Back to the studio for a full-length edition of the Silent London Podcast. I’m joined by Pete Baran to talk about the festival scene, discuss the first silents we ever watched and catch up on the news. We’re joined by London Symphony director Alex Barrett, who tells us about his favourite silent film, The Passion of Joan of Arc, and we preview the British Silent Film Festival as well as reviewing the great Hollywood silent Flesh and the Devil.
We also make inappropriate comments about Greta Garbo, and I get a little bit over-excited about Pordenone. Just another day in the office really.
The 18th British Silent Film Festival features some stunning highlights, re-discoveries and rareties gleaned from the BFI Archive and international collections. Highlights include the British premiere of Stephen Horne’s new musical score for The Guns of Loos (1928) and Laura Rossi performing her new score to British cinema’s first epic Jane Shore (1915) at Leicester Cathedral which recently saw the reinternment of Richard III who features in the film as a key protagonist.
A missing-believed-lost early Hitchcock collaboration, the comedic Three Live Ghosts (1922) will be featured after recently being re-discovered in the Russian film archive. We’ll also have the British premiere of a brilliant new score by Bronnt Industries Kapital for the Soviet classic Arsenal (1929)
Michel Strogoff (1926)
Our theme of ‘heroes and villains’ will be explored in stunning masterpieces of European cinema including Michel Strogoff, (1926) featuring the charismatic Russian star,
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.
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.
Just like last year, the British Silent Film Festival hits London town, but not in its traditional form. Very much as was the the case last year, actually, the festival proceeds in a slightly cut-down version, comprising a symposium at Kings College London on Friday 2 May 2014 and a full day of screenings at the Cinema Museum on the next day.
There’s a loose theme to those screenings at the Cinema Museum – runaway women or some such. I like. More to point: Betty Balfour fans – fill your boots. And if you want to submit a proposal for a paper to the symposium, you have until 31 March – so hurry up, clever clogses.
Here are the full details for each day:
The British Silent Film Festival Symposium 2014 will take place on 2nd May 2014 at King’s College, London.
Following the success of last year’s symposium, this one-day event again seeks to draw together scholars and enthusiasts of early British cinema, and operate as a forum for the presentation of new research, scholarship and archival work into film culture in Britain and its Empire before 1930. Possible areas may include but will not be confined to: Cinema in the context of wider theatrical, literary and popular culture; Empire and cinema; Cinema and the First World War.
An early evening screening of The Wonderful Story (Graham Cutts, 1922) will be included in the day’s events.
Proposals (around 200 words in length) are invited for 20 minute papers on any aspect of new research into film-making and cinema-going in Britain and its Empire before 1930. Please submit them to Lawrence.1.Napper@kcl.ac.uk by 31st March.
Put-upon ladies take on the world in this programme of rarely seen silents from the BFI National Archive.
A double bill from talented Hungarian director Geza von Bolvary, stars Britain’s favourite actress Betty Balfour as the stand-in princess in The Vagabond Queen (1929) and besotted bottle-washer in Bright Eyes (1929). Also yearning to break free, an oppressed wife hangs her hopes on a typewriter in J.M. Barrie’s The Twelve Pound Look (1920) and a programme of shorts continues the theme.
10.00-11.30 The Twelve Pound Look
12.00-13.30 The Vagabond Queen
14.30-16.00 Shorts programme
16.30-18.00 Champagner/Bright Eyes
Doors open at 09.00 for a 10.00 start.
Refreshments will be available in our licensed café/bar.
TICKETS & PRICING
£25 for the full day, £15 for a half day, £8 for one session. Sorry, no concessions.
Advance tickets may be purchased from WeGotTickets, or direct from the Museum by calling 020 7840 2200 in office hours.
As you know, this year the British Silent Film Festival has taken a year off – but luckily for us, it’s the kind of year off where two all-day events still go ahead. Just to keep things ticking over, as it were. So last weekend there was a symposium on British silent cinema, held at King’s College London and organised by Dr Lawrence Napper. The following day the Cinema Museum hosted an all-dayer of screenings, themed on the tantalising idea of “sensation-seeking”.
I attended both events and while it didn’t feel like the festival was running, it was a real treat to be immersed in British silent film in this way. Let’s hope the festival returns back to full strength next year.
The papers at the symposium were limited to 20 minutes apiece, but covered a wide range of topics, from Edwardian theatre to state censorship to international co-productions to saucy novels. One hardly knows where to begin.
There were two papers with a theatrical bent: Ken Reeves’s dip into musical comedy theatre and its links to silent film concluded with some ideas for “crossover” events that would mix theatre, film and audience participation to spread the love about early British cinema. Audience participation? Reader, I sang. Very badly. Theatre historian David Mayer’s unforgettable presentation played and replayed the same baffling scrap of film as he uncovered the truth behind its creation. The scene of a waterfall bursting its bank and bringing down a bridge (and a couch and four) was, it turned out, not shot on location but on stage at the London Hippodrome in 1902, where a collapsible stage could be dropped and filled with water to create watery scenes. There was more – involving elephants on a slide. Elephants. Read more here.
Lucie Dutton, sometimes of this parish, also talked about the stage, presenting a history of film director Maurice Elvey‘s early career – in theatre in London and New York, before moving into the pictures with his star Elisabeth Risdon. She was followed by John Reed from the National Screen and Sound Archive in Wales, who took us through the production, loss, rediscovery and restoration of Elvey’s landmark film, The Life Story of David Lloyd George. Intriguingly, Reed pointed out a few instances in which Elvey could be seen in the film, waving a handkerchief and appearing to direct the action. Could this be because in these scenes the prime minister was played not by Norman Page but by Lloyd George himself? It’s an enticing thought.
Another famous British director was under the spotlight – one even more renowned than Elvey. Charles Barr presented on what we do know, and what we don’t, about the first film that Hitchcock ever shouted action on: Always Tell Your Wife. It’s an adaptation of a stage comedy starring theatre veterans Seymour Hicks and Ellaline Terriss and it seems the director fell out with his inflexible actors and therefore a “fat youth” from the props room was elevated to the job. You may struggle to see bold Hitchcockian strokes in what we have left of the film (which screened at the Cinema Museum on the Saturday), but we do have the director’s handwriting, unmistakably, in an insert shot of a telegram.
Far less well known than Hitchcock, but fascinating to hear about, was showman-turned-film director Mark Melford. His name, just like most of his films, may be lost to time, but Stephen Morgan attempted to flesh out his story, taking his cue from a Bioscope blogpost of 2007 that posed the pertinent question: “Who needs films to write film history anyway?” We did see a clip from the recently rediscovered romp The Herncrake Witch, directed by and starring Melford (amended, see comments) as well as being based on one of his own comic operas and also featuring his daughter (Jackeydawra, named thus due to her parents’ love of Jackdaws. True story). The story of the Melfords was hugely entertaining, but Morgan concluded by making the hugely important point that the study of lost films and forgotten film-makers is vital to a full understanding of the silent film era as a whole.
And of course, one never knows when a lost film will suddenly become an un-lost film. It happened to The Herncrake Witch and The Life Story of David Lloyd George after all. And it wasn’t so long ago that a treasure trove of Mitchell & Kenyon works was unearthed, giving us an invaluable glimpse of (mostly working-class) Edwardian Britain. In one of the day’s most diverting 20-minute segments, Tony Fletcher played a selection of Mitchell & Kenyon’s fiction films, while explaining a little more about them. The films were comedies, often chases and knockabout stuff, all with a backdrop of industrial northern England – factory gates, brick kilns and terraced streets. I particularly liked the mischievous snow comedy and the animated intertitles in a short called (I think) Driving Lucy.
More comedy, but this time of the you-couldn’t-make-it-up school: Alex Rock put recent Leveson revelations in the shade with a paper on the Metropolitan Police’s tangled relationship with the film industry. Its rather heavy-handed Press Bureau, founded in 1919, was popularly known as the Suppress Bureau. You can guess why. Rock’s paper traced the development of an official documentary film, supported by the Met, called Scotland Yard, and the squashing of another, based on the memoirs of a former detective.
The correspondence of public servants baffled, outraged or simply dismissive of the “movies” is unexpectedly entertaining, and never more so than in Jo Pugh’s paper on the official military response to Walter Summers’ The Battles of the Coronel and Falkland Islands. I could barely keep up with the information he was imparting, partly because I was giggling so much. Really. The good news is that we should hear more from Jo’s research and more about the film too as a little bird tells me a full restoration (possibly in time for next year’s Great War centenary) is in process.
It’s podcast o’clock once more. This time I’m joined in the studio by the marvellous Pete Baran, and in the pub by Lucie Dutton, who tells us all about British silent film director Maurice Elvey. All that, plus a guest appearance by Otto Kylmälä, film-maker and festival organiser, praising the “subtle brilliance and mature beauty” of his favourite silent movie, Chaplin’s City Lights.
If my email inbox is anything to go by, several of you have been wondering when we would hear details of the 16th British Silent Film Festival. After last year’s trip to Cambridge, many of you will have been anticipating the festival’s return to London, for one thing…
Well. There’s bad news – but happily there’s far more good news.
The BSFF is taking a break this year – but there will still be a BSFF, of sorts. And yes, some of the events will be in London, but festivalgoers will also be packing their buckets and spades for a trip to The Suffolk coast – and the historic Aldeburgh Cinema.
The centrepiece of the events, according to my insider sources, will be the screening of Hobson’s Choice (Percy Nash, 1920), starring Arthur Pitt, Joan Ritz and Joe Nightingale – a very, very rarely seen film and a magnificent adaptation of the play by Harold Brighouse. You’ll also have a chance to see the full surviving fragment of Graham Cutts’s Cocaine (1922) and the only surviving reel of Monkey’s Paw(Manning Haynes, 1923). Speaking of Haynes – you’ll be able to feast on his delightful WW Jacobs comedies down in Suffolk – a treat for any British silent film fanatic. If you linger by the seaside, you’ll also catch the Dodge Brothers accompanying the Louise Brooks film Beggars of Life (1928), which is well worth sticking around for.
There will be no British Silent Film Festival this year while the team regroup – however, we are organising three fantastic one off events , with three enthusiastic new hosts:
19th April One day British Silent Symposium courtesy of Lawrence Napper at King’s College, University of London –incorporating the Rachael Low lecture. A ‘Call for Papers’ will be coming soon.
20th April – All day event at the Cinema Museum – a programme of sensational London related film – The Yellow Claw, full surviving fragments of Cocaine, Monkey’s Paw, and rare shorts from other collections. Also the 21st century premiere of the 1920Hobson’s Choice a genuinely good silent adaptation of the Harold Brighouse classic made famous by David Lean.
4th May – join us by the sea as the BSFF are guests of the glorious Aldeburgh Cinema for an all-dayer, with a coastal theme, including the ‘east coast’ films of Manning Haynes and Lydia Hayward based on the W W Jacobs stories, a programme of Lifeboat films and others. The fabulous Dodge Brothers will be playing ‘Beggars of Life’on the 5th for those who want to make a weekend of it!
The podcast returns – we love the talkies don’t we? This time around, I’m lucky enough to be joined by Matthew Turner from viewlondon.co.uk and podcaster extraordinaire Pete Baran. We’ll be hearing what you thought of the recent British Silent Film Festival, anticipating the forthcoming silent Hitchcock screenings in London and Matthew will be talking about his favourite silent film. If you haven’t seen Greed (1924), be warned: here be spoilers. There is plenty of suspense, however, in discovering whether we fail The Artist Challenge – and if we do, who the culprit will be.
This year’s British Silent Film Festival has an extraordinarily full schedule of films, talks and gala screenings. Whether you favour Soviet gem The Ghost That Never Returns with the full-throttle rockin’ blues of the Dodge Brothers (featuring Mark Kermode), Miles Mander’s sophisticated drama The First Born with Stephen Horne‘s elegant, haunting score, or some much-loved but little-seen favourites from the archives, there should be something to tempt you. And the whole thing takes place in the beautiful city of Cambridge this year (just 45 minutes from the Big Smoke by train).
BUT, very excitingly, the British Silent Film Festival has been kind enough to give away some tickets for free! To you beautiful Silent Londoners. To win a pair of tickets to a screening of your choice, just send the answer to this super-easy question to me, at email@example.com.
What is the name of the French silent film-maker whose life was dramatised in Martin Scorsese’s Oscar-winning film Hugo (2911)?
The winner will be chosen at random from the correct answers at 1pm on Wednesday 18 April 2012, when the competition closes – and then notified by email. Good luck, and see you in Cambridge!