sound kind of like a rave).

Last year they honoured Johnny Depp as a notable screen icon showing off his major films and this year they’re giving a similar treatment to the works of Alfred Hitchcock with films like Vertigo, The Birds and the slasher godfather Psycho, (I know, I’m overlooking Peeping Tom there).

Beginning with only a few small select locations, (I still have vague memories of seeing a halogen projected silent film in Church Knowle village hall as a kid), it’s now spread across the county growing year by year.

From the Winchester Bar in Bournemouth and the Lighthouse in Poole to the East Bar in Swanage and the Square and Compass in Worth Matravers, (plus particularly quirky ones like the one I saw listed as ‘Sue at 24 Curzon Road’…I hope she puts a brew on). It’s the idiosyncratic locations though that add character to the festival giving it the make-shift appeal you wouldn’t find elsewhere.

And Why This is a Good Thing

As you probably noticed from the articles title I made reference to it being Dorset’s equivalent of the Secret Cinema, (and not just because it made a snappy title). Whilst there might not be so much in the way of dressing up, (although there’s an idea for future festivals), it does offer a more homely quality. Plus it has the eccentric locations pre-existing with no need for contrivance. The main point though is that it’s local to Dorset bringing something only this area could. I personally would’ve liked to see more genre cinema on its listings, (as it could branch out a bit). But what it does do well is offer rare classics on the big screen.

The short film night is also notable though, (Friday 21^st October), as it’s a great place for establishing local talent on a local platform showing what we have to offer which is definitely no bad thing.

With a whole host of films from Hitchcock such as Notorious, (and that’s not the misguided attempt at filming the late great Biggie Smalls career), along with others such as Sylvain Chomet’s, (of Belleville Rendez-Vous), The Illusionist and the silent classic A Cottage on Dartmoor.

Shortly I’ll be giving a run-down of all the films playing there along with what I’ll be planning to attend followed by a low-down on the screenings themselves. So join us all there, (if you can), and until then, keep watching.

You can find out about the Purbeck Film Festival here.