Kevin Jerome Everson’s latest film, Park Lanes, is a real piece of work. By this I mean a few different things. For starters, I think it’s clearly one of the most significant achievements of his career. It’s also a film that’s fundamentally about labour—the conditions of its accomplishment and the patience required to do it right. But above all, Park Lanes is an excerpt from work, a composite slice of the daily productivity of one particular factory.
Park Lanes is a standard workday length, thus becomes an endurance piece for the audience with no intermissions. It forces the audience to be patient, to condense the varied aspects of the individual as laborer in the colossal world of industry... The quiet tension between these three components in this film’s viewing makes Park Lanes a riveting film despite its long running time.
Park Lanes could have been a silent film, which means an expression of pure cinematic form. For some this is a most admirable goal. As Alfred Hitchcock noted, the greatness of directors in the silent era was measured in inverse relation to the amount of inter-titles they used. Perhaps this is the equation that divides the line between the craftsman and the artist in cinematic terms (at least in the classical era).