Down the Shaft, watching silent movies

Psst … this just in from the whisper network. There’s a new silent movie venue in town and it’s strictly underground.

I mean, it’s literally underground: underneath a candlelit garden, at the entrance to one of the capital’s engineering masterpieces – the Thames Tunnel. Cocktail experts Midnight Apothecary have founded a night called the Down the Shaft Film Club to screen classics in this unique space. Hey, the name may not be elegant, but you get the drift.

For two nights in May Down the Shaft will be showing classic silent movies with – crucially – live music, courtesy Meg Morley (2 May) and Neil Brand (16 May). The movies? Deathless comedies from Messrs Chaplin, Laurel and Hardy. Are you down?

Oh yes, and there will be fancy booze too, naturally. Here’s the blurb:

For your delectation we present Charlie Chaplin’s ‘Easy Street’ and Laurel & Hardy’s ‘Big Business’ and ‘Liberty’.  They will be accompanied on grand piano by the virtuoso talents of the UK’s leading silent film piano accompanists Meg Morley (2 May) and Neil Brand (16 May) in the Victorian underground Grand Entrance Hall to Brunel’s Thames Tunnel at the Brunel Museum.

This is one of London’s secret and most unusual underground venues to enjoy classic silent cinema.  This historic venue is directly below our hidden candlelit garden where you will be able to toast marshmallows around the firepit and sample a hot toddy, delicious street food or one of our award-winning botanical cocktails made from ingredients grown in the garden or foraged close by. We also have rather wonderful beer from local Bermondsey brewers Hiver and Anspach & Hobday and gin from award-winning Bermondsey distiller Jensen.

See you at the movies!

 

 

Advertisements

Agnès Varda, 30 May 1928 – 29 March 2019

Agnès Varda died on Friday – an event that I had to mark in some way. There is no real connection between Varda and silent cinema, apart from that irreverent interlude in Cléo de 5 à 7 (1962). However, her films meant a great deal to me, so this is a very small tribute. This video is a condensed version of a talk I gave at BFI Southbank on 2 June last year as part of an event called The Many Faces of Agnès Varda, in collaboration with Cléo. I was asked to discuss women and feminism in Varda’s films. Here are a few thoughts, inspired by her beautiful body of work.

If you don’t know her work, two of the films that I discuss here, Le Bonheur (1965) and Vagabond (1985), are streaming on Mubi right now. I highly recommend both.

Silent Paris: you can help restore Georges Méliès’s grave

Bonjour! Just a quick note to say that the Kickstarter campaign to raise funds for restoring Georges Méliès’s dilapidated grave in Paris’s Père Lachaise cemetery goes live today. I wrote about this campaign, which was launched by the film pioneer’s descendants, in the Guardian last week.

The crowdfunding campaign launches today on 26 March 2019 and will run until 18 April 2019. 

Le Voyage Dans la Lune (1902)
Le Voyage Dans la Lune (1902)

It’s Lois Weber month: Hereford, Hippfest & Hexham

Friday is International Women’s Day and all through March it is Women’s History Month. It also appears to be Lois Weber month, too.

Not that we need any excuse to celebrate a great silent film director, but it just so happens that this March I am hitting the road around the UK to talk about Lois Weber, and I don’t want you to miss out on seeing her wonderful films.

On Friday 8 March I will be in Hereford at Borderlines Film Festival with South West Silents, Tara Judah and Lillian Henley, for an evening devoted to Weber. There will be introductions, screenings of Suspense and The Blot accompanied by Henley and a Q&A afterwards. You can book tickets here.

On Friday 22 March I will be in Bo’Ness at the Hippodrome Silent Film Festival with South West Silents again. I’ll be introducing a screening of The Blot with live accompaniment by Lillian Henley once more, in the afternoon. Pick up your tickets here.

And on Sunday 24 March I will be in Hexham at the Forum Cinema as part of the Tyne Valley Film Festival. I will be giving a short lecture on female filmmakers in the silent era before a screening of Shoes. Book your tickets here.

See you there!

 

Mabel Normand: ‘a kiss that explodes in a laugh’

This article was originally published on the Drugstore Culture site on 23 November 2018. As that site is currently shuttered, I am reposting it here.

The career of Mabel Normand represents one of the biggest gaps in popular film history. Why isn’t this uproariously funny comic, who starred in more than 167 shorts and 23 features, remembered as one of the greats of silent comedy? Instead, there is a long-established male hierarchy in slapstick: Charlie Chaplin and Buster Keaton at the top, vying for the number one slot, with Laurel & Hardy and Harold Lloyd snapping at their heels. Then there’s Roscoe Arbuckle, Charlie Chase, Raymond Griffith and many more, cramming in to the picture like a cohort of bungling Keystone Cops. For years the top ranks have been pictured this way, as a boys-only club, with room only for comedians, not comediennes. In his 1975 slapstick bible The Silent Clowns, Walter Kerr even declared: ‘No comedienne ever became a truly important silent film clown.’ The reason being, he argued, the beauty standards required of women in the film industry. ‘Comediennes, from Mabel Normand all the way to Marion Davies, laboured under an instant handicap: they had to be pretty… The girl was expected to function as a girl, no matter what incidental nonsense she might be capable of; grotesques need not apply, except for supporting roles.’

It’s a misperception that is finally shifting. A hundred years after the fact, it seems we are finally appreciating the contribution of women to the art of silent comedy, including many more great comediennes besides Normand and Davies. Recent books such as Steve Massa’s Slapstick Divas (2017) and Maggie Hennefeld’s Specters of Slapstick and Silent Film Comediennes (2018) are changing our idea of the comedy canon, and in the UK, screenings as part of the nationwide BFI Comedy Genius season and at the annual Slapstick Festival in Bristol should help to get the word out further. For the record, Marion Davies was deathlessly hilarious, squeezing acclaimed comic set pieces into the action of hit comedies including Show People (1928) and The Patsy (1964), and I would add to that list Marie Dressler, Beatrice Lillie, Colleen Moore, Alice Howell, Laura La Plante, Zasu Pitts and Mary Pickford, just for starters. If we go back further in time, a phalanx of rambunctious women were making boisterous comedies in the pre-Hollywood years: Cunégonde and Rosalie in France, Florence Turner, Laura Bayley and the ‘Tilly Girls’ in Britain. If you’ve been led to believe that women took only dramatic roles in silent cinema, take a second look at these comics, who were as comfortable falling, fighting and making a mess as any of their male counterparts.

Continue reading Mabel Normand: ‘a kiss that explodes in a laugh’

A daytrip to Deal: visiting Kent Momi

London is great, but sometimes it does a soul good to get away from the big smoke to breathe some sea air. Less than 90 minutes away from the capital by train is Deal, a very elegant seaside resort in Kent. Attractions include a smart pier, a pebbly beach, the intriguing Time-Ball Tower, fish’n’chips and all the ozone you can fill your lungs with.

There’s a new reason to visit Deal though, for those film-historically inclined. A small but very welcoming museum called Kent Momi, or the Kent Museum of the Moving Image, if you haven’t been introduced yet.

Kenmomi1.jpg

A pebble-dashed house, just a couple of minutes stroll from the train station and the seafront, is now home to something between a collection and an exhibition of cinema artefacts. In fact it is full to bursting with cameras, pre-cinema devices, posters, pressbooks, and other memorabilia. Even a reconstruction of Googie Withers’ dressing table. And crucially, this film museum goes back further than most – to magic lanterns, dioramas and all the predecessors of the cinema as we know it.

Continue reading A daytrip to Deal: visiting Kent Momi

Hippfest 2019: The Hippodrome Silent Film Festival

Hipp, Hipp, hooray, it’s Hippfest programme launch day. You can now head over to the Hippfest website to read the full lineup for one of my very favourite silent film festivals. And book your tickets while you’re at it – over the years I’ve learned that popular events at Hippfest can and will sell out. Hippfest is just less than two months away, running 20-24 March, 2019 so you want to move quick, but not so quick that you don’t have time to peruse this handy preview, of course.

Here are some of my highlights of the schedule:

The Parson's Widow (1920)
The Parson’s Widow (1920)
  • Forbidden Paradise – You know that your humble scribe is smitten with Pola Negri. So when I saw the restoration of the sizzling Ernst Lubitsch comedy starring Negri and Rod La Rocque at Pordenone, I was bowled over. I am looking forward to watching it again, slightly more composed, but also glammed up for the HIppfest Friday Night Gala. This film deserves your best bib and tucker. I am also psyched to hear the new score by Jane Gardner. Here’s what I said when I saw it in October: “Hearts and reputations are won and lost. Moustaches are twirled. Fingers and furtive glances are everywhere. A revolution rages and is quashed, and always, behind a door Negri is making a conquest or throwing a plan into disarray. It’s ironic and light, but also physical and passionate. I can’t tell you what a treat it is. Seek it out and savour if you can.”

Continue reading Hippfest 2019: The Hippodrome Silent Film Festival

British Silent Film Festival 2019: news and a call for papers

You love the British Silent Film Festival. I love the British Silent Film Festival. We all love the British Silent Film Festival. So I am delighted to share the good news that the British Silent Film Festival is back, back, back for 2019. The 20th British Silent Film Festival will run 12-15 September 2019 at the fantastic Phoenix in Leicester – so save the date, Silent Londoners. Will there be special events to mark that big round 20 number? I don’t know, but I hope so. The 2017 event was absolutely brilliant, so I have great expectations for this year.

There is more good news though. The British Silent Film Festival Symposium is also back this year, and will take place as usual at the Strand campus of King’s College London on 11 and 12 April. Fingers crossed there will be screenings as well as papers, as is now customary. Continue reading British Silent Film Festival 2019: news and a call for papers

Colour in Film 2019: a kaleidoscope conference

A little news to brighten your day. The Fourth International Colour in Film Conference is coming soon, 25-27 February in fact, and once again it will be held in London at the BFI Southbank. You’re in good time to register now, so get cracking.

The Fourth International Conference ‘Colour in Film’ will be held in London from February 25-27, 2019, organized by the Colour Group (GB)HTW Berlin and the University of Zurich, in cooperation with the BFI.

The event will include screenings, keynote lectures and presentations from international film and colour scholars, in the BFI’s NFT2 theatre. Details of the program will be announced as they emerge – follow us on Facebook for updates!

The lineup for the three-day conference covers a broad spectrum (geddit?) of areas. On the first day, Tom Gunning will give a keynote lecture on ‘Projected Cinema Colours: Transparency, Light and Space’, and David H Foster, Professor of Vision Systems, University of Manchester, will give the Colour Group Keynote the following day. There will also be papers on colour comedy, early fashion films, and the 1950s colour wars. There will be a session focusing on two-colour formats and plenty more on the nitty-gritty of colour restoration, conservation and preservation. Continue reading Colour in Film 2019: a kaleidoscope conference

Looking for a female version of Laurel and Hardy?

The release of Stan & Ollie has got a lot of people thinking about comedy. And in the Guardian opinion pages, one of my favourite film writers posed a very interesting question. So why hasn’t there ever been a female version of Laurel and Hardy?

Don’t ever make the mistake of assuming the writer wrote the headline. What Gilbey meant, I think, was why hasn’t there ever been a female comedy duo quite as successful as Laurel and Hardy? You could also ask, why hasn’t there ever been a male comedy duo quite as successful as Laurel and Hardy? But that’s not what Gilbey is getting at, writing very perceptively:

Never underestimate the ingrained sexism of male impresarios, who must have decreed that audiences simply don’t respond to female double acts, explaining away the ones that work as exceptions to the rule. But perhaps there is some deeper reason why the sight of two women performing harmoniously together as heightened versions of themselves has never properly clicked, or never been allowed to …  Male friendship and rivalry is routinely the stuff of comedy. Does the notion of women getting along – or not – make us so uncomfortable that we can’t even bear to laugh at it?

Perhaps there is something in this. A deep-seated distrust of the idea that women can be funny, which doubles when there are two or more women on screen together? It’s very difficult to measure such a response, though. I’m more interested in where Gilbey went looking for his examples. He starts out in the 70s, and moves forward … citing French & Saunders as a prime example (but character comedy doesn’t count, apparently). Gilbey’s point is that female duos have a tougher time getting recommissioned – we, or the powers-that-be, don’t allow them to thrive. He may well be right there. Continue reading Looking for a female version of Laurel and Hardy?

Book news: 30-Second Cinema

News! I have some fun news. I actually thought long and hard about posting this on Silent London. My concern was: is this really something that Silent Londoners need? Then I thought, what the heck, it’s fun to share some good news when you have it, and actually you may be more interested than I think.

Drumroll … I have a new book coming out! Very soon. Last year I had the delicious job of editing 30-Second Cinema, a lushly illustrated guide to film history and world cinema from Quarto, an imprint of Ivy Press.

Here’s the official blurb:

Are you an art-movie buff or a blockbuster enthusiast? Can you reel off a list of New Wave masterpieces, or are you more interested in classic Westerns? Most of us love the movies in one form or another, but very few of us have the all-round knowledge we’d like. 30-Second Cinema offers an immersion course, served up in neat, entertaining shorts. These 50 topics deal with cinema’s beginnings, with its growth as an industry, with key stars and producers, with global movements—from German Expressionism to New Hollywood—and with the movies as a business. By the time you’ve worked your way through, you’ll be able to identify the work of George Melies, define auteur theory or mumblecore in a couple of pithy phrases, and you’ll have broadened your knowledge of global cinema to embrace not only Bollywood but Nollywood, too. All in the time it takes to watch a couple of trailers.

Continue reading Book news: 30-Second Cinema

Stan & Ollie: Them thar links

Well hello there silent comedy fans!

Today the Bafta-nominated Stan & Ollie is released in cinemas, and I highly recommend it. Starring Steve Coogan and John C Reilly as Stan and Babe respectively, this bittersweet movie tells a tale of the boys’ final tour in Britain. I found it to be a remarkably poignant film about their friendship and also, especially thanks to Coogan’s fine impersonation of Laurel, an accomplished evocation of the duo’s comedy magic. Watch out for Shirley Henderson and Nina Arianda stealing the show as the duo’s bickering wives, too. Yes, it’s not always strictly, strictly true to the history, but the changes made have a clear dramatic purpose, and I think what it captures of their relationship is very special, so I hope you enjoy it.

In celebration of the film’s release, here are some links you may enjoy:

Continue reading Stan & Ollie: Them thar links

A Quiet Place (2018): the horror of silence

A Quiet Place, directed by and starring John Krasinski, is not a silent movie, but it is a movie that revolves around silence. It made me think about what sound gives to a movie, and what it takes away. Krasinski’s co-writers Scott Beck and Bryan Woods, who originated the idea, say that they watched a lot of silent films in college, their excellent horror film made me ponder silent film presentation rather than production. In fact, I kept thinking about a recent, controversial score for a 1920s movie, and what the purpose of music and sound is in a film.

Hitchcock said that one mark of a good film is that you can follow it with the sound turned off, and that is certainly true of A Quiet Place. Our heroes are a family of five, led by Krasinski and his real-wife wife Emily Blunt. Their daughter is played by Millicent Simmonds, the young deaf actress who is every bit as remarkable here as she was in Todd Haynes’s Wonderstruck, and her little brother is played by Noah Jupe, whom you may have seen in The Night Manager or Suburbicon. The premise, as with the best horror movies, is both simple and devastating. New York State has been left desolate after an influx of seemingly indestructible monsters. They’re blind, but highly sensitive to sound, so staying silent is the only way to stay alive.

The opening sequence, in which the family raid a deserted drugstore for supplies, illustrates their survival strategy. The cast go barefoot, move slowly and deliberately, and communicate only via sign language (subtitled for those viewers who don’t read it). There are just two intertitles, counting the days since the invasion. Because the scenario unfolds so neatly with so little spoken or audible dialogue, much has been made of the film’s clever visual exposition, though that may be laying it on a bit thick. There’s a whiteboard back at the family’s base camp with helpful notes writ large, and a selection of carefully curated headlines from the New York Post pinned up alongside it. Continue reading A Quiet Place (2018): the horror of silence

The Silent London Poll of 2018: The Winners

January is a time for looking forwards, not back, right? That’s just not the Silent London way. With immense thanks to all of you for voting and sharing in the 2018 poll, I am delighted to announce your silent film highlights of the past year.

PFWF spread

  1. Best DVD/Blu-ray of 2018

It arrived late in the year, but hotly anticipated and was everything we wanted it to be. Kino Lorber’s magnificent Pioneers: First Women Filmmakers box set is your favourite release of the year. And mine too. Check out selected highlights from the set on UK Netflix now.

img_9151

  1. Best Theatrical Release of 2018

Never let it be said that there is any kind of bias in this list – but the BFI’s release of Pandora’s Box, in a gorgeous new restoration topped your choices this year. And of course I wholeheartedly agree.

  1. Best Modern Silent of 2018

Slim pickings in this category, but an overwhelming number of you got creative and chose John Krasinski’s held-breath horror A Quiet Place in this category. I see what you did there and I like the way you think.

Continue reading The Silent London Poll of 2018: The Winners

Birt Acres, ‘pioneer of the cinematograph’, 1854-1918

Birt Acres was born on 23 July 1854 in Richmond, Virginia. He died on 27 December 1918, 100 years ago today, in Whitechapel, London. For reasons I cannot explain, he is buried in a cemetery in Walthamstow, further out of the city, and just a few minutes away from where I live.

Birt Acres's grave in Walthamstow, east London
Birt Acres’s grave in Walthamstow, east London

The other day I took a stroll to Queens Road Cemetery, London E17 to take a look at Birt Acres’s grave. It may be hard to make out the lettering in this pictures, but beneath the caption “Peace”, it reads:

In

loving memory of

Birt Acres

1854-1918

A pioneer of the cinematograph

Acres was a pioneer all right – a massively important figure in the history of early British cinema. In 1894, when he was working as a photographer in Barnet, RW Paul sought his expertise on a project of his: the development of a motion picture camera. According to Paul, he rejected Acres’ design suggestions, but they continued to collaborate and Acres patented the new device, so it’s likely his contribution was actually significant. Together, in 1895, they filmed the “first successful motion picture film made in Britain”, outside Acres’s house, Clovelly Cottage in Barnet.

Frames from Incident at Clovelly Cottage, 1895. Filmed at Clovelly Cottage, 19 Park Road, Chipping Barnet
Frames from Incident at Clovelly Cottage, 1895. Filmed at Clovelly Cottage, 19 Park Road, Chipping Barnet

Continue reading Birt Acres, ‘pioneer of the cinematograph’, 1854-1918

The Late Show: The Whales of August (1987)

This post is humbly submitted to the Shadowplay Late Show Blogathon. I have chosen to write about the final screen appearance of the wonderful Lillian Gish, but this movie is a late or last film for many of the people involved.

“Alas dear ladies, all of this is in the past.” Vincent Price’s elegant Mr Maranov delivers the sad news to his elderly neighbours Sarah Webber (Lillian Gish) and Libby Strong (Bette Davis). He is talking about his heyday, his rarefied life as a Russian noble, before the revolution, before the war, before the coming of sound. Lindsay Anderson’s The Whales of August (1987), announces itself with a whiff of sawdust, and nitrate. It’s a film based on a play, a very quiet and melancholy play, and it opens with something far too gentle to be called a flashback, a monochrome glimpse of three young girls with flowing hair and white dresses excitedly rushing to the shore to catch sight of the ocean’s summer visitors. A glimpse of the silent era, in tribute to the film’s iconic and beautiful star.

Do the whales come to Maine in August any more, now those young girls have lived a lifetime each, separated, and reunited to live in awkward interdependence? That constitutes this delicate movie’s only real note of suspense. Sarah and Libby live the definition of a twilight existence, quietly in a house that is really a summer cottage, although it is early autumn, exposed on a grassy cliff. They brush their long white hair (Sarah’s a has a touch of blonde still, as she can’t quite resist letting Libby know) and dress for dinner in floral and powder-blue chiffon, and low-heeled pumps. It’s a beautiful spot, Cliff Island in Maine, where each evening they can “dine by moonlight” when the twilight floods their parlour. A picture window would make the most of that sumptuous view, and a friendly handyman neighbour (not Price, no fear) offers to install one for the ladies. Libby has doubts, though. Aren’t they too old to make changes? And besides, although she doesn’t like to mention it, Libby is blind. She can no longer see the whales, whenever they may or may not arrive.

Vincent Price in The Whales of August (1987)
Vincent Price in The Whales of August (1987)

Gish was 93 when she made The Whales of August, but preternaturally youthful, in the unique way of a waif who barely grew up. She plays a widow who mourns her soldier husband, and patiently takes care of cantankerous Libby, her older sister (though Davis was 15 years younger, and had one more feature in her, despite the decades of chain-smoking). She lives resolutely in the present, though, lobbying for that picture window and delighting in good food, fresh conversation, and the changing beauty of nature. She still believes the whales will return in August. Davis, who often seemed to delight in complaining about her co-stars, said it was a nightmare to work with Gish, who was all but entirely deaf. Anderson, inevitably, drew a different preference. Gish was an angel to direct, and rebellious Davis more of a headache. “Lillian’s first instinct is to try to give the director what he asks for. Her professional attitude comes from those days with DW Griffith. Bette tries to dismiss the director.” As such, they were perfectly cast as Sarah and Libby.

Continue reading The Late Show: The Whales of August (1987)

The Silent London Poll of 2018: vote now!

Today, Silent London is eight years old. If this were a marriage we’d be exchanging bronze gifts. But I consider this more of an open relationship, so don’t worry about buying me anything too expensive – unless you absolutely insist.

Thank you for reading, whether you are new around here or have been with me for the full eight-year stretch. If it’s the latter, you really do deserve a medal. All I can offer you is this deathless gif of Buster Keaton and Rosalind Byrne in Seven Chances instead:

Keaton.gif

Fabulous isn’t it? You’ll have guessed by now that I am after something. And yes, it’s quite tradition by now. Today we open the Silent London Poll of 2018, and I want your votes. Lots of em. Very few of the questions are mandatory, so even if you think that you haven’t watched that many silents this year, do take a look and see if you can support the films, film-makers, restorers, musicians, venues, festivals and so on that have made your year in silent cinema rich and exciting. I think 2018 has been a vintage year, what about you?

Are you struggling to remember the festivals, films, and music that you loved the most in 2017? Well take a look back through the pages of Silent London, or the Silent Film Calendar or ithankyou, both of which sites kept up to date with silent happenings all year round.

PandorasBox.gif

Don’t be afraid to lobby for your favourites, or to vote for events outside the UK. The poll is now a global affair and the more votes the merrier. Sharing is caring!

I will be closing the poll on 20 December, so you have plenty of time to ponder your choices – but don’t forget to vote!

Follow this link to fill in the survey – or scroll down and get started straight away.

  • Refresh your memory by finding out who won last year, here.
  • Silent London will always be free to all readers. If you enjoy checking in with the site, including reports from silent film festivals, features and reviews, please consider shouting me a coffee on my Ko-Fi page.

 

From Rio to Reading: the art of the silent movie prologue

It’s an article of faith in these parts that silent cinema is live cinema. We’re talking about the magic of live musical accompaniment, for the most part, but also, if we go right back to the early film period, narration, as well as the timing and skill involved in the projectionist changing reels, and perhaps the odd audience member reading the intertitles out loud.

There’s more discover in this vein though, and a project at the University of Reading aims to revive the art of the movie prologue. Not just any silent movie prologues, but Brazilian silent movie prologues. It’s an international project then, part of a wider quest to explore intermediality in Brazilian cinema, and connecting Reading to Rio de Janeiro, specifically that stretch of the coast that was once known as Cinelandia, because there were so many cinemas there.

Continue reading From Rio to Reading: the art of the silent movie prologue

LFF review: Be Natural: The Untold Story of Alice Guy-Blaché

This is a guest post for Silent London by filmmaker Alex Barrett (London Symphony, Life Just Is).

Although the subtitle of Pamela B Green’s new documentary might be something of a misnomer given the publication of a number of books on the same subject, notably  Alice Guy Blaché: Cinema Pioneer, edited by Joan Simons, there’s no denying that Guy-Blaché remains a marginalised figure in cinema history. The first female filmmaker, and one of the first directors of either sex to tell a fictional narrative on film, Guy-Blaché has never quite gained the fame of, say, Louis Feuillade, whose career she helped launch. Straining to prove this point, Green pulls in a large raft of famous faces, including the likes of Catherine Hardwicke, Patty Jenkins and Peter Bogdanovich, to declare they’ve never heard of her. It’s a saddening state of affairs, and one that the film seeks to interrogate: how could a figure who played such an important part in the birth of cinema become so forgotten?

Using flashy animation, a voiceover narration by Jodie Foster, and a plenitude of interviews, including some with Guy-Blaché herself, Green presents an overview of Alice’s life: from her early work as secretary to Léon Gaumont, through to the first films she made for Gaumont’s fledgling company, her marriage to Herbert Blaché and their emigration to the United States, the formation of Guy-Blaché’s Solax Company (then the largest film studio in America), and the eventual dissolution of Solax and her marriage. Continue reading LFF review: Be Natural: The Untold Story of Alice Guy-Blaché

A place for people who love silent film