PICCADILLY

Lights, camera, action! The spectacle that is 'Piccadilly' unfolds from the outset of the film, as viewers are thrown into the hub of London and are immersed in the experience of the cinematic city which is marked by the constant flow of bodies and traffic, the transitory, ephemeral signs, bright neon lights and the intensity of the entertainment district. Furthermore, as the film progresses we begin to see how each setting and character are ultimately being showcased for their theatrical and or cinematic qualities (e.g. as we move from the Piccadilly club which is introduced by an upbeat dance sequence, to the chaotic kitchen and the dancing scullery maid, to backstage melodrama, to the ladies dressing rooms, to the Limehouse district and so on).

As each element appears to be on show, what is produced and ultimately conveyed throughout the course of the film is an existing tension between private and public space. For instance, we can view the ladies cloak room scene as being representative of a kind of quasi-private space that is full of motility (a space described by bodies moving around). Public and private tension is also communicated through Gilda Gray’s character Mabel who maintains a highly theatrical presence throughout, which is made evident by her costumes which make her appear as if on stage at all times and always being in the public’s view or in the eye of the spectator. The confusion between private and public realms is even highlighted by the characters themselves whom appear confused by signage. For example people begin to question if Piccadilly is a club, dialog through inter-titles is as follows “Do clubs have electric signs? Of course it isn’t a club… they call it a club and so everybody wants to come into it”. It is here we have an instance where signage appears to break desire creating a confusion between private and public space, of which can be regarded as stemming from the realization that they are within a crowd yet still apart of something which is desirably exclusive.

Another aspect of the film that i found particularly interesting is Anna May Wong’s character Shosho, and her appeal as a cinematic subject. Although acting is most often ‘non-naturalistic’ within these silent films (e.g. evident during dance scenes or in the cloak room where viewers are confronted with bodies that move mechanically and appear ‘ornamental’ by nature), one can suggest that Anna Mai Wong’s character ‘Shosho’ challenges such an idea. This is perhaps most expressed within the kitchen dance scene. It is here that the film reaches its most intense moment, where it no longer presents images of multiple bodies (as seen in e.g. the cloak room which is a space described by bodies moving around and bodies replicated through mirroring), but a singular, subjective presence is introduced and characters become individualised. The camera further explicates this subjective nature as it follows or traces Shosho’s fluid and delicate body movements, and pans around the room to reveal other individuals whom appear fixated or almost in a trance by her dancing. Furthermore, the camera and the film’s audio shows a deep oriental affection with her character which is highlighted by a change in music which can be identified as being Asian or oriental in nature.