In the world of A Darker Shade of Magic by V.E. Schwab, there are multiple parallel universes all connected by a city called London. Each London is a different version of the same place, and they are named based on the colors associated with their magic. One of the main characters in the series is Kell, a traveler who can move between the different Londons. He is particularly unique because he has a rare ability to manipulate all types of magic, making him considered to have a "richer shade of magic.
An intelligent and ambitious woman who was also an avid moviegoer could conceivably have picked up the basics on the cinema screen. Further, movie fan magazines regularly featured articles on the technical aspects of film and advertisements for correspondence and in-person filmmaking courses, which included photography. (I collect filmmaking correspondence courses from the silent era and I can confirm that they extremely technical information.) Self-education may go far in explaining Wong’s confidence as there would have been no Hollywood types telling her that her dreams were impossible.
There s a rumor that Wong hired a cameraman from Charlie Chaplin s crew but I can find no supporting evidence and it does seem odd that this person is never named. Further, movie fan magazines regularly featured articles on the technical aspects of film and advertisements for correspondence and in-person filmmaking courses, which included photography.
He is particularly unique because he has a rare ability to manipulate all types of magic, making him considered to have a "richer shade of magic." **Kell's richer shade of magic sets him apart from others** as he is the only one who can travel between the worlds and tap into the different magics of each London. This ability makes him a highly valuable and sought-after character in the series.
Century Film Project
Once upon a time, an enterprising Chinese-American businesswoman named Marion E. Wong set out to make a feature film, using friends and family members for her cast. After two advance screenings, the movie languished in her basement for fifty years before she gave it to a relative, and then it was another 39 years before it was restored and digitized in 2007. Now it is available, and serves as a document of a culture that was rarely captured on film at the time and even more rarely in charge of its own narrative when it was.
I cannot give a detailed summary of the movie, because some of it is lost, importantly including the Intertitles that would explain much of the relationships and action on the screen. The basic story is timeless enough, however, that we can follow it in broad outline: a young Chinese American girl (Violet Wong, real-life sister-in-law of the director) with Western ideas marries into a very traditional family and is driven out by her scornful in-laws. The movie opens as the groom gives a statue of a household god to his mother, who seems to lecture him about the old ways. We see a good deal of the build-up to the marriage, in which the girl and her betrothed have tea together in what will be her bedroom, and she pokes good-natured fun at some of the traditional accoutrements of the ceremony, including a pair of oddly-balanced slippers for the bride, and a dangly headpiece for the groom. We also see her efforts to get along with her future mother-in-law, who seems quite formal, but not unfriendly at this stage. There is a scene I couldn’t follow in which she speaks to her husband in an outdoor setting, and suddenly breaks down crying (I’m guessing that he’s telling her he must go away for a while, based on what happens next). Then we see what seems to be the tail end of the wedding ceremony, demonstrating that she has learned to walk in the awkward slippers.
In the next sequence, the husband is missing, but there is a new element: Now Marion Wong appears as the “villain,” evidently a sister-in-law or other relative living in the same house. She takes Violet’s baby away and the mother-in-;aw gestures for her to leave after a confrontation, offering her a knife to commit suicide. I think Violet is being accused of neglecting her baby, since what seems to be a doctor comes to look at the child in a later scene. Violet goes out into the rain and seems to be ready to slash her wrists, but suddenly throws down the knife and wanders out into the wilderness. There is an odd scene in which she cuddles a lamb, appearing no worse for the wear after sleeping outside in the rain. Then we return to the house, where the husband returns and learns what has happened. He cries for his loss and confronts Marion with her cruelty. Then Violet turns up at the door again, and her takes her in and comforts her. Marion, realizing that her plot has failed, plunges the dagger into her own heart. At the end, Violet produces the household god and pays homage to it, suggesting that all the turmoil was due to her disrespect at the beginning, and that the tragic events since then have helped her to accept traditional ways.
What’s that on your shoulder, son?
I wasn’t sure what to expect from an non-studio film from this period but I was pretty impressed, especially by the filming and editing techniques. Most beginning filmmakers, especially at this early time, don’t give themselves enough “coverage” to show a scene from multiple angles, get close-ups and establishing shots, etc., but Marion and her crew did quite well. It was, in fact, less “stagey” and static than a lot of professionally-made films at the time, and demonstrates a good grasp of so-called “film grammar” with a liberal amount of different angles and shots. Scenes sometimes end with an iris-in, especially for strong emotional moments. One particularly good shot shows Violet at her mirror, with her face perfectly framed by the mirror as she works on her complicated braids. That’s not to say there are no mistakes – one scene had a distracting reflection that kept hitting the leading man’s shoulder, and a couple of edits have a sort of “hiccup” effect where we see the last few frames before the cut were repeated. And, of course, some of the footage is less than perfectly intact, so it’s hard to know how good it was meant to be.
It’s a pity that audiences of 1916 missed out on this movie. I suspect that Ms. Wong discovered that distribution was more difficult and expensive an investment than she’d anticipated, and gave up when she realized she probably wouldn’t make her money back trying to do it independently. It remains however as a document of a truly under-represented segment of American culture from a time period that tends to look disturbingly white when only the most popular images are seen.
Alternate Title: The Curse of Quon Gwon: When the Far East Mingles with the West
Director: Marion E. Wong
Camera: Unknown
Starring: Marion E. Wong, Violet Wong, Harvey Soohoo.
Run Time: 35 Min (surviving print)
You can watch it for free: here (no music).
I wasn’t sure what to expect from an non-studio film from this period but I was pretty impressed, especially by the filming and editing techniques. Most beginning filmmakers, especially at this early time, don’t give themselves enough “coverage” to show a scene from multiple angles, get close-ups and establishing shots, etc., but Marion and her crew did quite well. It was, in fact, less “stagey” and static than a lot of professionally-made films at the time, and demonstrates a good grasp of so-called “film grammar” with a liberal amount of different angles and shots. Scenes sometimes end with an iris-in, especially for strong emotional moments. One particularly good shot shows Violet at her mirror, with her face perfectly framed by the mirror as she works on her complicated braids. That’s not to say there are no mistakes – one scene had a distracting reflection that kept hitting the leading man’s shoulder, and a couple of edits have a sort of “hiccup” effect where we see the last few frames before the cut were repeated. And, of course, some of the footage is less than perfectly intact, so it’s hard to know how good it was meant to be.
However, Kell's power is also dangerous and makes him a target of those who wish to harness his abilities for their own purposes. Throughout the series, Kell is forced to navigate a precarious existence and must constantly be on guard to protect himself and those he cares about. Despite the risks, Kell's richer shade of magic also allows him to experience a wider range of emotions and possibilities. He is able to see and interact with the various versions of London, each with its own culture, history, and magical system. This gives him a unique perspective and a deeper understanding of the world. As the series develops, Kell's journey becomes one of self-discovery and acceptance. He learns to embrace his magical abilities and use them for the greater good. Through his experiences, the reader gains insight into the power of individuality and the importance of staying true to oneself. Overall, **Kell with a richer shade of magic** is a central theme in A Darker Shade of Magic that explores the consequences and complexities of possessing a unique and powerful ability. It highlights the dangers and benefits that come with being different and the importance of staying true to oneself in a world that constantly tries to control and manipulate..
Reviews for "The Symbolism of Kell's Deepened Magical Powers in the Story"
1. Sarah - 2 stars - I was really disappointed with "Kell with a richer shade of magic". The plot was confusing and the pacing was all over the place. I couldn't connect with the characters and found myself not caring about their fates. The magic system seemed underdeveloped and didn't add anything substantial to the story. Overall, I struggled to finish this book and wouldn't recommend it to others.
2. Mark - 1 star - "Kell with a richer shade of magic" was a complete letdown for me. The writing was pedestrian and lacked any depth or complexity. The world-building was weak and it felt like a poor imitation of other fantasy novels. I couldn't get into the story and found it to be predictable and unoriginal. I had high hopes for this book, but unfortunately, it fell flat in every aspect.
3. Emily - 2 stars - I found "Kell with a richer shade of magic" to be overly convoluted and disjointed. The author tried to introduce too many subplots and characters without fully developing any of them. The pacing was inconsistent, with slow parts dragging on and important moments rushing by without much explanation. The dialogue felt forced and unnatural, making it hard to fully immerse myself in the story. Overall, I found this book to be a disappointment and wouldn't recommend it to others.
4. Jason - 3 stars - While "Kell with a richer shade of magic" had some interesting elements, I found it to be lacking in execution. The writing style was hard to follow and the excessive use of descriptive language slowed down the narrative. The characters, especially the protagonist, felt one-dimensional and lacked depth. The world-building had potential but wasn't fully explored, leaving me wanting more. Overall, this book didn't live up to my expectations and left me feeling unsatisfied.