DATELINE: California Nightmare
All $ Burned UP!
Not another documentary on the San Fran earthquake that features “never before seen” footage? The San Francisco Earthquake and Firestays clear of re-enactors, and for that we are grateful in an age of stand-ins who are emoting history with guesses of human reaction.
If Trump had been president back then, he would have refused to send military assistance and accused the state of mismanagement. Actually, the worst mistakes were made by the US Army.
We suspect ancient footage you have never seen is never before seen by a few. Perhaps you are one of them. The still -pictures are spectacular and assembled with effectiveness.
As for this little documentary, it is distinctive and rather clever in its use of old photos. It seems to us that we have seen better, longer, film footage, but the still pictures here are stunningly collected.
We have a gripe, as usual, because many early film clips could easily be from 1920 or 1925, not 1906. There is no identification placed on where and when the pictures show old trains, old buildings, streets, etc. It could be the city on the bay, but it could be somewhere else.
The timeframe of four days is played out, starting first with marvelous pictures of the night before the quake, featuring Enrico Caruso and the opera company that was a social and artistic event of note. Caruso survived the quake, but the company’s set and costumes were totally destroyed.
Caruso vowed never to return to the stronghold of faults. He never did.
Since everything burned in a misguided and incompetent attempt to handle fire without water, the biggest info loss occurred with money, insurance papers, stocks, and other tangible assets lost in flames. You not only lost an identity of birth certificates, but your financial evidence of wealth.
Much time is spent on the horrible conditions for Chinatown and the Chinese who were victims of Nativists with their Exclusion Acts.
The quake montage of one full minute, with an overlay from a seismograph is nicely done, original, and gives a real-time experience as the pictures shake more and fly by at breakneck pace.
It is a director’s tour de force, but the rest of the documentary does not hold up to the bravura moments of the actual quake depiction.
Narration is almost purple in its prose and prosaic in its tenor, not exactly Hearst journalism. Yet, for novices to the historical tragedy, this film is a worthy entry in the pantheon.