Here’s how to book. Passes for one day or the entire festival can be bought, on the phone only, from the Phoenix box office. Be aware that these passes include screenings at all venues. The prices are the same as they were two years ago, which is a WIN.
Hello, just wanted to share the details of this online course with you because a) it’s all about Victorian cinema b) it’s free c) it’s a partnership between the BFI and the fantastic Bill Douglas Cinema Museum d) it seems like the perfect way to whet your whistle for the British Silent Film Festival in September.
BFI Education are launching a free 3-week online course The Living Picture Craze: A Introduction to Victorian Film in partnership with Exeter University and the Bill Douglas Cinema Museum starting on 2nd September 2019.
Silent film takes a starring role in this course exploring the emergence of a new medium that was set to capture the world’s imagination. Explore the birth of film and the end of Queen Victoria’s epic reign. Using the BFI’s unique collection of surviving Victorian films this course will debate common myths about the period and the materials, as well as examine what the films reveal about the society that produced them.
This course is designed for anyone with a passion for silent film, and Victorian and British history.
Is it too late to tell you about the BFI’s Victorian Film Weekender? Not quite. There’s still time to book for this weekend’s three days of screenings, debates and talks – including a reprise of the magnificent Great Victorian Moving Picture Show, first seen at the London Film Festival. So hurry – go do that – and then mark another date in your diary: Monday 13 May.
That’s when a cavalcade of Victorian cinema will appear online, on the marvellous BFI Player. And it’s all in honour of a bicentenary: it’s coming up to 200 years since Queen Victoria was born, on 24 May 1819. In Canada, they celebrate that date every year as Victoria day. Now we can join in by watching vintage cinema in the great monarch’s honour.
Here’s Bryony Dixon, BFI silent film curator, telling you why you should watch.
“Early British film is a legacy to be proud of, these rare moving pictures document the last years of Queen Victoria’s long reign with a vividness that no other kind of historical artefact can bring. These incredibly rare, fragile film fragments speak volumes, adding colour and texture to our understanding of the Victorians vibrant and rapidly progressing world”
More than 700 British films made between 1895 and 1901 will be available to watch, entirely free of charge, on the streaming site, including those astonishing 4K digital restorations of the 68mm large-format films. That’s around 200 Victorian-era titles from the Mitchell & Kenyon collection and 500 newly transferred films.
The filmmakers responsible include: including RW Paul, Birt Acres, WKL Dickson, James Williamson, Walter Booth, GA Smith, Cecil Hepworth and Walter Gibbon. The quality of many of these films is incredible and the range and variety breathtaking.
Subjects include the Boer War, the Queen’s Diamond Jubilee, the Boat Race, travelogues, boat launches, football, theatre, agriculture and working life. And you’ll be able to spot figures including Queen Victoria, Edward VII, the Duke of Windsor, Tsar Nicholas II, Kaiser Wilhelm II, Pope Leo XIII, WG Grace, Prince Ranjitsinhji, Herbert Campbell, Lil Hawthorne and Herbert Beerbohm Tree. There’s even sound and colour – so hold on to your hats!
I’ve had a little advance peek at some of this, and I can tell you that it’s a fascinating collection – offering glimpses of public and private life from the century before last as well as some seriously experimental filmmaking.
If you’re a BFI Player fan (and why wouldn’t you be?) and you’re not going to be at the BFI this weekend, why not head to the British Life on Film Conference on Saturday 11 May? In this one-day event, scholars from a variety of disciplines will consider how their work has been informed by encounters with archive films recently made available online.
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Alfred Hitchcock’s Blackmail was released 90 years ago this June. This is a version of a piece I wrote for the Loud Silents estival screening of the film in 2015. The 2019 Loud Silents festival takes place 12-14 April in Tampere, Finland.
In Blackmail (1929), Alfred Hitchcock’s final silent film, guilt spreads like a virus across London, from criminal to accomplice, and as it travels, it subsumes the city itself. By the end of this film, even London’s most respectable neighbourhoods will have been transformed by a rippling crimewave. And Hitchcock’s use of key locations in the city maps this disruption, illustrating the terrible consequences of his heroine’s fatal mistake.
Hitchcock was certainly a law-fearing Londoner. He grew up in a flat over a greengrocer’s shop in the eastern suburb of Leytonstone, but by the time he made Blackmail, he had lived, worked and studied all over the city. We know that he was a keen film and theatregoer in his youth, fascinated by lurid crime stories. We also know that he grew up in awe of the police, a terror exacerbated if not born when his father punished him by having him locked in a cell at the local station – he was just five years old. Many of his best films, from The Lodger (1927) to Frenzy (1972), via Sabotage (1936) portray the city of his birth as a dangerous place, stalked by terrorists and serial killers who make the streets unsafe.
Blackmail takes in some of London’s most famous landmarks, from Scotland Yard to the Palace of Westminster to the British Museum, and the first twenty minutes of the film travel full-tilt across the city, from west to east and back again, in the company of a sharp-jawed detective called Frank (John Longden). We begin the movie on the right side of the law, and with the criminals in their expected place. So naturally, we begin at Great Scotland Yard, Whitehall, slap-bang in the heart of the Establishment.
The camera travels with the flying squad on their way to arrest a wrong ’un. We are not privy to the exact address, but the arches and tenements at their destination suggest the inner East End, and the criminal they arrest is straight out of a rogue’s gallery. As soon as the coppers arrive, he reaches for the gun on his bedside table. Continue reading Blackmail’s London: Alfred Hitchcock’s city of crime→
You love the British Silent Film Festival. I love the British Silent Film Festival. We all love the British Silent Film Festival. So I am delighted to share the good news that the British Silent Film Festival is back, back, back for 2019. The 20th British Silent Film Festival will run 12-15 September 2019 at the fantastic Phoenix in Leicester – so save the date, Silent Londoners. Will there be special events to mark that big round 20 number? I don’t know, but I hope so. The 2017 event was absolutely brilliant, so I have great expectations for this year.
Don’t ever make the mistake of assuming the writer wrote the headline. What Gilbey meant, I think, was why hasn’t there ever been a female comedy duo quite as successful as Laurel and Hardy? You could also ask, why hasn’t there ever been a male comedy duo quite as successful as Laurel and Hardy? But that’s not what Gilbey is getting at, writing very perceptively:
Never underestimate the ingrained sexism of male impresarios, who must have decreed that audiences simply don’t respond to female double acts, explaining away the ones that work as exceptions to the rule. But perhaps there is some deeper reason why the sight of two women performing harmoniously together as heightened versions of themselves has never properly clicked, or never been allowed to … Male friendship and rivalry is routinely the stuff of comedy. Does the notion of women getting along – or not – make us so uncomfortable that we can’t even bear to laugh at it?
Perhaps there is something in this. A deep-seated distrust of the idea that women can be funny, which doubles when there are two or more women on screen together? It’s very difficult to measure such a response, though. I’m more interested in where Gilbey went looking for his examples. He starts out in the 70s, and moves forward … citing French & Saunders as a prime example (but character comedy doesn’t count, apparently). Gilbey’s point is that female duos have a tougher time getting recommissioned – we, or the powers-that-be, don’t allow them to thrive. He may well be right there. Continue reading Looking for a female version of Laurel and Hardy?→
Birt Acres was born on 23 July 1854 in Richmond, Virginia. He died on 27 December 1918, 100 years ago today, in Whitechapel, London. For reasons I cannot explain, he is buried in a cemetery in Walthamstow, further out of the city, and just a few minutes away from where I live.
The other day I took a stroll to Queens Road Cemetery, London E17 to take a look at Birt Acres’s grave. It may be hard to make out the lettering in this pictures, but beneath the caption “Peace”, it reads:
loving memory of
A pioneer of the cinematograph
Acres was a pioneer all right – a massively important figure in the history of early British cinema. In 1894, when he was working as a photographer in Barnet, RW Paul sought his expertise on a project of his: the development of a motion picture camera. According to Paul, he rejected Acres’ design suggestions, but they continued to collaborate and Acres patented the new device, so it’s likely his contribution was actually significant. Together, in 1895, they filmed the “first successful motion picture film made in Britain”, outside Acres’s house, Clovelly Cottage in Barnet.
UPDATED: Important news for clever clogses. The dates for the 2018 British Silent Film Festival Symposium are out, and the call for papers is copied below. The headline is that 19 and 20 April are the dates you need, and while the papers will be presented at King’s College London as usual, the the screening day will take place at the historic Phoenix Cinema in East Finchley.
The eagle-eyed among you will notice an addition to the rubric this year: “in Britain or the British Empire” … That should give you something to think about.
This is always an enjoyable event, which leaves me with plenty to ponder and lots more to explore. Last year, particularly, I thought there was a really strong selection of papers.
The BSFFS aims to showcase new research in any aspect of film-making and film-going culture in Britain or the British Empire before 1930. We invite proposals for 15-20 minute papers.
The event will include a day of screenings at the Phoenix Cinema East Finchley on 19 April and a day of papers at King’s College London’s Nash Lecture Theatre on 20 April .
Please submit abstracts of approx 300 words to Lawrence.1.Napper@kcl.ac.uk before 20th March 2018
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.
First things first – you’re all invited to a bank holiday Monday party! Some friends of mine, based in London’s most happening* postcode of E17 will be unveiling a plaque on 1 May 2017 to celebrate a slice of suburban London’s silent movie history. And you should be there!
Walthamstow was home to several movie studios in the silent era – Precision, British & Colonial, Broadwest and I. B. Davidson all had their premises on these streets. Why? Because silent film producers loved to shoot in the suburbs, beyond the “fog zone” of central London, where the air was muggy, and apparently the movie-savvy punters would try to get their faces on camera. But they liked to stay close enough to Theatreland that their actors could get back to work after shooting finished.
So on 1 May, actor Paul McGann (who you may know is a bit of a silent film fan) will be unveiling a special blue plaque to mark the sites of the Precision studios, and he says: “I am proud to be associated with this event to give the deserved recognition to the silent film pioneers of the last century.” There will be more plaques to follow, marking the site of each studio.
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.
Though it was built by the grandest American film corporation, Famous Players-Lasky, no contemporary report of the film studio on the Regent’s Canal ever confused Shoreditch with Southern California. All were in agreement over its incongruous location, noting the contrast of imported glamour and native poverty – unscrubbed children, the smell of fried fish. There was less agreement, however, on what to call it, at least in the 1920s: sometimes “the Lasky studios”, sometimes “Islington” (the local telephone exchange was Clerkenwell; Hoxton is also arguable), often “Poole Street”. “Gainsborough” seems to have stuck only later, probably because of the famous Gainsborough melodramas, made towards the end of the studio’s life in the 1940s. Uncertain nomenclature notwithstanding, Gary Chapman is right to describe his subject as “a microcosm of the evolution of the British film industry during the silent era”.
FP-L established itself in what had been a power station soon after the Great War, apparently in order to exploit European locations and West End playwrights, and sent over some of its most talented staff; but the first films to emerge from N1 were poorly received, and by the time the reviews began to improve the plug had been pulled. Most of the Americans departed by the middle of 1922. They left behind the best-equipped studio in Britain – early difficulties with the London fog having been overcome – but its survival as a rental facility was not guaranteed. The practices of “blind” and “block” booking – mastered by Famous Players-Lasky itself – made it very difficult for British filmmakers to get a look-in, even in British cinemas, and production was in the middle of a five-year slump. As Chapman shows, the producers who took on the Islington studio in 1922–3 were the bravest of a new breed.