It’s back, the perfect post-Pordenone pick-me-up: a weekend of giggles at the Cinema Museum curated by the inimitable David Wyatt. I heard great things about last year’s event, but this time you’ll have double the fun with a two-day festival. So ink 22 & 23 October 2016 into your diary and look out for tickets on sale in early September. Here’s what the Kennington Bioscope crew are promising for their second Silent Comedy Weekend:
Two days of (mostly) silent comedy – except for the audience laughter (judging from last year’s successful extravaganza) and live music from our world famous accompanists.
Feature films with Eddie Cantor and Clara Bow, Harold Lloyd, Max Linder, Monty Banks, Syd Chaplin, Harry Langdon and more. Rare showings of Lupino Lane’s LAMBETH WALK and Walter Forde’s first feature WAIT AND SEE – long–neglected British stars in need of re evaluation – plus some equally forgotten funny females, European shorts from the early years and Laurel & Hardy as you’ve never seen them before! Plus presentations on Mack Sennett and Lupino.
Guest speakers are hoped to include renowned authors David Robinson, Geoff Brown and Brent Walker, legendary film archivist Bob Gitt and of course, our own Kevin Brownlow.
Please not that the programme is ‘subject to change’ as films are still to be confirmed. Please see websites for updates.
If you are reading this post and you have never seen The Passion of Joan of Arc, stop now. Skip to the end, click on the link to buy tickets and make your life better with just a few taps of the mouse. Then you can come back and read the rest of what I have to say. Passion is not just one of the very best films of all time, but one that has inspired some of the most exciting scores too – despite the director’s misgivings about it being accompanied by music at all. There have been many film adaptations of the story of Joan of Arc, but Falconetti’s haunting portrayal of the saint, in front of Dreyer’s unflinching camera, is unforgettably raw and moving.
In September, you can see Passion at one of London’s most fascinating venues, Shakespeare’s Globe, as part of a season of live music events called Wonder Women curated by Lauren Laverne and The Pool. The music for this screening is a very special score – it’s a mixture of choral singing, electric guitars, harp, horns and synthesisers, written by Adrian Utley (Portishead) and Will Gregory (Goldfrapp) and conducted by Charles Hazlewood. I’ve heard it, back in 2011 at the Queen Elizabeth Hall – and I really loved it. The ancient and modern elements suit this timeless film well. I reviewed that event for a now-defunct and much missed arts blog, so here it is, reprinted, if you like.
Anniversaries are bittersweet at the best of times, but this summer marks an especially painful date. It is 100 years since the Battle of the Somme, the largest battle of the first world war, in which more than a million men were killed or injured. The date was marked publicly in the UK this weekend with tributes across the country.
Many people who read this site will know that relatives of their lost their lives in the First World War – almost all of us will have heard family tales of hardship and resilience from those four bruising years. The power of cinema, even during the war when it was only around twenty years old, is that it can show us the small human stories of the home front, as well as the epic tales of the battlefield. In fact, it can tell us the intimate, personal incidents of the trenches, as well as the soothing narrative of stoicism and sentiment back in Blighty. And on the cinema screen, these experiences can be shared with a crowd, and something therapeutic happens when we face our fears together. This summer, you can see some of the contemporary films from WWI, back on the big screen, and at the bottom of this post you will find a two-for-one ticket offer too.
Back in 1916, millions of Britons flocked to the cinema to see The Battle of the Somme, a documentary that showed the families at home what their boys were facing on the front line. It’s haunting, sometimes terrifying, and always fascinating work – a letter home from the trenches to reassure and inform. A hundred years later, it has lost none of its power. If you want to know more about the film, I highly recommend Lawrence Napper’s article in the current issue of Sight & Sound, in which he calls it “one of the most extraordinary documents of our cinematic history”. Luke McKernan’s excellent Picturegoing site has also posted a contemporary review of the film, which says that it “shakes the kaleidoscope of war into a human reality”.
The Battle of the Somme is back in cinemas and concert halls across the world, to mark the centenary, with live orchestral performances of Laura Rossi’s wonderful score. You can read more about that, and find a screening near you, on the official website here. There will be 100 performances in the tour, so there is very likely to be one near you.
When I wrote about the inaugural Nitrate Picture Show at the George Eastman Museum, Rochester, New York, last year I ended with the slightly pessimistic hope that we would get to see a silent film on nitrate next time around. My fear was that shrinkage issues with such old prints might prevent that from happening. I am delighted to report that my cynicism was misplaced as this year’s festival ended on a sensational high, an American silent film from 1928! But more about that later.
As with last year, the festival organisers kept the 2016 programme under wraps until the morning of the first day of the festival. I know this approach is controversial. Potential attendees have complained to me that they are reluctant to incur the not inconsiderable expense in traveling to upstate New York when they have no idea what films will be screened. I have a lot of sympathy with that view but there is something undeniably exciting about opening the brochure on the first day and seeing what treats lie ahead of us. There is also merit in the organisers’ position that it is the physical condition and pictorial beauty of the prints that governs their selection, with the quality and reputation of the works coming next. Personally, I favour a middle ground, perhaps naming three or four films in advance and keeping the rest secret.
I suspect that few, if any,who made the journey to Rochester were disappointed with the films presented to us. I was initially sorry to see that no silents were listed but was keeping my fingers crossed that the final screening of the festival, our Blind Date with Nitrate, might possibly fulfill that wish. And so it did.
The festival kicked off with a selection of short films – my favourites were a colorful Julius Pischewer animation Cent Ans de Chemins de fer Suisses celebrating 100 years of the Swiss railway system and a delightful 1934 Universal animation Jolly Little Elves featuring doughnut-loving kindly elves.
These were followed by one of the highlights of the festival and a film I had not seen before, Enamorada (1946) a tempestuous romantic drama set against the background of the Mexican revolution. Featuring the masterful framing of the legendary cinematographer, Gabriel Figueroa, the film looked gorgeous, especially the exterior shots of the Mexican town in which the story is set. María Félix, probably Mexico’s most famous actress, was beguiling as the feisty female lead and Figueroa makes masterful use of light and shade, given added depth and texture by the nitrate print.
Our final film on the first day was the classic noir, Laura, which we were told was a pre-release version that included footage that was cut for its theatrical distribution. Nobody I spoke to could spot the additional material, however, and although the print was good there were only moments when the benefit of nitrate showed through.
It might be the northern welcome, it could be the gorgeous vintage cinema, but it’s probably the combination of great films and first-class music … the Hippodrome Festival of Silent Cinema is a highlight of our calendar. This year’s festival runs from 16-21 March 2016 and excitingly, the programme has just dropped!
This means you can start booking your tickets now and believe me, these events often sell out, so act fast.
One of the greatest films of all time, Dovzhenko’s Earth, is the opening night gala, with a brand new score from Jane Gardner and Hazel Morrison.
Camera acrobatics in Dupont’s thrilling love-triangle drama Varieté starring Emil Jannings and Lya di Putti, with Stephen Horne and Frank Bockius providing excellent, multilayered accompaniment.
The hilarious Exit Smiling starring Beatrice Lillie (“the funniest woman of our civilisation,” according to Noël Coward) as an aspiring stage star in a shabby touring company, with the ever-brilliant Neil Brand on the piano. That’s the Friday night gala with an introduction by Bryony Dixon – and the perfect excuse to dress up.
The unbeatable tearjerker Stella Dallas (the 1925 version), with a new score by Stephen Horne performed by himself and Elizabeth-Jane Baldry, and an introduction by your own humble correspondent.
Intergalactic German space documentary Wunder der Schöpfung screens with a wild soundscape score by Herschel 36 (who will be talking about how they wrote their score in another event at the festival) on Saturday night.
Late Chinese silent Daybreak, starring Li Lili, with accompaniment by John Sweeney. This screening will be supported by a talk on early Chinese Cinema, which is sure to be illuminating.
My own favourite film star, Pola Negri, in one of her early German films, Mania, with music from kraut-rock band Czerwie.
Reel rations – Bryony Dixon’s tour of British propaganda films from the Great War.
Herbert Brenon’s charming, inventive Peter Pan, with an acclaimed live score by harpist Elizabeth-Jane Baldry.
British train crash drama The Wrecker – screened at Bo’ness train station!
Comedy! Courtesy of a Laurel & Hardy triple-bill, as well as Buster Keaton in My Wife’s Relations and Anita Garvin and Marion Byron in A Pair of Tights.
This year’s London film festival did not make life easy for cinemutophiles. Many of the silent films in the 2015 programme were scheduled slap-bang against each other, or almost, necessitating a frantic cab ride across to town. All very glamorous in its own way, and nice to be spoiled for choice, but frustrating for those who aren’t lucky enough to have seen some of these films in other festivals, or want to cram as much as possible into a trip to London. That said, the LFF pulled off a coup to make those Londoners who wished they were at Pordenone instead feel smug for once. The two festivals always clash, but if you stayed home this year, you’d have had the chance to see the restoration of Laurel and Hardy’s The Battle of the Century, a day before your counterparts in Pordenone. Ta-da.
As you might have noticed, your humble correspondent was indeed in Pordenone, but when I got home, I managed to squeeze in a few trips to the London film festival. Rude not to, after all. And if the programme seems a little light on silents at first, as is always the way, things pop up where you might not expect to find them. Festival opener Suffragette (Sarah Gavron, 2015) closed with a fragment of archive footage; and I spotted Gloria Swanson in one of the festival most-talked about movies, Todd Haynes’s magnificent Carol (2015).
Are you currently perched on a plump suitcase, train tickets in hand, perusing the Leicester Phoenix listings and counting the days on your fingers until the British Silent Film Festival begins on Thursday? Well why not?
The four-day event is nearly upon us, and this is your friendly reminder to get your gorgeous selves to Leicester next weekend for some hot silent film action. This year the festival is back in the city of its birth, and most of the films will be shown at the Leicester Phoenix cinema and art centre. The schedule is out now, and the selection looks fantastic, with everything from rare historical footage of the sinking of the Lusitania to a programme devoted to Buster Keaton; the splendour of Michel Strogoff starring Ivan Mosjoukine and the antique charm of early screen advertising. If you read Charles Barr’s recent Hitchcock Lost and Found, you’ll no doubt be intrigued that a film the young Master of Suspense worked on that had previously been thought lost, Three Live Ghosts (1922) has been unearthed in a Russian archive and will play at this year’s festival.
There is a focus on the transition to sound in Britain, so there are some early talkies in the mix as well as the silents, and there are fancy-dan screenings in the evenings, with the chance to hear brand new scores by some of our favourite musicians.
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, 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.
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?
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’.
UPDATE: I updated this post on 6 September 2015 once the programme for the Silent Laughter festival had been finalised.
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).
Here is the final programme – the Raymond Griffiths films is Paths to Paradise (1925) and the Walter Forde title is You’d be Surprised (1930). And I have heard, from the most delightful little bird, that the vegetarian cafe next door will be open for food again, possibly with a special offer for festivalgoers.
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?