Festival season is upon us. There’s Pordenone, of course, and London and also the Cambridge Film Festival all in October. A trip to the fenland city is very appealing at this time of year – and all the more so with a tempting selection of silent films.
The star of the slate is Lois Weber, one of the very best American silent film directors. And Cambridge will be showing four of her films over the weekend, all with live music. One of these in particular, The Blot, is rarely shown, but I think it’s very special indeed. Kevin Brownlow says that you won’t find a better film for showing you how life was really lived in the 1920s. That’s very probably true, but I think that inadvertently undersells it. There is a lot more to the film than its realism. It’s a real heartbreaker, and a nuanced drama too.
This is a guest post for Silent London by Michelle Facey, a member of the programming team at the Kennington Bioscope.
There are many treats coming up in the 4th Kennington Bioscope Silent Film Weekend 8 & 9 September 2018, held at our beloved Cinema Museum, the Jewel of Lambeth. From Canadian canine capers with wonder dog Rin Tin Tin, putting his best paw forward to start off the weekend in WhereThe North Begins (1923), to sparkling comedy with Constance Talmadge and Ronald Colman in Her Night Of Romance (1924), through to marvellous Mary Pickford in our Saturday night feature Sparrows (1926) by way of other films from the USA with William C deMille’s naturalistic drama Miss Lulu Bett (1921) and Herbert Brenon’s Dancing Mothers (1926).
Mothers’ lead actress was Alice Joyce but with Clara Bow also featuring in what was her first picture for Paramount, she was left more than a little in the younger woman’s shade. Louise Brooks (quite popular around these parts, I’m led to believe) commented that: “Everybody forgot Alice Joyce because Clara was so marvellous; she just swept the country. She became a star overnight with nobody’s help.”
Happy London Film Festival programme launch day! The festival runs 10-21 October this year and there are oodles of films showing, from the competition titles and the galas to the weird and wonderful pieces in the experimental and short categories. Yadda, yadda, yadda. Let’s cut to the chase. We have no time here for talkies. What does the 62nd London Film Festival have to offer in the way of silent cinema? Plenty. More than usual, I’d say. Some we knew about, some we didn’t.
The really good news – none of these silent screenings need clash with Pordenone. That is to say, there are duplicate screenings to avoid that.
The Great Victorian Moving Picture Show
Nineteenth-century films, shot on 68mm film, beautifully restored, introduced by Bryony Dixon and accompanied by John Sweeney and his Biograph Band. Oh, and they are screening at the actual, flipping IMAX. This is going to be massive. If your mouth isn’t already watering, I don’t know what to do with you. This year’s Archive Gala should be a silent cinema experience like no other. Book now.
This year’s London Film Festival Archive Gala has been announced – and it’s big.
You may have had a sneak preview of the Victorian films, shot on 68mm film, that the BFI has been restoring recently. Samplers have popped up at a few festivals and conferences over the past year or so. The clarity and the detail in these early films are incredible. For this year’s Archive Gala, the BFI are going to project these beauties in their natural home – at the IMAX. Step aside, Christopher Nolan. Your host for the evening will be Bryony Dixon and music will be provided by the maestro John Sweeney – and his Biograph Band.
Sweeping away the veil of time, this Archive Gala will project Britain’s earliest films at their grandest scale (68mm, almost four times the image size of regular 35mm film) on the nation’s biggest screen, the BFI IMAX. Festival-goers will be astounded by the sheer clarity, scale and spectacle of these incredibly rare surviving fragments of our first films, preserved by the BFI National Archive. Breathing new life into these filmic ghosts, superbly restored from the 68mm original nitrate prints under the meticulous and painstaking supervision of the BFI’s Conservation Centre, these films will be presented digitally in their fully fleshed, large format, high-definition glory for the first time in over 120 years.
The Great Victorian Moving Picture Show will reveal the quality, scope and scale of their technical ambition in developing a new media, combined with their avid curiosity in the world opening up around them. It also showcases the drive and media savvy of the showmen and film pioneers who sold audiences this new perception of reality. This unique opportunity promises to show the Victorians in a whole new light, blowing the lid off any preconceptions of our forebears and dispelling the image of the stuffy, stoic, stern Victorian for good.
In a night not to be missed, this one-off gala event will transport the audience back to the end of Victoria’s long reign, a time when competing showmen were projecting their moving picture shows in London’s great West End theatres. Among the frontrunners was the peerless William Kennedy-Laurie Dickson, whose British Mutoscope and Biograph Company enjoyed a long residency at the Palace Theatre of Varieties (now known as the Palace Theatre on Cambridge Circus, home to a different magician in Harry Potter and the Cursed Child). Of Scottish heritage, Dickson, who had worked for Thomas Edison, arrived in London in 1897 with his own very special USP: large-format films – the IMAX films of their day – aiming to outgun his rivals with his high quality pictures.
At only a minute or so long, these films range in date from 1897-1901, serving up an eclectic spread of subjects, from gorgeous panoramic vistas to dizzying ‘phantom rides’, from music hall turns to the pomp of royal pageantry, from the bustle of the Victorian street to genuine dispatches from the Boer War. The night has been programmed by and will be presided over by BFI silent film curator Bryony Dixon, with music from composer/pianist John Sweeney and his Biograph Band.
I can’t wait. The Great Victorian Moving Picture Show will take place on 18 October at the BFI IMAX in London. Tickets will go on sale soon, I guess, with the rest of the London Film Festival events.
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Greetings from Cinema Rediscovered in Bristol – the fabulous west country weekend inspired by a certain Bolognese festival of archive cinema. I am here to work a little and watch a lot – or that’s the plan. If you haven’t made it to this annual event (and this is the third instalment, so why not?) do try to rectify that next year. Bristol is a lovely place to be at the end of July and it’s a warm and wide-ranging festival too, based mostly at the fantastic Watershed cinema on the harbourside.
While I am here, I really must share some more festival news with you, because I have lots. First, because we’re in Bristol, but also last, as it is not until next year, I have Slapstick news. The Slapstick Festival is going ahead for 2019, but as the Colston Hall is closed for refurbishments, a few changes have been made to the setup. The festival will go ahead as usual 18-20 January at the Watershed and the Bristol Old Vic. The Gala screening of Modern Times will become a standalone event and take place at the beautiful Hippodrome Theatre on 10 February instead. Here are the details:
Hosting the event will be stand-up, TV and radio show panellist, writer, satirist and actor Marcus Brigstocke. Its centrepiece will be a complete screening of the Charlie Chaplin masterpiece Modern Times (1936), showing on a super-sized HD screen and accompanied live by the 40-piece Bristol Ensemble playing Chaplin’s own score for the film and conducted by Guenter A Buchwald.
In addition, there will be pre-show entertainment by students of the Circomedia circus-theatre school; screenings, with music, of Bacon Grabbers (1929), starring Laurel & Hardy, and Buster Keaton’s The Scarecrow (1924) and comedy magic from John Archer – the first act on Jonathan Ross’s Penn and Teller: More Fool Us series to perform a trick which left the duo baffled and a regular on the BAFTA-winning CBBC series Help! My Supply Teacher’s Magic.
You can book your seat for the Modern Times gala now on the Slapstick website. And keep your eye on that site too, as the full programme for the festival should be announced in October.
Is Cabaret (1971) every film historian’s favourite fetish? There’s the perfection of its razor-cut New Hollywood take on a golden age genre, and its tribute to the “divine decadence” of the Weimar years, with every other scene boasting an Otto Dix homage and the Kit-Kat Club staging its own x-rated shadow plays. Then there’s the sight of the tearaway daughter of Vincente and Judy playing a wannabe screen siren, circling UFA junior executives, posing like “early Clara Bow” with a parasol, running hot and cold on Lya de Putti and namedropping Emil Jannings at the dinner table. Alongside her there’s Michael York, who links us out to Fedora and therefore to Billy Wilder and Sunset Boulevard too – another pet of the hardcore retro cinephile.
It’s one of my favourites at least, and I was delighted that my 2018 visit to Bologna’s Il Cinema Ritrovato festival concluded with seeing Cabaret on a vintage Technicolor print in a packed house. A fitting end to a filmic week.
I saw more than 30 films in Bologna this year, and some, but by no means all of them, were silent. It’s strictly unscientific, but it seemed like an especially strong year for early films – with strands devoted to 1898 and 1918 running through the festival (curated by Bologna’s silent doyenne Mariann Lewisnky), and even a “mutiflix” special, offering a daily dose of the Wolves of Kultur serial in the soon-to-be-renovated Cinema Modernissimo. The silent gods smiled on us this year, even if they worked in mysterious ways. A planned open-air screening in the Piazza Maggiore of Frank Borzage’s Seventh Heaven, freshly restored and scored by Timothy Brock, was rained off, but then rescheduled to play in the city’s grand opera house on Friday night instead.
My festival began in the Piazza Maggiore, more or less, with a must-see silent event – the new restoration of a film that was not lost but rather buried. When Mary Pickford first brought Ernst Lubitsch to Hollywood, the film they made together was Rosita – a Spanish Dancer-esque film widely considered a failure and squashed by the star herself. I’ve long been intrigued to watch it though, naturally, so it was a thrill to see it on the big screen, with an orchestra playing a reconstruction of the original score, by Gillian Anderson. The sad fact is that Pickford was right to be embarrassed by it, but not that much. There’s some first-rate Lubitsch humour here, but Pickford simply isn’t the right heroine for the film and when she is on-screen she barely seems herself. It’s as if she is so uncomfortable in this passionate, witty world, that the film collapses in on itself, offering neither the pleasures of one of Pickford’s great spitfire sweetheart roles, nor the sophistication of the Lubitsch touch. Rosita is not a bad film by any means, but it conjures shadows of two different, better movies that it could have been. If only. And I can’t deny that it was a wonderful screening, with an enthused audience in the piazza, warmed up nicely by a sumptuous restoration of René Clair’s Entr’acte (1924) accompanied by Erik Satie’s piano score. Paul Joyce has a full report here.
A few years back, when the world may not have been young but this blog certainly was, and I had begun to hit the silent film festival trail, I received some alarming advice from Neil Brand. “What you really want to do as well,” he said, “is to go to Bologna. The weather’s great, the food’s amazing – and there are even talkies, too.”
Well two out of three ain’t bad. By Bologna, Neil meant Il Cinema Ritrovato, a festival of archive cinema that takes place every summer. Ritrovato means something like rediscovered. So, fittingly this festival shows rediscovered films, but also rarely seen films, films on rare formats and vintage prints, and newly restored films too. Largely, anything more than thirty years old qualifies for the festival, which gives it a giant scope.
I knew lots of people who went to this festival, but as always with anything new, I was a little wary to dipping my toe in the water. Worst-case scenario – I might really enjoy it and develop an expensive habit. So, the first year I went for just three days, then I skipped the next year and was filled with regret. For the past three years running I have turned up for about five or six days, almost the whole thing. And every time I have had a ball. Great films, in vast quantities, and a celebratory atmosphere that is almost as warm as the Italian sunshine.
There is more than one way to build a silent film festival, but perhaps some events might like to acknowledge twins – fellow fests that take the same approach to curating and commissioning archive cinema screenings. I think I have found a kindred spirit for the Hippodrome Silent Film Festival. I wonder if they would agree?
Saturday night at Hippfest was a bit of a departure – a horror double-bill. Is this the start of a new tradition? If so, it has begun well. We finished the night with Benjamin Christensen’s loopy house-of-horrors caper Seven Footprints to Satan (1929), gorgeously accompanied by a brilliant new score from Jane Gardner. The first feature was a classic: Lon Chaney as the villainous double-amputee Blizzard in the sharp shocker The Penalty (Wallace Worsley, 1920). That film is set, beautifully, in San Francisco, which was perfect – at least according to my latest theory!
I’m a Europhile, so imagine my shock to see ‘Frexit’ posters on the streets of Paris. In one respect at least, I hope France can learn from our own messy example. Our own deed has not yet been done, and even when it has been, and we have well and truly Brexited, I suspect there will still be yellow stars looped around my heart. So in the spirit of European togetherness, I am always happy to pop over to Paris at the drop of un chapeau to watch old movies and connect with my silent-film-loving friends.
This weekend was just such an occasion – I am posting this on the train home to London. Toute La Mémoire du Monde AKA the International Festival of Restored Cinema, takes place in the drizzly days before spring has truly sprung, at the Cinématheque Francaise and a handful of other cinemas in Paris. This is the sixth edition, and it’s a slightly odd festival, very serious in atmosphere for one so young, despite the fact that it features such populist events such as Russ Meyer all-nighters, and celebrity guests including, this year, Wim Wenders. It’s as diverse in scope as Bologna’s Il Cinema Ritrovato, but not as welcoming or as easy to navigate. Still, I think of it as a rather shy friend, who always has something fascinating to say if you can coax it out of her. With that in mind I spent two and a bit days in Paris this year, seeing as many silents as possible, and some talkies just for luck. I do it all for you, mes amis!
UPDATE/EVENT RESCHEDULED: the below event was scheduled to take place during the 2018 Glasgow Film Festival, but due to the bad weather, it has now been rescheduled for 9 May, at the Glasgow Film Theatre. Please see this message from Glasgow Film Festival:
The event has been rescheduled for Wednesday 9th May in GFT with a start time of 8pm. All tickets will remain valid. We apologise for any disappointment and thank you for your understanding and patience. If you are unable to attend on 9 May, please contact email@example.com with the subject line ‘Assunta Spina’.
Every good film event deserves a diva, and the Glasgow Film Festival has one of the best. This is just a short note to bring your attention to a special screening in Glasgow next month of the wonderful early Italian film Assunta Spina, starring the incandescent Francesca Bertini.
Assunta Spina (1915) is the tale of a young and beautiful laundress (Bertini, naturally) living in Naples. Assunta is engaged to possessive, aggressive butcher, but courted by another man. When her fiancé’s jealousy erupts in violence, Assunta is forced to make a terrible sacrifice to save the man she loves. It’s a passionate, highly dramatic story, and Bertini’s high-voltage acting style suits it perfectly. One of the other pleasures of the new restoration of this film is the depth of the original colour tinting, which resonates perfectly with the film’s emotional vibrancy.
The festival has collaborated with Shona Thomson, AKA A Kind of Seeing, to commission a new score for the film by Scottish-based Italian folk band The Badwills, who will also play some more after the film. And the screening takes place in the gorgeous St Andrew’s in the Square, a former 18th-century church. It’s bound to be a very atmospheric evening.
Passion. Jealousy. Revenge. Join us for a rare screening of this silent Italian drama with a new live score by seven-piece band The Badwills, followed by Italian folk dancing in the grand setting of St Andrews in the Square. Assunta Spina stars Francesca Bertini, one of Italian cinema’s greatest ‘silent diva’ actresses, smouldering on-screen as she’s caught up in a violent love triangle. Complementing the film’s striking Neapolitan backdrop, this new score is co-commissioned by Glasgow Film Festival and A Kind of Seeing. After the film, enjoy The Badwills’ furious live music and try your hand at some traditional Italian dancing. Tambourines at the ready!
It’s that time of year again, when we get to delve into the Hippfest programme. The Hippodrome Silent Film Festival in Bo’ness, Scotland, is the most welcoming event in the early cinema calendar, with one of the most glamorous venues. The lineup is always an enjoyable mix of the classic and obscure too, so I await this announcement with more interest than most.
You can read the full lineup and schedule on the Hippfest website, but here are some selected highlights – and yes, I am terribly, terribly biased.
Pabst! So much Pabst around these days, which is great. The Hippfest is showing GW Pabst’s first film, the most traditionally expressionist of his career, Der Schätz, with live accompaniment written and performed by acclaimed German composer and musician Alois Kott.
More Pabst! On 22nd March, yours truly will be giving an illustrated “Cuppa Talk” lecture entitled Lost Girls and Goddesses, all about women in Pabst’s silent films. Brooks, Garbo, Nielsen, Helm … all will be in (virtual) attendance.
Galas! The opening night screening has already been announced as The Last of the Mohicans with live accompaniment from David Allison.
On the Friday night, get yourself glammed up for a date with The Student Prince in Old Heidelberg starring Ramon Novarro and Norma Shearer, with live music from the maestro Neil Brand. This silent comedy, directed by Ernst Lubitsch, is perfect in practically every way. And Brand, yeah he’s a bit of a legend too.
Lon Chaney swings by on Saturday night. You can watch him play “the master of the underworld” in The Penalty with a new score, commissioned by the festival, from Graeme Stephen and Pete Harvey on guitar and cello.
Stick around after The Penalty for an ideal late-night movie: Benjamin Christensen’s loopy Seven Footprints to Satan, with a live score from the always excellent Jane Gardner and Roddy Long. This film has to be seen to be believed!
Sunday night closes with two screening of recent BFI silent restorations. First, the sumptuous Indian romance Shiraz, accompanied by the wonderful John Sweeney, and then Anthony Asquith’s Underground, accompanied live by the dream team of Stephen Horne and Frank Bockius.
A little of what you fancy does you good. Right? I think so, and with that in mind I treated myself to a day of giggles at Bristol’s Slapstick Festival. My seventh visit, and suitably, I saw some heavenly sight gags.
Buster Keaton, who made his first appearance on film 100 years ago, was the special focus of the festival’s silent offering this year. So it’s no surprise that I had two dates with Mr Keaton in one day. First, an energetic, and thought-provoking lecture on the Great Stoneface’s masterpiece The General (1927), by Peter Kramer, author of the recent BFI Film Classic monograph on the film. I really liked what he had to say about the film’s depiction of the Old South, and the punishment meted out to Annabelle Lee as the film continues. Plenty to consider, and I think he’s exactly right about Lee. What’s great about her character is that she behaves badly, gets punished and then grows a little. A carefully drawn female character, capable of personal development, in a silent comedy? Cheers to that.
Dorothy Sebastian’s Trilby Drew in Keaton’s MGM silent Spite Marriage (1929) also faces a bruising punishment for her sins – hilariously so, in the sequence when Buster manhandles her passed-out body into bed – but I don’t buy into her transformation as much as I do Annabelle’s. Anyway, this film is frequently hilarious, while being more of a series of sketches forced into a feature than a narrative flick, and it was an excellent way to end my day at the festival. Not least because of sublime accompaniment from the European Silent Screen Virtuosi, AKA Gunter Buchwald, Romano Tadesco, and Frank Bockius, who made a late but welcome appearance after the film had begun. We were fed some line about Bockius being caught up in traffic, but I have read enough rock biogs to know what drummers get up to. Even Trilby Drew would blush, I’m sure.
More silent film goodness to look forward to in 2018, and this time a little closer to home.
The 2018 edition of Bristol’s Slapstick festival takes place at venues across the city centre from 25-28 January and tickets are on sale now. If you’re not familiar with this event let me tell you how it breaks down. Funny films. Funny people. That’s it, really. The Slapstick Festival celebrates the tradition of visual comedy on screen, beginning in the silent era. And it invites famous comedians to present and share their favourites, as well as a host of experts and the best silent movie musicians in the business.
So next year, silent comedy fans can look forward to:
The Silent Comedy Gala at Colston Hall on Friday night will be hosted by Tim Vine. The headline film is the superlative Sherlock, Jr, accompanied by Charlie Chaplin’s A Dog’s Life and Angora Love, starring Laurel and Hardy. The Buster Keaton feature will be accompanied by the world premiere of a new, semi-improvised score composed by Günter Buchwald and performed by the renowned European Silent Screen Virtuosi and members of Bristol Ensemble. A Dog’s Life features Chaplin’s own composition for the film and will be performed by a 15-piece Bristol Ensemble conducted by Buchwald.
Comedian Lucy Porter introduces two screenings of female-led silent comedies at the Watershed Cinema: Betty Balfour in The Vagabond Queen, and Constance Talmadge in Her Night of Romance. Porter is great at these intros, both knowledgeable and passionate, so don’t miss these. Music by John Sweeney too.
Someone else who is rather good at introducing silent movies is Kevin Brownlow, who will introduce a lesser-known film, Skinner’s Dress Suit, starring the brilliant Laura La Plante and Reginald Denny. Piano accompaniment by Daan Van den Hurk.
Meet the Austrian answer to Laurel and Hardy, Cocl and Seff, with a screening of some of their rarely seen work at the Watershed, with music by Stephen Horne and Elizabeth-Jane Baldry.
And there will be a chance to see even more rare films at a screening called Lost and Found, in which collector Anthony Saffrey and historian David Robinson will present some recently rediscovered silent comedies, from André Deed (AKA Foolshead) Marcel Perez, Max Linder, Karl Valentin and more. Music will be provided by Elizabeth-Jane Baldry and Daan Ven den Hurk.
An early Christmas present for silent film fans in the form of some excellent news from the non-archive festival circuit. The retrospective strand at next year’s Berlin Film Festival will be devoted to Weimar Cinema – one of the most exciting, attractive periods in film history. Not only that but we can expect a sweep of some lesser-known titles, including new restorations.
According to the director of the retrospective strand, Rainer Rother: “Now, with this thematic look back, it’s time to turn our attention to the films that are not necessarily part of the inner canon.
“The diversity of the Weimar film landscape is best grasped via the works of filmmakers who are not usually counted among the great and prominent directors of the era. The variety of the films, by directors as varied as Franz Seitz, Sr. (Der Favorit der Königin, 1922), Hermann Kosterlitz (The Adventure of Thea Roland, 1932), and Erich Waschneck (Docks of Hamburg, 1928), is evident in the abundance of not only differing subject matter, stories, and characters, but also aesthetic approach. Looking at this legendary epoch in German film history from a new perspective reinforces its artistic reputation.”
Silent Londoners are an erudite group, and no doubt we’re all regularly found in halls of academe, talking loftily of theories and histories, of books and poems and one-reel Snub Pollard movies. But even though we’re such scholars, we could all do with a trip to Cambridge this month to complete our silent film education.
The Cambridge Film Festival is one of the best regular film festivals in the country for silents, and this year, the programme of early film is full of surprises, and wonderful music. Here’s what you should be looking out for.
How to relate five days of silent and early sound cinema in a pithy blogpost form? I have honestly no idea, but here goes …
The best film on Wednesday
A small choice here, cos I am selecting only from the evening screening of Edgar Allan Poe shorts at St Mary de Castro church. The rest of the day was devoted to papers. This was a wonderfully atmospheric night event though, with the candlelit church forming an eerie backdrop to the (non-German) Expressionism on the big screen. I am going to plump for a British effort – Castleton Knight’s Prelude. This is more or less Eraserhead in seven short minutes, with disquieting images proceeding across the screen motivated by a spooky kind of dream logic. And the accompaniment was sublime – John Sweeney playing Rachmaninov’s Prelude (of course) behind the screen.
Just one silent film was shown on Thursday, and I have made my feelings about Pat and Patachon clear elsewhere, but today would have almost certainly been carried by a talkie anyway. I had heard a lot about Walter Summers’s Suspense (1930) but I wasn’t prepared for just how devastating it could be. We’re in the thick of the First World War, but happily in a “posh trench, with a clean dugout and a cushy job” when the soldiers begin to hear Germans laying mines beneath their feet. Something about the mood of the piece tells you early on that there will be no happy ending here. Eerily photographed and vibrantly acted by its ensemble cast, this a claustrophobic war epic confined into 81 minutes. There’s much enjoyment also in the dialogue, which, cleaned of actual swearing, becomes positively Shakespearean in its baroque ribaldry: “You do a mucky lot, you windsucker.”
The festival runs 13-17 September 2017 at the Phoenix Arts Centre in Leicester and each day or five-day pass covers you for lunch as well as every screening on that date.The full timetable for the festival is online here. You can book here and let all your friends know you are attending by clicking on the Facebook event.
To get you up to speed on what to expect in Leicester, the festival* has been posting blogs on the festival site. Yes, silent film blogging is all the rage now. Here are all the posts so far:
The cat is out of the bag. The programme for the 61st London Film Festival has been announced and there is only one question on our lips: “Got any silents?” The answer is …
First things first, we already knew that this year’s LFF Archive Gala would be Shiraz, a sumptuous late-silent Indo-German production, which relates the romantic story behind the building of the Taj Mahal. This gorgeous film, freshly restored by the BFI, will be accompanied by a new score, composed by Anoushka Shankar. The gala screening takes place on 14 October 2017 at the Barbican and tickets are already on sale now. Read more here. And why not book a ticket here too?
This is a guest post for Silent London by Sheldon Hall, senior lecturer at Sheffield Hallam University, who writes and lectures on film and television
Of the nine silent features made by Alfred Hitchcock, it was his third, The Lodger, that most clearly set the pattern for the director’s future career. As it’s about the hunt for a serial killer, it’s also the one that most anticipates future trends in popular culture. The BFI Archive’s beautiful restoration, undertaken as part of its ‘Hitchcock Nine’ project, was first presented five years ago with musical accompaniment that remains a subject of debate. But in the year marking the ninetieth anniversary since the original release (produced in 1926, it sat on the shelf for six months after trade previews), the film has finally been given the presentation it deserves with the world premiere of Neil Brand’s new score.
This screening, in a pristine amber-and-blue-tinted 35mm print, launched the second annual Yorkshire Silent Film Festival on 5 May 2017 at the Grade II-listed Abbeydale Picture House in Sheffield. The cinema was built as a suburban picture palace in 1920 and officially closed in 1975; but it has been rescued from the threat of development and is now in the charge of a trust. The Abbeydale is the venue for a three-day weekend of screenings at the start of the month-long YSFF and attracted a healthy opening-night audience of over 200 to the re-seated stalls area, packing the house.
My own take on the film itself is somewhat perverse: I think the hero did it. (He did in the book by Marie Belloc Lowndes, based on Jack the Ripper.) Ivor Novello plays the mysterious lodger, who takes upstairs rooms in a family home during a wave of killings of blonde women. The murderer always leaves a note, signed “The Avenger” and marked by a triangle. In his lodgings, Novello keeps a map of the triangular area in which the bodies have been found and falls for his landlady’s blonde daughter, Daisy (June Tripp), whose suitor is a dullard police detective (Malcolm Keen) on the killer’s trail.
This is a guest post for Silent London by John Sweeney.John Sweeney is one of London’s favourite accompanists, composing and playing for silent film and accompanying ballet and contemporary classes. He researched and compiled the music for thePhono Cinéma-Théatre projectand is one of the brains behind the wonderful Kennington Bioscopeat the Cinema Museum. His score for Lois Weber’s The Dumb Girl of Portici will accompany the film on its forthcoming DVD/Blu-ray release this year.
The Silent Serial is perhaps the least watched of all the great silent film genres. Yet they were hugely popular: from about 1910 most studios produced serials, or their close relative, series (serials keep a plot going over the course of all the episodes, series have self contained plots in each episode but a common cast of characters). Some of the most famous are The Perils of Pauline (1914) and The Exploits of Elaine (also 1914), both starring Pearl White as the heroine struggling against assorted villains, The Hazards of Helen (119 episodes!), and in France Louis Feuillade directed the wonderful Fantômas (1913), followed by Les Vampires, Judex, Tih Minh, Barrabas and Parisette.