I was allowed into the vaults under the Alps near Geneva where all the materials of Chaplin’s working life are kept. There I examined the boxes containing the sketches and materials used for the 1942 revision. I found the sources of the pieces I could only guess at, as well as sketches for sequences that were in the 1925 version but cut in 1942.
Tickets for The Gold Rush are available here. Plus, for a limited time only, you can get a 20% discount if you call the box office (0844 847 9910) and quote ‘London Film Museum’.
It’s New Year’s Eve, so it’s time to get your dancing shoes on. Here’s a little cinematic inspiration for those of you anticipating a “foxtrot epidemic” tonight, courtesy of Ernst Lubitsch’s The Oyster Princess (1919). Happy New Year, everyone!
Could this be the final screening of the restored, extended, reconstructed, fragrant Metropolis in London this year? Metropolis is showing at the Prince Charles Cinema, just off Leicester Square, at 8.30pm tomorrow night, ie Thursday 30 December. If you haven’t been to see Fritz Lang’s science-fiction epic this year, and yet you have been to see Tron: Legacy, may we politely suggest that that was an error?
Metropolis screens at Prince Charles Cinema at 8.30pm on 3o December. Tickets are £6.50 or £4 for members, and they’re available here.
It’s all about the archives this February at BFI Southbank. The stand-out feature for us is What Next? (1928) directed by and starring Londoner Walter Forde. Encouragingly, this film was recently discovered as a result of the BFI’s Most Wanted project, which searches for lost films. Forde, born in Lambeth in 1898, started out in musical halls before becoming a popular film comedian, then gradually moved into directing. What Next? is described as a”cheerful farce” and features a “deranged archaeologist” chasing our hapless hero around a museum at night in pursuit of a valuable Egyptian candlestick. As a bonus feature there’s a short film, Walter the Sleuth (1927). Both films are, of course, accompanied by live piano.
What Next? is screened in NFT2 on Wednesday 2 February at 6.10pm and will be introduced by a curator of the BFI archive.
There are also archival treasures to be found in the Tales From the Shipyard season, which opens with a compilation launch event on 7 February. At that event, and on 17 February as part of the A Ship is Born in Belfast programme, you can see footage from 1910 of the SS Olympic, which was the Titanic’s sister ship.
The Tales from the Shipyard launch event is on Monday 7 February in NFT1 at 6.20pm
A Ship is Born in Belfast is on Thursday 17 February in NFT2 at 8.30pm.
The most intriguing item is a talk on 19 February called The Tragic Launch of HMS Albion. Film-maker Patrick Keillor will be joined by the BFI’s Bryony Dixon, John Graves from the National Maritime Museum and London historian Chris Ellmers to discuss the terrible events of 21 June 1898. On that day, the battleship HMS Albion was christened, but as it entered the Thames, a wave caused a platform bearing spectators to collapse, and 34 people were drowned. The ship’s launch and the subsequent disaster were being filmed – so the debate will cover the ethics of documentary film-making, as well as providing historical context.
The Tragic Launch of HMS Albion is on 19 February from 11am to 4pm in NFT3 and tickets are £5
The BFI’s Tales From the Shipyard DVD will be released on 14 February.
This tale of two cities is a very cool way to spend a Sunday afternoon. The classic Berlin: Symphony of a City (1927) montage documentary directed by Walter Ruttmann is paired with a film that partly inspired it: Manhatta (1921), based on Walt Whitman’s poem Mannahatta. Both films create portraits of cities rather than character-driven narratives. It’s an idea that’s radical even now, and both of these films are beautiful works of modernism. What better to watch in the sleek 60s architecture of an arts centre in the east end of London?
Accompaniment for the films comes from the saxophone and keyboards of German group Reflektor2. The duo, Jan Kopinski and Steve Iliffe, toured the UK last year with a live score for Der Golem (1920) and have written scores for many other silent films.
Berlin, Symphony of a City and Manhatta screen at 4pm on 6 February 2011. Tickets are £10.50 full price but £8.50 online and less for concessions. They’re available here.
Hello. As it’s Christmas time, many of us are thinking about giving gifts, and helping people less fortunate than ourselves. I am no exception to that – and I have recently found out about a charity that does fantastic work, which film lovers might like to support. Open Cinema is “a nationwide network of film clubs programmed by and for homeless and socially excluded people”. The idea is that socially excluded groups, whether rough sleepers, recovering drug addicts, former soldiers or migrant workers, can come to an Open Cinema to watch a film, meet film-makers and have a go at making a movie themselves. You can take a look at the variety of films they show here.
This is quite simply a brilliant idea. If you’ve ever experienced the joy of sharing a much-loved film with a friend, you’ll know why. But they put it much better than I could:
People suffering from homelessness and deprivation urgently need the benefits of culture, as well as information and food. Entertainment and culture are another kind of nourishment, and have been shown by research to measurably contribute to the mental health and wellbeing of socially marginalised people.
Our work is supported by research carried out by Broadway, one of London’s leading homelessness charities, together with Westminster Primary Care Trust. It revealed that taking part in social and cultural activities provided significant benefits to mental health. These included the alleviation of isolation, the reduction of anxiety and depression, and the promotion of relaxation and healthy sleep patterns.A study conducted by the Salvation Armyfound that 51% of their clients spent most of their time alone, lacking support networks and beneficial relationships.
If you want to help Open Cinema, who have branches in Newcastle and Bradford as well as several in London, you can donate, volunteer or become a friend for £10 or £20. That’s the cost of a DVD – and guess what, with the £20 option you do receive a free DVD of short films made by people participating in Open Cinema events.
All the details are on the website here. And you can follow Open Cinema on Twitter here.
There are a heck of a lot of end-of-year lists floating around at the moment. But most of them are dominated by talkies. To rectify this, allow me to present The Silent London End of Year Poll. I’m looking for the best silent film show of the year – anywhere in the world. And I’d like your help.
If you love going to watch silent films with live music then there have been ample opportunities to indulge your passion this year. The scene is thriving in London, not that we wouldn’t like to see more screenings. And my Twitter spies tell me that from New York to Paris to California to Sussex people are enjoying silent cinema shows of all kinds. So what has been your personal highlight of 2010? The show that introduced you to silent film or reinvigorated your appreciation of it? A new film or musician that blew you away – or a classic done just right?
Christmas is coming and we all deserve a little treat, so it’s worth knowing that on two afternoons next week, the ICA is showing the new restored Metropolis. At 145 minutes long, that’s a deliciously long respite from the Christmas shopping, and the ICA is only two stops down the Bakerloo line from Oxford Circus. Can you afford not to?
Metropolis screens at the ICA on 22 and 23 December at 3.30pm. Tickets are £9 or £8 for concessions, and are available online here.
Consider this a teaser trailer. The British Silent Film Festival returns to the Barbican in April – and some of the screenings have already been announced. The theme is Going to the Movies: Music, Sound and the British Silent Film – no great surprise, as the festival is presented in partnership with the Sounds of Early Cinema in Britain project. As well as lectures and clip shows, five standalone film screenings are listed:
Beau Geste (1926)
Hollywood director Herbert Brenon’s adaptation of the best-selling British adventure story about the Foreign Legion starring the quintessentially English Ronald Colman.
US director Charles Brabin’s take on the British music hall starring Hollywood’s favourite flapper Colleen Moore.
Paul Fejos’s brilliant part-talkie where dialogue was introduced as a novelty in this story of two lonely people trying to find love in New York. The film features a fantastic jazz-fuelled parade in Coney Island.
Yu Zhelyabuzhsky’s rarely seen Soviet fantasy about a stepdaughter who is driven out to face the spirit of winter is here presented with its original music score rediscovered and reconstructed for orchestra. Presented in conjunction with Sounds of Early Cinema Conference.
I Was Born But … (1932)
Ozu’s classic family comedy marks the very end of the silent period. As one of the greatest silent films ever made, it is screened here to celebrate the artistic excellence which the silent cinema had achieved.
So, clearly the festival is not limited to British films, and with several compilation programmes, including New Discoveries in British Silent Film – there is lots to look forward to. The promise of an orchestral score for Morozko is intriguing, as is the Ozu film, which will surely be very popular. As soon as we know more, such as accompanists and individual dates, we’ll post it here. Until then, read the Bisocope’s post about the festival here, and consider your appetite well and truly whetted.
The 14th British Silent Film Festival takes place from Thursday 7 April to Sunday 10 April at the Barbican Arts Centre, London.
It’s a fairly safe bet that the discerning readers of this blog won’t be buying Matt Cardle’s single this Christmas.* But what should we be slipping into the fleecy stockings of our loved ones instead?
Well, in a moment of rare cross-medium helpfulness, Silent London advises you to forgo Surfin’ Bird, When We Collide and anything that has ever been recorded by Cliff Richard, in favour of 4′ 33″ by Cage Against the Machine. Not just because it’s the most genuinely subversive record to have a chance of entering the UK charts in ages, but because of the video. Yes, there’s a video, and it’s a thing of beauty.
Before visiting the Capturing Colour exhibition, I did a little light background reading on the subject of colour photography. Rather swiftly, I remembered why Physics was not my strong point at school. However, the exhibition at Brighton Museum and Art Gallery chooses to dazzle rather than baffle, using photographs, projected films and video to help tell the story of the development of colour photography.
“I think that exhibition is an important part of film preservation and the audience participation is part of that as well. If you bring somebody whether it’s a date or kids, you’re helping to build the audience for these great films.”
Yes, this film is dated 2010. Silent film-making didn’t keel over and die when Al Jolson waved his jazz hands in 1927, though we admit modern silent films are rare beasts. The Tenement Ghost is unusual on two counts – it’s silent, and it is being distributed online.