Tag Archives: Benjamin Christensen

Phantom Pipes: Häxan at Regent Street Cinema

I am almost home from my festival jaunts, and it seems the weather has turned chilly since I left home. The nights are drawing in, the candles are flickering… it must be spooky season.

Why not kick off your annual creepathon with a screening of a silent classic: Benjamin Christensen’s 1922 demonic drama-documentary Häxan? My excellent friends at Evolution of Horror, who leave no stone in scary cinema unturned, are hosting a screening of Häxan with live organ accompaniment at one of London’s most historic film venues, the Regent Street Cinema.

There’s more. The screening, which takes place this Thursday, 19 October, will be followed by a panel discussion hosted by EOH’s own Mike Muncer, with peerless horror expert Kim Newman, terrifyingly knowledgeable actor James Swanton – and myself, the world’s most squeamish woman, and something of a silent film aficionado, it has been said.

The Evolution of Horror events are always good fun – I have been part of panels for Nosferatu and The Birds in the past, so I know what I am talking about. And to get a sense of EOH’s insightful yet irreverent style, you can explore their treasure trove of podcasts here. Just don’t have nightmares. Well not unless they look as stunning as the work of Johan Ankerstjerne. In which case, be my guest.

As they say here in France: je vous souhaite une bonne séance!

Hippfest 2018: I left my heart in Bo’ness

There is more than one way to build a silent film festival, but perhaps some events might like to acknowledge twins – fellow fests that take the same approach to curating and commissioning archive cinema screenings. I think I have found a kindred spirit for the Hippodrome Silent Film Festival. I wonder if they would agree?

Saturday night at Hippfest was a bit of a departure – a horror double-bill. Is this the start of a new tradition? If so, it has begun well. We finished the night with Benjamin Christensen’s loopy house-of-horrors caper Seven Footprints to Satan (1929), gorgeously accompanied by a brilliant new score from Jane Gardner. The first feature was a classic: Lon Chaney as the villainous double-amputee Blizzard in the sharp shocker The Penalty (Wallace Worsley, 1920). That film is set, beautifully, in San Francisco, which was perfect – at least according to my latest theory!

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