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Shooting Stars announced as the 2015 London Film Festival Archive Gala

Shooting Stars (1928)
Shooting Stars (1928)

Did you guess this one? I must confess I had an inkling. After the BFI’s rightly acclaimed restorations of Anthony Asquith’s other silent features A Cottage on Dartmoor and Underground, his directorial debut Shooting Stars  (1928) is about to take its turn in the key light, at the London Film Festival Archive Gala. On 16 October 2015, in the Odeon Leicester Square, a sparkling new print of this important British silent will screen with a new jazzy score by John Altman. We’ve waited a long time to hear this good news, so now all we have to do is enjoy the anticipation, book some tickets, and cross our fingers that, following previous form, Shooting Stars will also make its way to a theatrical and Blu-ray release before long.

Shooting Stars (1928)
Shooting Stars (1928)

Shooting Stars, which Asquith wrote and officially co-directed with AV Bramble, is, much like his two other silents, a romantic drama in which a love triangle precipitates violence. But this is far more glamorous than the others: it’s a peek behind the scenes of the film biz. That’s a hint of how audacious young Asquith was – his first time in the director’s chair and he was already turning the camera around in the opposite direction. It’s also a clue to how experienced he already was – he had spent time in Hollywood, as a guest of the Pickford-Fairbanks household no less, and toured German film studios as well. He was a leading light of the London Film Society, and had been working at British Instructional Films since the early 1920s. When the infamous “quota” was brought in with the Cinematograph Films Act of 1927, BIF turned to fiction film-making – Asquith, and Shooting Stars, were up first.

Shooting Stars (1928)
Brian Aherne in Shooting Stars (1928)

The film’s director isn’t the only name worth noting. Shooting Stars’ cast includes some notable talent from the British silent cinema: Brian Aherne (High Treason, Underground), Annette Benson (Downhill) and Donald Calthrop (Blackmail) for starters. And if you have never had a chance to see slinky Chili Bouchier do her thing, well aren’t you in for a treat?

Shooting Stars (1928)
Shooting Stars (1928)

Here’s what the BFI has to say about it:

Shooting Stars is a dazzling debut which boasts a boldly expressionist shooting style, dramatic lighting and great performances from its leads. Annette Benson (Mae Feather) and Brian Aherne (Julian Gordon) play two mis-matched, married stars and Donald Calthrop (Andy Wilkes) a Chaplin-esque star at the same studio, with whom Mae becomes romantically involved. Chili Bouchier, Britain’s first sex symbol of the silent era, plays a key role as an actress/bathing beauty, an attractive foil to the comic antics of the comedian. The film manages to operate as a sophisticated, modern morality tale, while it’s also both an affectionate critique of the film industry and a celebration of its possibilities. It teases the audience with its revelations of how the illusions of the world of film-making conceal ironic and hidden truths

Despite the director credit going to veteran director A.V. Bramble, this is demonstrably the original work of rising talent Anthony Asquith, exhibiting all the attention-grabbing bravado of a young filmmaker with everything to prove. His original story offers sardonic insight into the shallowness of film stardom and Hollywood formulas by use of ironic counterpoint. He flaunts his dynamic cinematographic style and upgrades design and lighting by bringing in professionals.

There’s a little information about the score too. John Altman says that his score is “inspired by dance band sounds and Duke Ellington in 1927”, taking its cue from a piece of music that features in the film itself – the popular song ‘Ain’t She Sweet’.

Continue reading “Shooting Stars announced as the 2015 London Film Festival Archive Gala”

Silent Laughter at the Kennington Bioscope (Plus talkies – yes really)

Girl Shy (1924)
Girl Shy (1924)

Our favourite south Londoners are at it again. Fresh from staging a triumphant weekend-long event in June, the Kennington Bioscope team promise a full day of chuckles with a comedy festival in October. Tell us all about it, Ken!

Programmes include shorts with Charley Chase, Lupino Lane, Laurel & Hardy and others; rare features with Raymond Griffith and Walter Forde  (Britain’s best silent comedian) concluding with Harold Lloyd’s classic GIRL SHY.

Plus special presentations – Kevin Brownlow on his Buster Keaton Thames TV series ‘A Hard Act to Follow’, David Robinson on Laurel & Hardy (whom he interviewed in 1954), including some new discoveries, guests Tony Slide (historian, author, founder of ‘The Silent Picture’) and Matthew Ross (editor of ‘Movie Night’, Britain’s only magazine devoted to silent & vintage comedy).

Sounds great. The perfect cure for the post-Pordenone blues, Silent Laughter is a one-day event taking place at the Cinema Museum on Saturday 24 October, from 10am-10pm. Tickets will be available from 1 September so bookmark this page now.

Wait a minute, wait a minute …

Yes, you ain’t heard nothin’ yet. The Kennington Bioscope is branching out even further, into the realm of early sound cinema, with a little something they are calling Kennington Talkies. What?

Continue reading “Silent Laughter at the Kennington Bioscope (Plus talkies – yes really)”

Pie times at Pordenone: The Battle of the Century to screen at Giornate del Cinema Muto

The Battle of the Century (1927)
Stan and Ollie in The Battle of the Century (1927)

Following the rediscovery in June of the missing reel of Laurel and Hardy’s classic comedy short, featuring the pie-fight to end all pie-fights, I can bring you even more good news. A near-complete restoration of The Battle of the Century (1927), by Lobster Films, will screen at the 34th Giornate del Cinema Muto in Pordenone, Italy this October.

And that’s not all that we have been promised:

  • The festival will open with a gala screening of the newly restored Italian film Maciste Alpino (1916), a first world war epic written by Giovanni Pastrone, and the closing gala will be The Phantom of the Opera (1925), starring the amazing Lon Chaney, with Carl Davis’s score performed live by Orchestra San Marco di Pordenone.
  • The midweek feast will be Henri Fescourt’s epic 1925 adaptation of Les Misérables, in four sittings – it’s six and a half hours long, after all. I am already preparing for that one
To the Last Man (1923)
To the Last Man (1923)
  • Other anticipated highlights include a celebration of black performers on screen, including 100 Years in Post-Production, a reconstruction of the rushes of Lime Kiln Club Field Day (1913), a never-completed comedy starring African American stage star Bert Williams among its all-black cast. I am very keen to see the new restoration of Daisuke Ito’s Diary of Shuji’s Travels (1927) accompanied by a benshi as well as live music, and the recently discovered western To the Last Man (1923). 
  • That last title leads one of the programme’s most exciting strands: a retrospective of the silent films of Victor Fleming. It also ties in neatly with a very promising strand devoted to the beginnings of the western in the silent era.
  • In the Canon Revisited strand, there will be chances to see a colour restoration of Marcel Herbier’s design-led L’Inhumaine (1924), and Ernst Lubitsch’s irrepressible Die Puppe (1919).
  • Two modern silents, at least, will feature: a short Iranian animation inspired by Tim Burton, Junk Girl, and a feature-length experimental film, Picture, conceived by Paolo Cherchi Usai. Judging by his past form, you may want to grab the chance to see that one when you can. 
  • Not a modern silent, but a modern silent cinema mockumentary, Love Among the Ruins is “a faux documentary about the miraculous discovery and restoration of a long-lost Italian silent film”, featuring music by none other than Donald Sosin. It will be interesting to see how this one goes down at Pordenone.
  • Italian “strong men” Albertini and Aldini made dramatic “thrill” films in Germany in the 1920s, and the Giornate will screen a selection of these. I don’t know too much about these chaps – but I have been browsing these postcards
  • From other sources, but not, so far, the festival itself, I hear that we will seen the freshly restored 1916 Sherlock Holmes starring the role-defining William Gillette also. Very exciting.
  • Early cinema is represented by more German Tonbilder films, selections from the Spanish archive the Sagarminaga collection, and a retrospective of Leopoldo Fregoli.
  • We’re promised lots besides, including “alternative city symphonies”, more Russian Laughter (this strand was brilliant last year) Mexican films including El Automovil Gris and El Tren Fantasma.
  • I’m very excited by the prospect of The Fairy Tale Woods – a Shadow Play – this beautifully tinted live-action silhouette film.
  • And finally, I don’t have 100% confirmation on this, but it is likely that the Vitaphone Project’s restoration of the Alice White film Show Girl in Hollywood (1930) will get a runout at the Giornate this year … watch this space

Pordenone tips: a beginner’s guide to the Giornate del Cinema Muto

Pordenone
Pordenone: click to see a bigger version – the circular building is the Teatro Verdi, and you can see the cafe Bar Posta and the library (biblioteca) nearby. (Google Maps)

Do you know the way to Pordenone? It’s about 80km north-east of Venice, but that’s not important right now. When I say Pordenone, I mean Le Giornate del Cinema Muto: the world’s most prestigious silent film festival, which takes place in the town every October. This year will be the 34th instalment of the Pordenone Silent Film Festival, a veritable institution, which showcases the best (and some of the rest) of silent cinema, accompanied by the world’s leading musicians. It’s eight full days of silent cinema, and a chance to meet the most knowledgeable early film enthusiasts around.

Never been? I think I understand why. Something about the words “prestigious” and ”institution” can be a little daunting. For years I thought Pordenone was not the place for me – it was for the real experts. I was intimidated too by the website, which is actually phenomenally useful, but a little hard to navigate and very text-heavy in two languages.

But as soon as I arrived for my first Giornate in 2012, I knew I had been a fool to stay away. Pordenone isn’t intimidating at all. And if you love silent cinema, which I know you do, it’s an essential indulgence. You can call that the Pordenone paradox.

So here’s a short guide to planning and enjoying your trip to Pordenone for this year’s festival. If you have any more tips – please share them below:

Continue reading “Pordenone tips: a beginner’s guide to the Giornate del Cinema Muto”

DW Griffith: Cinema’s Greatest Pioneer at BFI Southbank, June 2015

True Heart Susie (1919)
True Heart Susie (1919)

Forgive me if I’m wrong, but it feels like a long time since we saw a solid silent retrospective in this town. No need to bleat about it much longer though, eh, as the BFI has just the thing. DW Griffith – still arguably the most important American movie director of all time – will inhabit the BFI Southbank for most of June.

The season concentrates on the feature films up to and including Abraham Lincoln (1930), Griffith’s first talkie. Especial care is taken over Griffith’s best-known, and still-controversial, film Birth of a Nation (1915), in its centenary year. The movie will screen with introductions on both occasions, and a special roundtable event will bring together keynote speakers from UCL’s “In the Shadow of Birth of a Nation” conference to discuss the film. To provide further context, on 7 June the BFI will screen all three parts of Kevin Brownlow and David Gill’s DW Griffith: Father of Film documentary.

The Birth of a Nation (1915)
The Birth of a Nation (1915)

This is one of those events that should have every cinephile in the city licking their lips. And you don’t have to be a silent nerd or a completist to understand why. There’s far more to DW Griffith than the awful things he believed and the clever things he is credited with doing first. Watching the films, especially on the big screen, is the best way to appreciate his genius. And look at the cast list here too: the season features several turns from the wonderful Lillian Gish, as well as Richard Barthelmess, Lionel Barrymore, Douglas Fairbanks and Mae Marsh.

Continue reading “DW Griffith: Cinema’s Greatest Pioneer at BFI Southbank, June 2015”

The Kennington Bioscope Weekender: a silent film festival for London

The Cheat (1915)
The Cheat (1915)

Well hello there, Elephant & Castle tube station. A few months back I wrote about the many wonders of the Kennington Bioscope – a regular silent screening event held at the Cinema Musesum, south London. Short version: it’s ace.

Now the Kennington Bioscope has gone one better than brightening up our Wednesday evenings. The Kennington Bioscope Weekender will take over the Cinema Museum for two days in the summer – 20 & 21 June – to screen a mouth-watering selection of silent films.

Two things to note straight away – first, the majority of these films will be shown on film, either 35mm or 16mm. The website makes it clear which is which. And second, the films have been chosen and will be introduced by an estimable group of film historians including Kevin Brownlow.

Continue reading “The Kennington Bioscope Weekender: a silent film festival for London”

Hippfest 2015: a barnstorming weekend in Bo’ness

Bye bye Bo'ness #hippfest

A photo posted by pam_hutch (@pam_hutch) on

“If a cinema could give you a hug, this is what it would feel like.” That’s how Bryony Dixon described the Hippodrome Festival of Silent Cinema in Sight & Sound last year, and as usual, she’s not wrong.

This year I returned for my second trip to the festival, now in its fifth year, and the welcome was warm, the music was fabulous, the films magnificent and the crowds enthusiastic.

It’s a tribute to Ali Strauss, Shona Thomson and all the team behind Hippfest that this small town in Scotland draws silent movie fans from across the country (and the globe) as well as introducing the locals to the delights of EA Dupont, Mikhail Kalatazov and Buster Keaton. I had a stonking time in Bo’ness this year, and would recommend the festival to anyone who loves movies, music and merriment.

Here’s what I took home from Hippfest this year:

A tan. Well, a vitamin D topup at least. I made all the usual wry comments about “sunny Scotland” in the runup to my trip, but Bo’ness was truly bonny this weekend, and my, the Firth of Forth looks stunning in the sunshine.

Synthetic Sin (1929)
Synthetic Sin (1929)

More recruits for the Colleen Moore fanclub. It was an absolute honour for me to introduce the Friday night gala screening of Synthetic Sin – and I just knew that Ms Moore would charm the spats off the assembled audience. It was a fantastic screening, with raucous laughter threatening to drown out Neil Brand’s spirited accompaniment at times. All the gala shows were sold out – well almost all of the events were – which I think goes to show that people are prepared to take a chance on films, and stars, that they haven’t heard of before. I’m not sure the Hippodrome crowd will forget Colleen in a hurry though.

The fear of God. Well, flippancy aside, I was looking forward hugely to the Thursday night screening of William S Hart western Hell’s Hinges, not least because it would be scored by those groovy cats the Dodge Brothers. But as the band struck up and immediately began crooning “Satan is real” a shiver ran down my spine. The movie provided fire and brimstone, and the Brothers gave it space to breathe and fan those flames. A massively atmospheric screening, and a wonderful opener to my festival. So few people get a chance to see a pre-1920s film on the big screen at all – let alone with so much added cool.

Continue reading “Hippfest 2015: a barnstorming weekend in Bo’ness”

Book now for the Hippodrome Festival of Silent Cinema 2015

Lillian Gish in Annie Laurie (1927)
Lillian Gish in Annie Laurie (1927)

The fifth instalment of Scotland’s only silent movie festival announces its programme today – and judging by previous years, you should start snapping up tickets straight away (tickets go on sale today, 10 February 2015, at noon). The Hippodrome Festival of Silent Cinema takes place in Bo’ness, a small town tucked away on the banks of the Firth of Forth in Falkirk, Scotland. Bo’ness has a stunning vintage cinema, the Hippodrome, which has been restored to its 1920s glory, and each year hosts of a celebration of the silent era that is as welcoming as it is wide-ranging.

HippFest celebrates its fifth birthday in style with three major World Premiere Festival Commissions, a pop-up cinema at Bo’ness & Kinneil Railway, the chance to discover forgotten stars Colleen Moore and Eric Campbell and get hands-on with a series of workshops and interactive events covering everything from beatboxing to Joan Crawford’s favourite dinner party recipes.

You can find all the information about the festival, and how to book tickets for the events, on the festival website here. You can also follow the festival on Facebook and Twitter. This year’s event runs from 18-22 March 2015 and below I have picked out some highlights from the programme. I have to say I am pretty excited.

Synthetic Sin (1929)
Synthetic Sin (1929)
  • The Friday night gala screening will be the hilarious Synthetic Sin, starring Colleen Moore. There’s a dress code ladies and gents – flapper glamour! Neil Brand will accompany on piano and some silent movie blogger or other will be introducing the film …
  • “The Film Explainer” Andy Cannon will perform alongside extracts from Dr Jekyll and Mr Hyde, along with musicians Wendy Weatherby and Frank McLaughlin.

Continue reading “Book now for the Hippodrome Festival of Silent Cinema 2015”

The British Silent Film Festival returns to Leicester in 2015

Estelle Brody and John Stuart in Hindle Wakes (1927)
A weekend away … Estelle Brody and John Stuart in Hindle Wakes (1927)

According to the website of the Phoenix independent cinema in Leicester, the British Silent Film Festival is moving back northwards this year! The BSFF began in the East Midlands town back in 1998 and has subsequently been based at the Barbican and the Cinema Museum in London, in Cambridge and Nottingham. It will return to the Phoenix in Leicester from 10-13 September 2015, so mark it in your diaries now.

Here’s what the Phoenix has to say about the event.

Formed in 1998, the Festival fulfils an important role – presenting a wealth of treasures from the silent period to audiences who would not otherwise have access to their own film heritage and to the wealth of international silent cinema.

The Festival is curated, organised and presented by Laraine Porter, Bryony Dixon and Neil Brand and a team of UK experts and advisors in this field.

Open to all, the films are presented with live music from the world’s leading professional silent film accompanists (and we hope, local guest musicians) in a variety of entertaining and accessible ways.

Hat-tip to Jenny Stewart for the news – more details to follow as soon as they arrive.

The Woman he Scorned (1929)
Pola Negri in The Woman he Scorned (1929)

Meanwhile, back in the capital, the popular British Silent Film Festival Symposium will take place again this year at King’s College London. The one day event will be held on 24 April, and proposals for presentations should be sent to Lawrence Napper at King’s by 20 March 2015 – email Lawrence.1.Napper@kcl.ac.uk.

Drawing on the success of our previous events, we again seek to draw together scholars and enthusiasts of early British cinema. This one-day symposium is intended as a forum for the presentation of new research, scholarship and archival work into film culture in Britain and its Empire before 1930.

As such we would like to invite presentations from people working in all aspects of this field, including cinema in the wider context of theatrical, literary and popular cultures; cinema and World War I; cinema and technology, exhibition, reception and critique.

In the light of a recent AHRC award investigating the transition between silent and sound cinema in the UK (1927-1933), we would be particularly interested to include papers on this topic.

Excitingly, the day will be topped off with a screening of one of my very favourite British silent films: Paul Czinner’s The Woman he Scorned (1929), starring the wonderful Pola Negri.

Read more on the British Silent Film Festival.

In praise of the Kennington Bioscope: London’s silent speakeasy

Tol'able David (1921)
Tol’able David (1921)

London is the best city in the world for silent cinema. OK, so maybe I should admit to a little bias, but really, between the BFI Southbank, the Barbican, the London Film Festival, the Phoenix cinema in Finchley, and the capital’s many film societies, rep cinemas, arthouse cinemas, orchestras, concert halls and festivals (including the many visits of the British Silent Film Festival, the Fashion in Film Festival and the recently departed Birds Eye View Film Festival) we are sitting pretty for silents. Whether it’s a symptom or a cause I don’t know, but we also have many of the world’s best silent film accompanists based right here in the Big Smoke.

It’s in this context that in the summer of 2013, two of London’s fabulous silent film musicians, John Sweeney and Cyrus Gabrysch, set up a “silent speakeasy” called the Kennington Bioscope: “a silent cinematic event dedicated to the rediscovery of forgotten masterpieces”. Since then, they have been creating silent cinema magic in South London on a regular basis. The Bioscope is cinephilia at its best – if you’ve been, you’ll know what I mean. If you haven’t been, you are missing out, and I am about to make you jealous. I can’t let another Bioscope go by without telling you all how amazing it is.

The Cinema Museum is a wonderful place #britishsilents

A photo posted by pam_hutch (@pam_hutch) on

The KB (as I have never yet heard one person call it) is held once every three weeks at the Cinema Museum – a volunteer-staffed Aladdin’s Cave of cinematic memorabilia and ephemera. There are more than a few reasons why you voted this place as your favourite silent film venue of 2014. It’s a wee bit like a time machine, whisking you back to a more sedate era of cinemagoing. There’s always an interval, ushers may well be wearing natty uniforms, someone will undoubtedly strike a gong to prompt patrons to take their seats, and the adverts before the screening will remind those assembled of the proper etiquette required. Tickets, which cost just £3, are made of cardboard and ripped off a reel. Most important of all, the projection booth is staffed by an expert projectionist, showing films of all shapes and sizes as often as possible.

Continue reading “In praise of the Kennington Bioscope: London’s silent speakeasy”

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