This is a guest post for Silent London by Ayşe Behçet.
Hi everyone! You may know me from my days of writing the Charlie’s London guest posts for Silent London. What you may not know is my silent film journey started in January 2012 when I was lucky enough to attend a party at the Slapstick Festival in Bristol. It was there I met Pamela, the editor of Silent London. A few months later Charlie’s London was born, and I have been blogging here, and on my own site ever since.
So when I had the opportunity to return to Slapstick this year I jumped at the chance. For me it was a sort of homecoming and a chance to reflect on the year’s events. My partner and I volunteered at the festival this year and we still managed to see most of the programme, which was fantastic.
Thursday night’s only event was a fascinating insight into the work of Aardman Animations, famously the force behind Wallace and Gromit and Morph. Both Nick Park and Peter Lord were present, offering the chance to see the genesis of some of their greatest works. Park and Lord have long been staunch supporters of Bristol Silents and Slapstick and were both around for the duration of the festival: two great guys who always had time to chat with fellow enthusiasts and fans.
Friday unfortunately was very busy for me until the evening, meaning I missed Boris Barnet’s The Girl with the Hatbox, starring Anna Sten and introduced by Chaplin biographer David Robinson. However, I was lucky enough to see the film while in Pordenone last year: I can tell you all it is a masterpiece whose time in the limelight is long overdue. Sten’s performance is funny and heartfelt: thankfully her talent is now being recognised.
Now, my main love of the silent era is our very own homegrown hero Sir Charles Chaplin. So the absence of Chaplin at this year’s festival did make me yearn for the twirling cane and moustache. However, the other two of the “Big Three” were present in all their glory. Saturday night saw Harold Lloyd take centre stage as the gala’s main feature with an introduction by “national treasure” Victoria Wood (that’s what festival director Chris Daniels called her: she reluctantly accepts the title, believing the only national treasure is Joanna Lumley). Harold Lloyd’s The Kid Brother and Keaton’s The Goat brought the house down and reminded us all that we do not need CGI to have a good cinematic time. For me the highlight of the night was George Méliès’ A Trip to the Moon: conserved and restored to all its full-colour cinematic glory, with a beautiful narration by Slapstick advocate Paul McGann.
On exiting I heard an audience member comment “Lloyd gets a little left behind when it comes to Keaton and Chaplin”. I am not sure if this is true – but after Kevin Brownlow’s fascinating “The Third Genius” presentation on Friday afternoon I most definitely felt I knew the man behind the comedy a little bit more than I did before. Brownlow always has such wonderful insights, having met Lloyd, Chaplin and Keaton various times. Last year I was lucky enough to be in the audience for a similar presentation on Buster Keaton. It goes without saying that men such as Kevin Brownlow and David Robinson help us all to get a little closer to an era long gone.
Saturday morning saw another presentation by Brownlow: this time on Colleen Moore – to introduce a screening of Orchids and Ermine. I think that Moore has developed quite a following: a lot of masculine swooning seemed to issue from the theatre on the crowd’s exit, and I cannot say I blame them! She was gorgeous.
Saturday night’s main feature was a selection of personal Keaton favourites by Dad’s Army legend Ian Lavender. The Electric House and College were strokes of genius made at a time when Keaton’s private life was beginning to ruin the one thing he loved so dear, his art. Lavender really struck a chord with me. He showed me a true fan’s passion for Keaton and how it can be so infectious. I often have people say to me: “I don’t know anything about Charlie Chaplin, but your passion makes me want to.” That’s the effect Lavender had on me.
Sunday saw the return of the Goodies and a fantastic reprisal of I’m Sorry I Haven’t a Clue at the Bristol Old Vic plus a chance to see the brilliant June Whitfield on stage too – receiving her Slapstick/Aardman Comedy Legend award. Yet for me the highlight was Sunday night, my only Chaplin of the entire festival. OK it was not exactly a feature, a short or even a gala. It was about 30 seconds of a cameo in the 1928 Marion Davies film Show People presented by comedian Lucy Porter. Now before you wonder, no I did not swoon. I was in fact incredibly well-behaved and blogged about it instead!
So there you have it everyone: a rundown of my highlights of the 2013 Slapstick festival. I hope you have enjoyed it and thank you for all your support in making Charlie’s London what it is. You can find us on Facebook, Eblogger, Tumblr and Twitter.
Bye for now, and here’s to 2014, the centenary of The Little Tramp …