Study of a River consists of 27 shots of the winter landscape of the Hudson River, which span from extreme long-shots to extreme close-ups. In this film Hutton pays homage to the 19th-century painters of the Hudson River School, whose paintings typically depict the valley. Study of a River is one of five Hutton films related to this area. In this short film he undertakes a cinematic investigation into the relation between nature and human technology, combining realistic images from ships with shots on the verge of abstraction, such as glittering water. Here he uses cinema’s contemplative potential most effectively and offers an extended meditative experience to the audience. Study of a River is a visual poem, which was added to the Library of Congress National Film Registry 13 years after its release. Hutton once said of his work, in a typical understatement: “It’s like being a poet. You’re never going to get the attention a novelist would get, but there might be something there for someone who’s interested”.

Karl Wratschko

“And I say unto you, ask and it shall be given to you; seek, and ye shall find; knock, and it shall be opened unto you”. This quote from the Gospel of Luke is read out loud by one of the characters in Tam na horách. It will manifest itself in the destinies of the two protagonists, in the story of an unmarried mother from a mountain village, who becomes a great opera singer and toast of the city salons, and in the story of her seducer, a successful painter. The fate of the two lovers offers a double perspective. One of the advertising slogans for Tam na horách was “The first Czech film of international production”, which helped to rise the audience’s expectations. Not only was there an unusually extensive pre-release advertising campaign, but it was the first feature film of the newly formed production company AB. With its financial potential and technical level, AB would play a crucial role in the development of the Czech film industry. For almost five years, it was a monopoly producer of Czech feature films, setting the direction of domestic cinema. For its ambitious first production, AB engaged film director Sidney M. Goldin (1878-1937), who had left the US in 1919 to make films in London. Julietta Romona, the actress playing the female lead, Maruska, was billed on some posters as “London Guest of AB”. For Goldin, who also wrote the screenplay, Tam na horách would remain his only Czech production. However, his direction provided an important model for Czech filmmaking that had previously been rather theatrical. Goldin’s style was praised by reviewers for the ability to create impressive images, gripping drama and a clear storyline, cutting out everything superfluous. Particular emphasis was placed on how well Goldin directed the actors, leading them to truly cinematic performances. Among the cast of Tam na horach are the future Czech superstars Karel Lamač (as Jaromír Hanus, the painter) and Anny Ondráková (as Mariska’s sister Jarmila). Goldin moved to Vienna in December 1920. In 1922 he made two Austrian films with Ondrakova and Lamač: Hütet eure Töchter and Führe uns nicht in Versuchung.

Vaclav Kofroň