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.
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?
Following the rediscovery in June of the missing reel of Laurel and Hardy’s classic comedy short, featuring the pie-fight to end all pie-fights, I can bring you even more good news. A near-complete restoration of The Battle of the Century (1927), by Lobster Films, will screen at the 34th Giornate del Cinema Muto in Pordenone, Italy this October.
The festival will open with a gala screening of the newly restored Italian film Maciste Alpino (1916), a first world war epic written by Giovanni Pastrone, and the closing gala will be The Phantom of the Opera (1925), starring the amazing Lon Chaney, with Carl Davis’s score performed live by Orchestra San Marco di Pordenone.
The midweek feast will be Henri Fescourt’s epic 1925 adaptation of Les Misérables, in four sittings – it’s six and a half hours long, after all. I am already preparing for that one.
Other anticipated highlights include a celebration of black performers on screen, including 100 Years in Post-Production, a reconstruction of the rushes of Lime Kiln Club Field Day (1913), a never-completed comedy starring African American stage star Bert Williams among its all-black cast. I am very keen to see the new restoration of Daisuke Ito’s Diary of Shuji’s Travels (1927) accompanied by a benshi as well as live music, and the recently discovered western To the Last Man (1923).
That last title leads one of the programme’s most exciting strands: a retrospective of the silent films of Victor Fleming. It also ties in neatly with a very promising strand devoted to the beginnings of the western in the silent era.
Two modern silents, at least, will feature: a short Iranian animation inspired by Tim Burton, Junk Girl, and a feature-length experimental film, Picture, conceived by Paolo Cherchi Usai. Judging by his past form, you may want to grab the chance to see that one when you can.
Not a modern silent, but a modern silent cinema mockumentary, Love Among the Ruins is “a faux documentary about the miraculous discovery and restoration of a long-lost Italian silent film”, featuring music by none other than Donald Sosin. It will be interesting to see how this one goes down at Pordenone.
Italian “strong men” Albertini and Aldini made dramatic “thrill” films in Germany in the 1920s, and the Giornate will screen a selection of these. I don’t know too much about these chaps – but I have been browsing these postcards …
From other sources, but not, so far, the festival itself, I hear that we will seen the freshly restored 1916 Sherlock Holmes starring the role-defining William Gillette also. Very exciting.
Early cinema is represented by more German Tonbilder films, selections from the Spanish archive the Sagarminaga collection, and a retrospective ofLeopoldo Fregoli.
We’re promised lots besides, including “alternative city symphonies”, more Russian Laughter (this strand was brilliant last year) Mexican films including El Automovil Grisand El Tren Fantasma.
And finally, I don’t have 100% confirmation on this, but it is likely that the Vitaphone Project’s restoration of the Alice White film Show Girl in Hollywood (1930) will get a runout at the Giornate this year … watch this space
Hello, this is an updated version of a post I wrote in time for last year’s festival – there are a few new tips for 2016 and other updates.
Do you know the way to Pordenone? It’s about 80km north-east of Venice, but that’s not important right now. When I say Pordenone, I mean Le Giornate del Cinema Muto: the world’s most prestigious silent film festival, which takes place in the town every October. This year will see the 35th instalment of the Pordenone Silent Film Festival, a veritable institution, which showcases the best (and some of the rest) of silent cinema, accompanied by the world’s leading musicians. It’s eight full days of silent cinema, and a chance to meet the most knowledgeable early film enthusiasts around.
Never been? I think I understand why. Something about the words “prestigious” and ”institution” can be a little daunting. For years I thought Pordenone was not the place for me – it was for the real experts. I was intimidated too by the website, which is actually phenomenally useful, but a little hard to navigate and very text-heavy in two languages.
But as soon as I arrived for my first Giornate in 2012, I knew I had been a fool to stay away. Pordenone isn’t intimidating at all. And if you love silent cinema, which I know you do, it’s an essential indulgence. You can call that the Pordenone paradox.
So here’s a short guide to planning and enjoying your trip to Pordenone for this year’s festival. If you have any more tips – please share them below:
Well hello there, Elephant & Castle tube station. A few months back I wrote about the many wonders of the Kennington Bioscope – a regular silent screening event held at the Cinema Musesum, south London. Short version: it’s ace.
Now the Kennington Bioscope has gone one better than brightening up our Wednesday evenings. The Kennington Bioscope Weekender will take over the Cinema Museum for two days in the summer – 20 & 21 June – to screen a mouth-watering selection of silent films.
Two things to note straight away – first, the majority of these films will be shown on film, either 35mm or 16mm. The website makes it clear which is which. And second, the films have been chosen and will be introduced by an estimable group of film historians including Kevin Brownlow.