Rose Hobart

Rose Hobart's collage makes extensive use of the 1931 jungle flick, East of Borneo. East of Borneo is now in the public domain so you can torrent it here if you like, perfectly legally. The film narrates the story of Linda Randolph, who goes to Borneo to track down her errant husband. She meets up with not only her spouse but also the Prince of Marudu and a bewildering array of animals from all corners of the globe, though principal players in the animal kingdom are a horde, or herd, of frantic crocodiles. The Prince, he tells us, is descended from a volcano visible through palace windows, and the extinction of his life will be marked by the extinction of Marudu by volcanic eruption. And so it is.

Only fragments of this story remain in Cornell's transporting collage. Cornell has removed the "spine" of narrative to draw our attention instead to the body of Rose Hobart, moving through the space of a series of shots. Cornell's collage pays homage to the silent screen, stripping the film of its sound and substituting recorded music, surreally asynchronous with the images.

Cornell created his collage film from discarded film reels, cutting together a new film from material remnants. It was the first film he made and first exhibited in December 1936 as part of a collection entitled "Goofy Newsreels" (Sitney 77; the other films were unaltered by Cornell). Cornell screened the film at "silent speed," that is, at a slow speed typically used to project silent films which were shot at a slower speed to talking films (Sitney 75). This slow speed gave the film a dreamlike quality, augmented by his showing the film filtered through a blue glass plate (Sitney 76). The film attains its quality of almost opacity.

Whereas East of Borneo ends with a volcanic eruption, Cornell cut into Rose Hobart's last moments images of a solar eclipse intercut with an image of a ball falling into water. Whereas the action of East of Borneo is propulsive, externally energetic, the movements in these concluding scenes are implosive or transitory in their nature. In this perhaps they echo the nature of the collage itself, causing the story of East of Borneo to collapse into a series of scenes which are repetitious and transitory themselves.

You may like to ponder the monkey who makes a brief appearance as Rose's companion. In East of Borneo this monkey meets a swift and unpleasant end. In Rose Hobart its appearance is also transitory, auguring not only the film's origin in a "jungle movie," but also a series of representations of animal-human interactions that will reach their zenith for us in King Kong and Wise Blood. Perhaps it's not accidental that an advertisement for East of Borneo appears on the marquee of a cinema in Peter Jackson's remake of King Kong.