While East of Borneo is a sound film, Rose Hobart must be projected at silent speed, accompanied by a tape of "Forte Allegre" and "Belem Bayonne" from Nestor Amaral's Holiday in Brazil, a kitschy record Cornell found in a Manhattan junk store. As a result, the characters move with a peculiar, lugubrious lassitude, as if mired deep in a dream. In addition, the film should be projected through a deep blue filter, unless the print is already tinted blue. The rich blue tint it imparts is the same hue universally used in the silent era to signify night.
Rose Hobart was only one of several mythologized actresses who populated Cornell's hermetic world. Many of his boxes were homages to the actresses that formed his pantheon: Lauren Bacall, Hedy Lamarr, Greta Garbo and Deanna Durbin, among others. In Rose Hobart, Cornell holds Hobart in a state of semi-suspension, turning the film itself into a sort of box. She moves her hands, shifts her gaze, gestures briefly, smiles enigmatically, perhaps steps slightly to the side, and little more. The world appears as a sort of strange theatre, staged for her alone.
But the root of Cornell's genius as a filmmaker is his singular version of montage. Cornell's version of continuity is the continuity of the dream. He does not juxtapose images so much as suggest unlikely but still vaguely plausible connections between them. Hobart's clothing may change suddenly between shots, but her gesture is continued or she remains at a similar point in the frame. Unlike most collage filmmakers, Cornell does not rely on cheap irony or non sequitur. His films are unsettling because their inexplicable strings of images are like reflections from the deep well of the subconscious. In fact, one of the most arresting images in Rose Hobart comes when a solar or lunar eclipse is paired with the image of an object falling into a circular pool of water. Hobart simply gazes bemusedly at this spectacle, as if it were little more than a parlour trick.
Rose Hobart premiered in December, 1936 at the Julian Levy Gallery. Cornell included it in a matinee program of short films from his collection, which Levy titled Goofy Newsreels. The first Surrealist exhibition at The Museum of Modern Art was about to open, and many of the artists were in town, including Salvador Dali, who attended Cornell's film program. During the screening of Rose Hobart, Dali became extremely agitated. Halfway through the film he began shouting "Salaud!" bastard and overturned the projector. Reportedly, Dali ruefully explained his actions to Levy, "My idea for a film is exactly that, and I was going to propose it to someone who would pay to have it made . I never wrote it or told anyone, but it is as if he had stolen it (Solomon 89). Some prefer an apocryphal but far more poetic explanation also attributed to Dali: He stole it from my subconscious.
Brian Frye, November 2001
Senses of Cinema
The films of the reclusive artist Joseph Cornell (1903-1972) are as unique as his famous box constructions. Though rarely exhibited during his lifetime, these mysterious works nonetheless have had a deep and lasting influence on the world of avant-garde filmmaking . His entire body of film numbers some thirty-odd works, encompassing the incomplete and the fragmentary. It can be said that Cornell made two kinds of films in two distinct periods of activity: collage films, made by recombining found materials, and directed films,where he worked with cinematographers (including Stan Brakhage, Rudy Burckhardt and Larry Jordan) to document his fantasy/experience of wandering in New York. -Bradley Eros and Jeanne Liotta