The San Francisco Silent Film Festival has just closed for another year. Four days of movies and music at the sumptuous Castro Theatre – and this time I was actually there! Pinch me, I still can’t believe it’s true. In this short podcast, I run through a few of my highlights of the weekend and try to give a flavour of this fantastic event. Enjoy!
Laughter is sunshine, it chases winter from the human face – Victor Hugo, Les Misérables
Sometimes, a seven-hour epic will come along to sweep you off your feet. At other times, 18 minutes will do the same job, or even just a few seconds. Friday at the Giornate was Laurel and Hardy’s day and no mistaking. The happy discovery of the missing reel of The Battle of the Century (1927) has been dominating the runup to the festival, and with good reason. The house was full for the evening screening, one of the first in the world, of the nearly restored, almost complete two-reel comedy. When I say full, yours truly was perched in the gods, nearly touching the ceiling. But if I was giddy, it was with excitement, and as Battle unspooled with its restorer, Serge Bromberg at the piano keys, we all felt a little thrill I’ll bet. The central pie fight sequence is slapstick gold – expertly orchestrated, constantly inventive and teasing us with the escalating violence. So often a group are poised with pies in hands … we know another splat is on its way, but we don’t know where it will come from. And because of that, seeing it in proper context, as a counterpoint to the damp squib boxing match in the first reel, was hugely satisfactory. The pie fight’s no longer a scene, but part of a real movie, albeit one with one sequence still missing.
And with that, Stan and Ollie were gone. To be replaced by something else entirely. Days don’t tend to have themes here at Pordenone, The programme is far too wide-ranging and eccentric for that. But Friday, I like to think, was also western day – with a feminine twist.
The morning dawned with cowboys – and what you might call cowgirls too. These short movies from the 1910s were equal-opportunity adventures, with women exploring the west along with their men. Of the few I saw, I most liked How States are Made (1912), in which a pioneer family must lay stake to their plot in the Cherokee Land Rush, but with hubby out of action due to a gunshot wound, it’s up to the missus (Anne Schaeffer) to ride west and beat their rivals in the big land rush.
A double-bill (of sorts) of Victor Fleming westerns followed, and picked up the theme too. After a snippet of The Call of the Canyon (1923) in which young Carley must decide whether to follow her man out of the city and into the frontier land, we were treated to To the Last Man (1923), which was a real triumph. This film is based on a novel, which was based on a real family rivalry, a blood feud no less, which claimed several lives. In the fictional version at least, a youngster from each family have fallen in love, Romeo and Juliet style. As the two lovers, Richard Dix was a solid and handsome hero, and Lois Wilson was fantastic as young Ellen, seemingly the only woman for miles and miles around, whose reputation was cruelly slandered as a result. Lushly shot by James Wong Howe, with plenty of ferocious action (which Stephen Horne wrung the most out of), this was a winner from beginning to end. Except for one thing: this was a Russian print, and so were the intertitles, which means we now had third-hand versions of each line, which were often baffling, and sometimes incomprehensible. “And then your kisses were come-at-able,” for instance. This was really a minor inconvenience, but added a sour note to what would otherwise have been a sweet, sweet movie. Continue reading Le Giornate del Cinema Muto 2015: Pordenone post No 7