The Silent London calendar
This is not just a box set, more a lifestyle choice. Anyone who wants to spend a couple of hours laughing and crying with Chaplin can watch one of the features. But this new collection of the short films that Chaplin made at the Mutual Company in 1916 and 1917 offers a longer-lasting relationship with London’s favourite silent son.
Even at first glance, the BFI’s latest Chaplin release is a tempting treasure. The Mutual period includes some of Chaplin’s best and funniest shorts for one thing – the drunken ballet of One AM, the social bite of The Immigrant and Easy Street, the glorious mayhem of The Adventurer and The Cure. For the first time in the UK, all 12 Mutual films are presented on Blu-ray – and they have been newly, and immaculately restored too. These discs are a pleasure to watch. It beggars belief that these films are approaching their centenaries, because everything on screen is beautifully clear and impressively filmic, with rich detail and velvety blacks. Comedy this timeless defies age, and now the image of that comedy is every bit as immortal. I don’t have the recent Flicker Alley release to compare, but the word is that this improves on the quality of that set.
Jane Shore (1915) has been described as the first British epic, and one that rivalled the best productions coming out of Hollywood at the time. A cast of thousands is used to great effect by producer/cinematographer Will Barker (founder of Ealing Studios) in this ambitious retelling of the story of Jane Shore: one of the many mistresses of King Edward IV who described her as one of “the merriest, the wiliest, and the holiest harlots” in his realm.
The BFI has made a stunning new print of the tinted version of Jane Shore (recently discovered in its archives) for its centenary. Composer Laura Rossi has written a new score for the film, which is being performed on a tour of the UK. Here, she answers a few questions about the project, and her writing process.
How did this commission arise and how did you choose the film?
Classic Cinema Club – Ealing wanted to commission me to score a silent film for a live music and film screening at their cinema club. We decided it would be good (as I also live in Ealing) to try and find a silent film made at Ealing Studios. I approached Bryony Dixon at the BFI, who dug out a few films for me to view in a BFI basement room on an old Steenbeck machine.
I was taught how to use the machine and change the reels. It was a very magical day watching reels of footage filmed over a hundred years ago. Jane Shore seemed the perfect fit – a film made at Ealing Studios by the studio founder Will Barker.
For this centenary tour the BFI made a specially restored digital print of the tinted version of the film which looks stunning. We were lucky enough to secure a grant from PRSF Women Make Music fund for the commission and first performance, and an Arts Council grant to help fund the tour.
What do you think is so special about watching a silent film with live music?
Watching a silent film with live music is such a magical experience and can be enjoyed on many levels. The music makes the images come alive and fills the auditorium, giving a four-dimensional experience.
It’s not just about watching the film, but also being transported back to this era. It’s fascinating to see how people acted then, the exaggerated gestures, and the early techniques of making films.
Last month we previewed the blockbuster DW Griffith taking place at BFI Southbank in June. This week, tickets went on sale! But before you start flashing your debit cards around, Silent London can save you a little cash, with a two-for-one ticket offer. You could buy twice as many tickets, or even bring a friend along, free, and share the greatness of Griffith at a bargain rate.
Nitrate. Dangerous, volatile, endangered, nitrate.
Its allure drew film curators, historians and cinephiles from around the world to the George Eastman House in Rochester, New York, last weekend, for the inaugural Nitrate Picture Show.
Nitrate, as a film base, was first developed in Rochester, by Eastman Kodak in 1889. It is a high-quality, but highly flammable, film stock which produces its own oxygen supply as it burns. A single spark from a torn frame during projection can set off a raging fire. Audience deaths from projection booth fires were not uncommon during the first few decades of cinema and nitrate’s ability to self-combust has caused several studio vault fires, including the tragic 1937 fire in which almost all of the Fox Film Corporation’s silent film holdings were lost.
Nitrate was discontinued in 1951 and strict regulations now govern its storage,transportation and projection. Only a few venues in the world are equipped to project it, including our venue, the Dryden Theatre.
A trip to the cinema is not always worthy of a podcast, but the Regent Street Cinema in the West End of London is a little bit special. I first visited this cinema in October 2014, when it was still mid-refurbishment. This week, I was lucky enough to see it in all its splendour, just a whisker ahead of its official opening.
I had a good nose around, and spoke to the artistic director Shira MacLeod as well as Anna McNally from the university archives. Take a look around this picture gallery, and have a listen to the podcast, which explains the unique history of this building, and what we can expect from its forthcoming programme.
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.
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.
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.