“Now more than ever, welcome home!” If Jay Weissberg’s address to the Verdi at tonight’s opening gala didn’t lodge a lump in your throat, you may be an irredeemable cynic. Or perhaps you were just marvelling at the man’s mastery of the Lubitsch Touch – the exquisite pain of terribly mixed emotions. But more on the importance of being Ernst later. Let us begin at Act One, Scene One. Enter your humble scribe, stage left.Continue reading Le Giornate del Cinema Muto 2021: Pordenone Post No 1
Hip-hip hooray, it’s Hippfest programme announcement day. News that arrives like a sweet, sweet vaccination into the veins of a drizzly February.
While personally I am sorry not to be watching these films in the warm embrace of the Hippodrome this year, the lineup is immense, and I delighted to tell you that the films will be available to stream not only in the UK, but also in Europe and North America. So if you have never had the pleasure of a trip to Bo’Ness, the silent cinema capital of Scotland, well now is your chance to experience the award-winning Hippfest magic.
The full lineup is online … NOW. So you can peruse at your leisure. But may I please bring your attention to:
Brooksie! I am honoured that Hippfest has asked me to introduce a very special screening of Augusto Genina’s Prix de Beauté starring Louise Brooks on the Saturday afternoon, which will be accompanied by Stephen Horne, who really has a way with this film.
Rudolph Valentino! Without even consulting me, the Hippfest hipsters programmers chose my favourite Valentino film for the Friday night gala. It’s The Eagle, everyone! And with Neil Brand at the keys, this will be well worth dimming the lights in your lounge for. I insisted on writing the programme notes for this one …
Oscar Micheaux and Paul Robeson! Delve into the history of Black silent film history with a rare screening of Oscar Micheaux’s 1925 film Body and Soul starring Paul Robeson, with music by Wycliffe Gordon.
Sunday with Mary Pickford! Not only is Hippfest showing the silent Hollywood masterpiece that is Sparrows, with an introduction from Cari Beauchamp, but earlier that day, we are invited to a cookalong with Jenny Hammerton of Silver Screen Suppers to make one of Pickford’s favourite recipes, and to mix a special Hippfest cocktail.
Marlene Dietrich! So happy that this is in the programme: on Saturday night, the Frame Ensemble will accompany the gorgeous German silent The Woman Men Yearn For/Die Frau, Nach der Man Sich Sehnt, starriung the divine Dietrich.
There’s more! So much more, including Bryony Dixon introducing Asquith’s Underground with Brand’s orchestral score, Pudovkin’s Chess Fever, Grass: A Nation’s Battle for Life, talks, a quiz, a tour of the Hippodrome … Book your pass as early as you can to support this wonderful festival.
““I am delighted to present our tenth HippFest… a year later than we originally planned but no less of a milestone!,” says festival director Alison Strauss. “We are looking forward to welcoming back all the many fans of HippFest and to throwing open the virtual cinema doors for audiences joining us for the first time. It’s exciting to think that more people might take the plunge because attendance this year is as easy as turning up in your own front room. This is definitely one of the upsides of a virtual festival. Whilst we will miss all being together under the star-studded ceiling of the Hippodrome we have tried to create a comparable cocktail of screenings with music, workshops, events and activities to sweep you up in the marvellous magic of early cinema. If dressing up is your thing, go for it! If you like mingling with other festival-goers, dive in to our virtual festival hub! However you do HippFest we’re sure you’ll have a great time.”
• The Hippodrome Silent Film Festival takes place online Wednesday 17 – Sunday 21 March 2021. Passes cost £20 or £5 for concessions. To read more about Hippfest and to book, click here.
• Silent London will always be free to all readers. If you enjoy checking in with the site, including reports from silent film festivals, features and reviews, please consider shouting me a coffee on my Ko-Fi page.
Some news from our good friends at the Slapstick Festival this morning. As you know, this annual showcase of physical comedy is a guaranteed good time, and it usually takes place in January, in venues across the city of Bristol.
Well, nothing is going to plan right now and Bristol is currently in the highest tier of Covid-19 restrictions. That means that there will be no IRL event this year, but there is good news, not unrelated to the £11,000 raised by the festival’s crowdfunding campaign during lockdown. Slapstick is shifting to March, and pivoting to online.Continue reading The Slapstick Festival goes online for March 2021, with Clara Bow and Harold Lloyd
I couldn’t let 2020 go by without talking to you about Away, a truly remarkable animated feature, and a modern silent too. This deceptively simple quest film has zero dialogue, and was all, every frame, the work of one man, Latvian filmmaker animator Gints Zilbalodis. He wrote, directed, scored and yes animated this award-winning film over the course of three and a half years.
He admits that that he concocted the screenplay on the fly, but that it soon came to feel that that film’s story was a metaphor for his struggles to complete the film. That’s why I say deceptively simple: beneath Away’s bright, almost cute surface there’s something deeper at work.Continue reading Away (2020): A game of silence
This is a guest post for Silent London by writer/director Alex Barrett. You can watch The Cheaters as part of the London Film Festival until 1pm on Wednesday 14 October.
Following on from the excellent livestreams they’ve been presenting on their YouTube channel throughout the lockdown period, the fine folks at the Kennington Bioscope have partnered with the London Film Festival to showcase The Cheaters (1930) in the aptly named Treasures strand. A rare silent film from Australia, it is the only surviving feature made by the McDonagh sisters – writer/director Paulette, actress Isabel (aka Marie Lorraine) and art director Phyllis.Continue reading LFF Review: The Cheaters (Paulette McDonagh, 1929)
The last night of Pordenone is always bittersweet – the fun is over for another year. There are bags to be packed and it’s time to make one’s journey home, marathons and rail strikes permitting.
The same melancholy accompanied the closing of the 39th Limited Edition, but there’s a note of triumph too. The online version snatched victory from the jaws of defeat, you might say. Fewer films, of course, and none of the bonhomie that brews in the Verdi and the Posta, but something else. A celebration of the global silent film community.
The Giornate welcomed twice as many accredited delegates as usual this year. Many of those will be people who can’t usually travel to Italy, but perhaps there are some among them who might visit for the first time in person next year – the dates are 2-9 October 2021 people, mark it in your diaries. The Limited Edition has been a great advertisement for the real deal.
Three things I can’t resist: a film about a ballerina, a Nordisk romantic drama from the early teens, and accompaniment by John Sweeney. So although I had an elsewhere to be on Saturday, I raced home to catch up with Balletten Datter (Holger-Madsen, 1913). German dancer Rita Sacchetto, known for her Tanzbilder dance interpretations of famous works of art, plays Odette, a feted ballerina who gives up the stage to marry a count. But the footlights are calling, and jealousy is festering between her titled husband and her dance director …
The absolute highlight was a solo scene in which Sacchetto plays dressup in her old stage gear in front of the mirror. A joyous diva moment, thrilling acted and deftly staged of course. This was, I fear, a silly film. But I loved it and the Danish Film Archive is to be credited for its recent swath of first-rate digital restorations, and for making them so accessible in this of all years. Sweeney, of course, did us proud with a film that swung between on and off-stage sequences – he made it all feel like a dance.Continue reading Giornate journal 2020: Pordenone post No 7
By Friday night of Pordenone the cracks are usually beginning to show: sleep deprivation, caffeine addiction and FilmFair splurge-shopping. Are we holding up better or worse in this Limited Edition year? Hydrating, taking regular screen breaks and a minimum of 30 minutes of exercise a day? No, me neither. In fact I am just warming up, and I could handle a silent movie show every night please, for at least a month.
A showstopper of a masterclass today, as the multi-instrumentalists assembled: Gunther Buchwald, Stephen Horne and Frank Bockius. Another double book presentation too, and the announcement of the Jean Mitry prize, but all roads lead to Mary Pickford here on Silent London. And A Romance of the Redwoods, courtesy Cecil B DeMille and Jeanie MacPherson in 1917.Continue reading Giornate journal 2020: Pordenone post No 6
Did you spend your Thursday evening straying with Brigitte Helm? I hope so …
GW Pabst’s Abwege (1928) is, as Jay mentioned in his intro, a certain thread of what we think of when we imagine Weimar cinema. Not the exoticism of Expressionism of high-concept fiction, nor the relentless realism of Street Films, but a sampler of the era’s endless fetisished culture. This is a tale of infidelity, intrigue, independence and the famous temptations of the Berlin nightlife in the 1920s.Continue reading Giornate journal 2020: Pordenone post No 5
Now remind me, did I mention already that I was in Athens recently? Yes, Athens, the cradle of western civilisation. Well I was. And today I returned there via the magic of silent cinema …
But first, an audience with the maestro. I was lucky enough to catch the masterclass today and so I spent a happy hour listening to Mr Neil Brand discussing his career and approach to silent cinema accompaniment. His explanation of how to read a scene backs up my theory that the musicians have all the best critical insights when it comes to silent cinema. It’s all about close reading, and rolling with the narrative punches. Still, catch up with this for yourself if you can – Neil has far more interesting things to say than I do.Continue reading Giornate journal 2020: Pordenone post No 4
Today’s trip to Pordenone should probably have been made available on the National Health, pandemic or no pandemic. In times of stress, laughter is the best medicine, after all.
A real treat this afternoon before the films began was the masterclass of masterclasses. John Sweeney hosted a roundtable conversation between some of the Giornate’s wonderful accompanists: Philip Carli, José María Serralde Ruiz, Daan ven den Hurk and Mauro Colombis. Lots of insights here into writing, recording and improvising silent cinema scores, and I really like the way that Pordenone has incorporated live events into the online limited edition, and especially the sense of collegiate conversation, and the sharing of expertise that characterises a week in the Verdi. This was a superb example of that. Do catch up if you can, if only to understand why John and Philip have such an aversion to thinking of rabbits, or squirrels.Continue reading Giornate journal 2020: Pordenone post No 3
Pordenone is about halfway between Athens and London, right? So at some point on Monday I was probably there, just 37,000ft above it. Travelling cramped my style somewhat at the start of this week, but I don’t give up on silent cinema. Not ever.
It might seem perverse that I was at a open-air cinema in Athens watching Ammonite when I could have been trying to force my hotel wi-fi into rendering a masterwork of Chinese cinema on my laptop,. However, I’ll tell you this: there is a magic lantern scene in Ammonite, while made me smile, ruefully, and remember the fantastic first programme of the day, which of course was …
The Brilliant Biograph! The name contains its own review. Many of you will have seem many of these films before, or at least heard me bang the drum for them, but still, it’s worth reminding ourselves what marvels they really are.
There is nothing like watching a film in Pordenone, the collective joy of sharing a discovery or a fabourite classic, with hundreds of fellow silent film enthusiasts in the Teatro Verdi. This year’s Giornate del Cinema Muto Limited Edition, also, will be nothing like that. We will be dialling in online, streaming films in our separate spaces, alone. But that is not to say I haven’t been anticipating it with relish. I have been counting down the days.
This year I will not be blogging the collective experience of sharing the silents in the Verdi, of discussing them over coffee and spritzes in the Posta. My experience of the festival will be different to yours, very different in some cases. This is my Giornate journal and it won’t be like the ones I have written before.
It’s a silent film fan’s nightmare. I am late for the Giornate! When the first programme was broadcast on Saturday afternoon I was not at home with my projector poised, I was … at a film festival in Europe. Lucky me, I was on the jury of the Athens International Film Festival this year, a festival that took place IRL, in the open-air. So as Pordenone began I was in an outdoor cinema in the National Gardens in Athens, handing out prizes and then watching Christian Petzold’s gorgeous water-nymph romance Undine.
Abwege, otherwise known as Crisis, or The Devious Path, is streaming as part of the 2020 Limited Edition Pordenone Silent Film Festival. You can sign up here – tickets start at €9.90.
Abwege, GW Pabst’s 1928 film about the descent of one respectable married woman into the depth of the notorious Weimar nightlife is one of the unmissable titles in the programme, and it will be available for 24 hours from Thursday 8 October, with musical accompaniment by Mauro Colombis. You can explore the rest of the programme online.
Pabst was born in Austria in 1885. He started out in the theatre, an actor turned director who only began making films in 1923 at the age of 37. He soon became known as an actor’s director, and especially an actress’s director. His 1925 film The Joyless Street, for example, starred both the Danish diva Asta Nielsen and a then little-known Greta Garbo. He also made two films with the iconic Louise Brooks. But Brigitte Helm, the star of Abwege, was the special one for him.Continue reading Abwege (1928): delirious dissolution in the Weimar nightlife
The festival closed, for me at least, on a grim note. Apocalyptic in fact. Perhaps it was end-of-festival anguish. Perhaps it’s just the end of the world as we know it.
Here’s how I rounded off my virtual Il Cinema Ritrovato.Continue reading Home Cinema Ritrovato 2020 #5: To Fight a War
If I were in a Pollyanna frame of mind, I could argue that it was my good fortune to be in cloudy England and not sunny Italy when contemplating spending the bank holiday weekend indoors. I promise you I did some bank holiday-ish things in between films, but I wasn’t going to miss out on virtual Il Cinema Ritrovato. There are a few things more important than movies, but not many.
It was a fine weekend at the sofa-festival. For one thing, on Friday night we announced the winners of the DVD awards, after meeting to discuss the candidates on Zoom earlier in the week (rather than over lunch in Bologna as is customary, but roll on next year).
And then there were the movies. A film such as the recently found and restored Chess of the Wind (Mohammad Reza Aslani, 1976) from Iran really exemplifies all that ‘s so great about this festival, and indeed Cineteca di Bologna and The Film Foundation too. And there was a killer silent feature too, my most anticipated film of the virtual festival: Paul Leni’s Waxworks (1924), brilliantly restored from the BFI’s nitrate print.
So let’s begin.Continue reading Home Cinema Ritrovato 2020 #4: a long weekend online
Simple maths question for you? How long does it take to watch an 85-minute movie? If I had answered “85 minutes” this morning I would have been wide of the mark. It took me more like 140 minutes to get through an at-home screening of Marco Ferreri’s brilliant military satire Donne e Soldati (1955).
That time lag is on me, and my susceptibility to drop what I am doing when a piece of work comes through on email, on the fact that I was doing a load of laundry, that I made coffee and that the postman knocked twice (well, this is a movie blog). I’m not proud of it, and I need to try harder (other screenings today were far less interrupted). I am beyond grateful to Il Cinema Ritrovato for organising this online companion to the festival, so I promise I will get better at tricking myself I am in the Cinema Jolly, and not my front room.
Today’s films were excellent and Donne e Soldati is one of my top recommendations from the fest so far. Away from Ferreri’s medieval siege, we had law courts and circuses galore today. So the question of the day is, I guess, if you absolutely had to be cross-examined under oath, would you rather that Henry Fonda or Mae West was doing the questioning? Be careful, anything you say may be used against you … etc etc.Continue reading Home Cinema Ritrovato 2020 #3: courtrooms and circuses
Day Two of Il Cinema Ritrovato, in this sala at least, was filled with cinematographic splendour, and I am not just talking about Mr Grant’s dimple.
Today we’re dividing the films geographically rather than by era. Don’t @ me, I don’t make the rules. Well, I do make the rules but a) I make them up as I go along, b) I am usually too busy watching films to reply to constructive criticism.Continue reading Home Cinema Ritrovato 2020 #2: Wish you were here
Finally, east London has a world-class archive film festival. Almost.
Il Cinema Ritrovato has shifted a little in time and (virtual) space this year, for reasons I am sure you all understand. The postponed festival is now going ahead in Bologna, Italy, IRL but in late August rather than late June. However, for reasons that are slightly more obscure, I am not there. I am at home in east London, with a laptop, a projector and a white wall. And high hopes. I have very high hopes.
Although I am very sad not to be taking part in the living breathing festival this year but I am determined to make the most of my streaming pass. I intended to clear the week of work as much as possible, but the very second that the first virtual event began, I found myself in an actual cinema, in Soho, for a press screening. Still, the clever people at Ritrovato allow 24 hours for you to catch up with each screening, so as soon as I got home, I was ready to get started.Continue reading Home Cinema Ritrovato 2020 #1: Have fun, honey bunch
I am delighted to share some very welcome news. Personally, I was really sorry that Hippfest had to be cancelled this year – a week or two earlier and it would have been fine. It’s no secret that it’s one of my favourite festivals, so I am already excited about returning to Bo’ness in 2021.
So I am chuffed to my boots to let you know that on Saturday 4 July, at 8pm (BST) Hippfest will be screening a classic silent horror movie with live accompaniment by the maestro Neil Brand on YouTube. That’s what I call a Saturday night. Continue reading Hippfest at home: horribly good news
The news you were waiting for, or perhaps dreading, is here. The Pordenone Silent Film Festival has announced that its programme for 2020 will be postponed until 2021. But! There will be a virtual, “limited edition” version of the festival online this year, running 3-10 October 2020.
The need to make health our number one priority, and the impossibility of welcoming a full complement of international guests in the Teatro Comunale Giuseppe Verdi for our annual rendezvous with silent film, has led the organizers of the Pordenone Silent Film Festival/Giornate del Cinema Muto to shift the 2020 programme set by director Jay Weissberg to 2021. Given that eight days of thematic screenings and events is simply not viable in an online format, the decision has been made to make the world’s leading film archives the Festival’s co-producers, in a sense, offering them the opportunity to present some of their riches online to the Giornate’s public during the established dates.
So, as always but even more so, the festival will be an international collaboration of film archives – and there will be plenty for us to watch. The cinematheques involved include: the Library of Congress in Washington D.C., Lobster Films in Paris, Det Danske Filminstitut in Copenhagen, the China Film Archive in Beijing, EYE Filmmuseum in Amsterdam, the National Film Archive of Japan in Tokyo, together with the Cineteca del Friuli, co-founder with Cinemazero of the Pordenone Silent Film Festival.
There will be everything we come to expect from Pordenone: rarities, restorations, live music, a collegium, the Jean Mitry award and even the bilingual catalogue. I can’t actually wait.
Wait, there’s more. The Giornate has a blog now? I’m beaming.
With an eye to reinforcing the ties between the Festival and its international public, a new blog is being launched this weekend, called La Gatta Muta; or, The Silent Cat, created by director Jay Weissberg and hosted on the Giornate’s website. Its aim is to stimulate discussion by uncovering the forgotten people and episodes of the silent era, privileging storytelling as a path towards rediscovery.
See you in the cyber-Posta!
- Will I blog the whole thing? Why the devil shouldn’t I?
- You can read the full details here.
- By contrast, the Festival Lumière just announced it is going ahead 10-18 October in Lyon as usual. There is no update from Il Cinema Ritrovato yet.
- Silent London will always be free to all readers. If you enjoy checking in with the site, including reports from silent film festivals, features and reviews, please consider shouting me a coffee on my Ko-Fi page