I'll speak plainly: this is outstanding. The story takes its time to build its strength, yet as it unfolds it goes from unassuming to thunderous; esteemed filmmaker Marcel L'Herbier penned a tale of drama and indeed tragedy that's worthy of the grandest opera houses. One can't help but wonder if he wasn't genuinely influenced by the works of Georges Bizet, Gaetano Donizetti, or other such composers. As the full power of the narrative reveals itself over time, in the meanwhile we're treated to some wonderful film-making that unquestionably illustrates L'Herbier to have been an early master of the new medium. Much has been made in contemporary criticism and in retrospective celebration of some of the tricks employed here, a credit to the man as director, cinematographers Georges Lucas and Georges Specht, and the editing. From tinting and other subtle manipulation of the developed film stock, to distorting, blurring, and other effects in the camerawork; from some ingenious transitions, to moments of stupendous, artful shot composition and framing - there's a great deal to love about 'Eldorado' even in the fundamentals of its construction, before one meaningfully considers the substance of the imagery or the plot. Why, even many of the intertitles are cleverly designed with a clear bent for visual flair, and even a poetic flourish in their language. Frankly, I don't know how anyone could watch this and not simply love it.
The same boundless skill and intelligence is remarked in every component part of the production. The filming locations are gorgeous; the sets are sharp and rich in detail. The costume design is beautiful, and the hair and makeup work is notably striking. While acting in much of the silent era was characterized by distinctly exaggerated facial expressions and body language, a holdover from the stage and compensation for lack of sound, over time a more nuanced, natural comportment found favor and took precedence - and I'm pleased to say that this picture tends to be defined by the latter. My commendations to the cast for what I feel are terrific performances; with Ève Francis, Jaque Catelain, Marcelle Pradot, and Georges Paulais being most prominent in their chief roles, I think their contributions handily demonstrate why they were given such high billing. There's gratifying refinement and emotional depth in the acting, even among those in supporting parts, and surely more than had been observed elsewhere in the silent era or even in some cases in all the years following the advent of talkies. Truly, I couldn't be more pleased with just how excellent everyone is here; there's not one element of the feature that's anything less than superb.
I assumed I'd enjoy this, not just because I tend to find things to appreciate in most movies but because it's generally hard to go wrong with cinema's earliest years. And still I'm impressed. From top to bottom 'Eldorado' is strongly compelling, absorbing, and even downright brilliant; beyond the broad thrust of the story, some splendid attention to minutiae rounds out the telling to make it resonate all the more. In every capacity this soars, with the writing, direction, acting, and every effort of those behind the scenes resulting in a fabulously satisfying viewing experience. I can understand why some modern viewers have a harder time engaging with older films, yet the supreme quality of some titles exceeds the consideration for personal preference, and I think this is one such title. Moreover, I can only reflect how unfortunate it is that this perhaps wasn't widely known outside France, for I think this is as marvelous and deserving a picture as pretty much any of its contemporaries. If I had any notes at all I might say that some moments linger a smidgen too long, and the overall pacing suffers in turn. Yet if this is the worst criticism one has to impart about a film, I'd say it's done rather well for itself. By and large I totally adore 'Eldorado,' and as far as I'm concerned it's woefully underappreciated, and deserves significantly more recognition; this is a classic that's worth going out of one's way to see.