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.
The British Silent Film Festival is great, but it only happens once a year, when we are lucky. So the annual British Silent Film Festival Symposium, taking place each spring at King’s College London, is a very Good Thing indeed. It’s a meeting of the clan, really, a gathering together of everyone who cares about British silent cinema in this town, and hopefully beyond. At the symposium, these likeminded souls can gather to watch films, debate them, listen to papers and eat biscuits.
This year’s event takes place over two days (6-7 April 2017) and builds on the format of previous years by incorporating screenings in between the papers. And biscuits. These screenings are of little-seen films, and the papers cover a wide range of topics all within the field of British cinema and cinemagoing during the silent era.
Here is what the organisers have to say:
The British Silent Film Festival affords scholars, archivists and enthusiasts the opportunity to re-asses film-making in Britain between 1895 and 1930. By bringing forgotten films out of the archive, and encouraging scholarly activity that can place those films in appropriate production and reception contexts, the festival has been the driving force behind a complete re-appraisal of what was previously an almost unknown cinema.
This two-day symposium is intended to complement the festival itself – an opportunity to consider the achievements and the key debates brought to light by the festival, and to discuss the new directions that future research may take. Highlights of the programme this year include screenings of A Lowland Cinderella (Sidney Morgan, 1921) starring Joan Morgan, in a romance set in Scotland but filmed on the English south coast, and two films not seen publically since their release – The Unsleeping Eye (Alexander Macdonald, 1928) and Empire adventure shot by a Scottish production company, and A Light Woman (Adrian Brunel, 1928) which was previously thought lost, but has now been discovered in a truncated home-market version.
Thwack! Did you hear that? It’s the sound of the latest Hippfest programme landing on the digital doormat. I’m a big fan of Hippfest, a welcoming event, with an ambitious, highly entertaining, lineup of screenings and a frankly beautiful venue. If I could, I’d turn the Scottish thermostat up a couple of notches next month, because this southern softie will be back in Bo’ness for the festival, which runs from 22-26 March 2017, and takes place mostly in the town’s gorgeous vintage cinema, the Hippodrome.
As the schedule is announced today, that means the tickets are on sale already, and if something here catches your eye, book as soon as you can – Hippfest screenings can, and very often do, sell out.
So what’s on offer this year? The first day is devoted to female film pioneers, a subject close to my own heart: with a talk from film expert Ellen Cheshire, and an evening screening of Nell Shipman’s The Grub Stake (1923), with a brand new score from Jane Gardner and an introduction by yours truly. Read more about the amazing Nell Shipman here.
Thursday afternoon brings a Chinese double-bill – a lecture on the women of Chinese silent cinema by Professor Paul Pickowicz, and a screening of the BFI’s revelatory archive compilation Around China with a Movie Camera, introduced by composer Ruth Chan. On that subject, watch out for the Saturday afternoon screening of an unmissable Chinese silent, The Goddess (1934) starring Ruan Lingyu as a mother in a terrible predicament, with music by John Sweeney.
Not all of Silent London’s best-loved festivals are devoted solely to pre-sound film. A longstanding favourite here at Silent London HQ is the wonderfully glamorous Fashion in Film Festival. This event’s focus on cinematic design and unforgettable visuals, plus its enthusiasm for digging into the archives, means that silents often feature, of course, but it is always a wide-roaming affair. And this festival is a beautiful thing, a jewel in the London repertory film calendar.
This year, the Fashion in Film Festival will take place in London venues from 19-26 March. The full programme has not been unleashed yet, but I do have reason to believe a silent or to may be on the cards. I’m posting today because the Fashion in Film Festival is asking for a little help this year. The organisers have launched a Kickstarter to raise £5,000 before the event begins. If you support them, rewards range from designer knick-knacks such as an Eley Kishimoto tote bag, a copy of the fantastic Birds of Paradise book and tickets and passes for the festival itself. Hurry, the festival passes are running out!
Here’s what the festival team have to say:
The festival celebrates our last ten years and EVERYONE who has been involved in making it a success, contributing or holding our hand. We have lined up an ambitious programme, co-curated with the wonderful Tom Gunning, including an exhibition and some 28 events, with fantastic speakers and some true archival gems we think everyone must see. But some of this is in danger due to a dire funding landscape in the UK. It has been a really tough year!
And here’s a taste of this year’s programme:
Our programme features cinema’s well-loved as well as neglected masterpieces (Parajanov’s The Color of Pomegranates, Ophuls’ Lola Montes, Hitchcock’s Vertigo, Leisen’s Lady in the Dark, Protazanov’s Aelita), artist films (by Joseph Cornell, Jane and Louise Wilson, Cindy Sherman, Michelle Handelman, Jessica Mitrani), fashion films (by Nick Knight and Lernert & Sander), industry films and many archival gems. There will be talks, film introductions and panel discussions. As special highlights we are staging two film-based performances – with Rachel Owen (at Genesis Cinema) and with MUBI and Lobster Films (at the Barbican).
If you can spare a little money for the festival, I am sure it will be hugely appreciated. Just think of it as paying for your ticket in advance. I did!
Shipwrecked and bewildered, a lone man washes up on an island that has lush, forest vegetation, fresh water, fruit, and everything a person needs to survive, except human company. His attempts to escape his isolation by raft are repeatedly scuppered by a mysterious, and gorgeous sea creature, with which he forms a lasting, and surprising relationship.
The Red Turtle, an animated feature film that was widely admired at Cannes, plays the London Film Festival next month. You may have heard of if because it represents a first in the world of animation – a Studio Ghibli co-production, being a collaboration between the well-known Japanese outfit and Dutchman Michaël Dudok de Wit. It is also that beast rarer than a giant red sea turtle: a new, and very accomplished feature-length film without dialogue.
The silence, washed over with a sophisticated sound mix of animal noises and ferocious waves, is supplemented by a gorgeous, rousing score that helps to elevate the castaway’s solitary struggles to edge-of-the-seat, blockbuster events. And it is in the first third that the film is its most successful, as the hero adjusts to his surroundings, carves himself an awkward niche in the island ecosystem, and valiantly attempts to sail away into the sunset and towards civilisation. One early sequence, in which he slips through a crevice and must use all his strength and courage to swim to safety, cranks the tension to its utmost. In these first scenes, we are privileged to share his fears and frustration, his dreams and his sickness, so that each time he tries to make a break for it, alone on his wobbly raft, the interference of the red turtle is a cold shock. This portion of the film is closest to a horror movie, the most obvious analogue being Jaws, with a silent, invisible terror lurking beneath the waves. Sometimes he screams, but of course there is no one to hear him. It is a masterful feat of sustained silent film narrative, engrossing and terrifying.
So we already know that the Archive Gala will be the Irish-set thriller The Informer. And we already know that it is on the same day as Robin Hood. So that’s your first now-traditional schedule clash.* It’s also something of a shame that the Archive Gala will be at BFi Southbank, not the festival’s specially built 780-seat pop-up cinema in Victoria Embankment Gardens, where all the other galas will be held, although I assume that is to do with finding space for the band. Designers of these new-fangled cinemas always forget the orchestra pit.
However, here’s what the rest of the 60th London Film Festival has got planned for you, silents-wise. Erm, not quite as much as I would have hoped …
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: