More silent film goodness to look forward to in 2018, and this time a little closer to home.
The 2018 edition of Bristol’s Slapstick festival takes place at venues across the city centre from 25-28 January and tickets are on sale now. If you’re not familiar with this event let me tell you how it breaks down. Funny films. Funny people. That’s it, really. The Slapstick Festival celebrates the tradition of visual comedy on screen, beginning in the silent era. And it invites famous comedians to present and share their favourites, as well as a host of experts and the best silent movie musicians in the business.
So next year, silent comedy fans can look forward to:
- The Silent Comedy Gala at Colston Hall on Friday night will be hosted by Tim Vine. The headline film is the superlative Sherlock, Jr, accompanied by Charlie Chaplin’s A Dog’s Life and Angora Love, starring Laurel and Hardy. The Buster Keaton feature will be accompanied by the world premiere of a new, semi-improvised score composed by Günter Buchwald and performed by the renowned European Silent Screen Virtuosi and members of Bristol Ensemble. A Dog’s Life features Chaplin’s own composition for the film and will be performed by a 15-piece Bristol Ensemble conducted by Buchwald.
- Comedian Lucy Porter introduces two screenings of female-led silent comedies at the Watershed Cinema: Betty Balfour in The Vagabond Queen, and Constance Talmadge in Her Night of Romance. Porter is great at these intros, both knowledgeable and passionate, so don’t miss these. Music by John Sweeney too.
- Someone else who is rather good at introducing silent movies is Kevin Brownlow, who will introduce a lesser-known film, Skinner’s Dress Suit, starring the brilliant Laura La Plante and Reginald Denny. Piano accompaniment by Daan Van den Hurk.
- Meet the Austrian answer to Laurel and Hardy, Cocl and Seff, with a screening of some of their rarely seen work at the Watershed, with music by Stephen Horne and Elizabeth-Jane Baldry.
- And there will be a chance to see even more rare films at a screening called Lost and Found, in which collector Anthony Saffrey and historian David Robinson will present some recently rediscovered silent comedies, from André Deed (AKA Foolshead) Marcel Perez, Max Linder, Karl Valentin and more. Music will be provided by Elizabeth-Jane Baldry and Daan Ven den Hurk.
There is little so dispiriting as a joke that has to be explained. I don’t pretend to speak for Charlie Chaplin as a rule, but I am fairly sure he would agree with me on that one.
A joke that takes people in, that fools them into swallowing impossible truths? Well that can be funny, but dangerous too – we tend to hope national newspapers won’t fall for them.
A week or so ago I posted about a story in the Mail on Sunday that didn’t add up. The newspaper claimed that Chaplin had been offered, rather grudgingly, a screentest by Universal in 1912, to replace the misbehaving Buster Keaton, but having seen him in action, decided he wouldn’t do, certainly not with that hat, that moustache, that silly walk and that name. If it quacks like a duck and all that – the story sounded like nonsense, and it was, too. Almost.
“I took one look at the script, and asked him if he ate welsh rarebit before going to bed at night.” Buster Keaton’s first impression of Samuel Beckett’s only foray into the cinema, Film, is entirely understandable. Although no one would wish its nightmarish scenario to appear in their own cheese dreams. This short, dialogue-free existential chase movie was made in 1966 starring a near-septuagenarian Keaton – and it remains one of the most intriguing corners of film history. The Nobel Laureate’s film might promise slapstick, but as Ross Lipman the director of a documentary on the work, NotFilm says: “It was at once an investigation of the cinematic medium, and of the human experience of consciousness.” Popcorn, anyone?
Keaton plays O, a man pursued by a camera, E. Object and Eye. O runs away from E, and when cornered in a room, goes to desperate lengths to avoid its piercing gaze. The reveal at the end of the movie is chillingly sinister, even if you see it coming. The film is shot in black and white, and although Keaton has aged, he is still recognisably the acrobatic star of the 20s – his pork-pie hat is worn at an angle, an eye-patch caps those famous cheekbones. The mood is bleak, paranoid, the camera is unsteady, Keaton shifty.
Beckett was displeased with Film, despite conceding that it contained “the strangeness and beauty of pure image”. The critics were unimpressed at the time, but as is so often the way with these things, the reputation of Film has risen with time. This art film has become, in its own way, a cult movie: very hard to see, and referred to or homaged almost as often as it is screened. The theatrical release of Lipman’s brilliant “kino-essay” documentary was very welcome – offering historical background, cinematic context, and critical interpretation for Beckett’s movie. (I wrote about that last year for the Guardian.)
The Mail on Sunday ran a news story about Charlie Chaplin last weekend. I missed it at the time, but the story came to my attention when it was featured on Have I Got News For You (for non-Brits, that’s a satirical news quiz on the BBC). Panellist Paul Merton, who knows a thing or two about Chaplin, pulled quite a face when he heard it. You may too, when you read on.
The story, written by David Wigg, who seems to be an occasional correspondent for the Daily Mail and Mail on Sunday, mostly on showbiz stories, is about a set of correspondence from 1912. The papers were discovered in the archive of the Grand Order of Water Rats, and concern one of the society’s most famous members, Charlie Chaplin.
The story goes, and please put down your tea before continuing, that Charlie Austin of the Water Rats, well-connected in London theatre circles, had recommended Chaplin to the Universal film studio in America. The executives there wanted to replace Buster Keaton, as he had become far too demanding. A reply from Universal voices several concerns about Austin’s suggestion of Chaplin as a potential film star. He would, the letter says, have to change his appearance, his act and his name. The year, I remind you, is 1912.
The studio wrote: ‘The moustache must go and Chaplin will have to change name. Too easily confused with another comic Charlie Chase. Also Chaplin sounds Jewish.’
The memo added: ‘Please send in new ideas and new name in case tests are successful. Also, do not allow Chaplin to walk comically. This may look alright on English Music Hall stages but for mass audience we must try to avoid offending people who are bow- legged or cripples. DO NOT let him over-act. Try other hats and caps, possibly even beret.’
Hold up. Yes, I know.
In a further letter, Austin says that Chaplin “strongly objects” to changing his makeup and style (as if he has discussed the offer with the actor). Undeterred, Universal pays for Chaplin to travel to the US for a screen test in January 1913, but finds him to be unsuitable for screen work even though he apparently changed his “act” for the occasion:
Universal’s verdict was scathing: ‘Test unsatisfactory. Very bland style, no personality and too short. Please keep looking for comics. Keaton becoming impossible.’
It’s a classic story of the star who got away, like Dick Rowe turning down the Beatles, or that possibly apocryphal MGM screen test for Fred Astaire, which summarised: “Can’t act. Can’t sing. Slightly bald. Can dance a little.” It also paints an unattractive picture of Hollywood types as both absurdly politically correct (concerns about mocking “cripples”) and either anti-Semitic or at least worried about pandering to that prejudice. It’s fun to look back with hindsight at fools in days gone by who couldn’t appreciate the talent that is clear to us now.
But if you have any knowledge of the facts of Chaplin’s life or of early Hollywood, this story is pretty much bilge from beginning to end – with just a smear of truth to make it believable. It’s almost impossible to know where to start with this nonsense. But let’s begin with this:
If you want to see Buster Keaton on the big screen next weekend, go see John Wick 2 – but be careful not to blink. The action sequel opens in New York, with a Buster Keaton movie being projected on the external wall of a building. Why? “We want to let you know we’re having fun and we stole this all from silent movie people,” says director Chad Stahelski.
As soon as you have clocked, and cheered, the reference, the action has begun, down on the streets with a blistering collision between a motorcycle and a car. The movie’s opening sequence is very funny, hugely violent, and actually a pretty clever example of how to cover a lot of exposition (for those like me who hadn’t seen the first film) with a minimum of dialogue. All you need to know about the plot, and all I can really tell you, having seen the film, is that John Wick (played by Keanu Reeves) is a hitman, with a revenge motive. The film takes him from New York to Rome and back again – and en route, he kills a hell of a lot of people.
The nods to silent cinema don’t stop with the Keaton film, though*. One of the movie’s key shootouts takes place in a hall of mirrors. Very Enter the Dragon (1973), a little The Lady from Shanghai (1947). But surely Chaplin got there first with The Circus in 1928. Despite his smart suit, John Wick is essentially a tramp like Charlie – homeless and friendless, he’s a hired hand for a shadowy and moneyed elite, and he’s happiest trudging about with his dog by his side. The film reveals a fearsome network of derelicts, in fact, assassins just like Wick who pass through the city unseen. When Wick puts on his fancy togs and goes to a party his presence is disquieting – he’s not one of the in-crowd, but someone they have hired to do their dirty work. That tension is the source of many of Chaplin’s best gags.
The consensus view on Clyde Bruckman was summed up by Tom Dardis, biographer of Harold Lloyd and Buster Keaton: “he was not very funny, and he drank too much”. Matthew Dessem’s The Gag Man, an entertaining and revelatory study of the writer-director, does little to erase that image, but does examine how he came to “direct” some of silent cinema’s greatest comedies, and tells one heck of a Hollywood yarn.
Bruckman was a journalist who entered the film industry as an intertitle writer, before becoming a “gagster”. The “gag men” would conceive visual jokes for silent comedies, working in groups, throwing ideas around, so it’s tricky to say who did what. However, Bruckman is credited with the brilliant concept for Buster Keaton’s The Playhouse (1921). The star had a broken ankle, which limited his usual acrobatic display. Bruckman sketched out an idea for creating laughs out of camera trickery instead of physical exertion. Thanks to deadly timing on behalf of cameraman and star, the multiple exposures work perfectly, including a triumphant sequence in which nine Keatons dance together.
I reported on one Buster Keaton restoration project in the summer – and now there is another one. This one comes to us courtesy of the fabulous Lobster Films in Paris, and proves that there is more than one way to skin a cat.
This project has both a narrower and a wider focus – the aim is to complete restorations of Buster’s short films only, but the list runs to 32 and includes those that he made with Roscoe Arbuckle, such as his movie debut, The Butcher’s Boy (1917). And Lobster will be taking elements from archives and collections around the world, to get the best possible result. Not only that, the team will be commissioning new scores for all the films that they work on.
Here’s an extract from the polished version of The Playhouse (1920), to show you what is planned:
It’s a much shorter project, in terms of timeframe, also. Lobster hopes to be done and dusted around the beginning of the new year, and to get the scheme going, it has launched a Kickstarter deal, running all this month
I’ll let the amazing Serge Bromberg explain further, and persuade you to kick in some coins:
Can you ever have too much Buster Keaton? I will let you decide that for yourself, but just think that if you do cough up, wherever he is, old Buster might look down on you and smile. Almost.
Charlie Chaplin and Buster Keaton – the Beatles and the Rolling Stones of silent comedy. They say you have to pick one to love, but there is nothing to stop you admiring both. If you’re a Keaton devotee, though, you may have watched the progress of the Cineteca di Bologna’s Chaplin Project with green eyes. Though of course your expression will have been too deadpan to reveal your true feelings.
Over several years and many gala screenings, the Cineteca and the L’Immagine Ritrovata lab, working in collaboration with archives, labs and historians across the world, restored all of Chaplin’s works to the utmost technical standards. You can see the results of these labours in releases such as the recent Chaplin Mutuals Blu-ray, which really is worth adding to your Christmas list. Now it’s Buster’s turn. Using material from the Cohen Film Collection, the Keaton Project will set about buffing and shining all the silent shorts and features made by the Great Stoneface. It’s a mammoth task for the ladies and gents in the lab, but a massive treat for those of us who get to watch the finished films.
Join us at London’s famous Hideaway Jazz Club for our Buster Keaton Special! Some of Buster Keaton’s most well loved short films and a few surprises along the way … Live piano accompaniment by Tom Marlow, musician at The Lucky Dog Picturehouse (performed: BFI, Wilton’s Music Hall)
We’ve got a fantastic offer of FILMS PLUS BUFFET just £13 (£10 concessions) next Thursday 24th July at the famous Hideaway Jazz Club, Streatham. Click here to buy tickets.Advance Tickets include finger buffet from the Hideaway kitchen. Please arrive at 7.30pm for buffet (includes vegetarian selection).
Please note: Tickets purchased after 21st of July will not include the buffet selection, but will be at the reduced price of £10. Food may be ordered separately at the venue.
But don’t forget – The Lucky Dog Picturehouse has two pairs of tickets to give away to Silent London readers. Just email your name to firstname.lastname@example.org to enter the ballot. Here’s hoping you’re a lucky dog too!
Buster Keaton’s The General (1927) goes on theatrical release this Friday – which should be cause for celebration and mass ticket-buying among all of you. However, if you are a regular reader of this blog, you have probably seen this classic, poll-bestriding Civil War caper before, very possibly in the dim and distant. What worries me, what keeps me up at night, is that if so, you may feel a bit “so-whattish” and “seen-it-all-beforeish” about Keaton’s masterpiece. That would be a tragedy, as The General is one of the funniest, most ingenious and gosh-darn exciting films you will ever see in your long and happy life. If familiarity has bred a touch of contempt, or just complacency, in your bosom, I would gladly bend your ear about the pin-sharp 4k transfer, and the booming rendition of Carl Davis’s nimble and turbo-charged score on this digital print. But that geeky stuff isn’t for everyone, so if that doesn’t tempt you, here are five more reasons to see The General … again.
The early, funny stuff
So we all know The General as a chase film, packed with stunts and crashing locomotives. Well, it actually starts in a very sedate fashion, as our hero Johnnie (Buster Keaton) goes to visit his girl Annabelle, who prompts him to enlist and fight for the South. Patience is a virtue – don’t be in a rush to get to the fast and furious business on the tracks. Johnnie’s pratfall as he leaves Annabelle’s house, the beautiful recruiting-office sequence and that wonderful selfie of Johnnie and his other beloved are all worth arriving at the cinema nice and early for. The scene-setting opening ends with one of the quietest, but most dangerous stunts in the whole movie, as Johnnie perches forlornly on the coupling rods of a locomotive that is picking up speed …
The General‘s Southern belle is far more than a damsel in distress. To be frank, she’s a pain in the neck – watch her daintily selecting firewood and feel Johnnie’s pain. But to be fair, she takes more than her share of punishment too: kidnapped, soaked (twice), caught in a bear trap, stuffed into a sack and loaded as freight. Not only that, but consider this: to paraphrase Ginger Rogers, you try doing everything Buster Keaton does, but backwards and in a crinoline.
There is another reason to take note of Annabelle – she is played by a fascinating woman. Marion Mack knew more than most about the silent movie business. A former Mack Sennett Bathing Beauty, she later turned her hand to screenwriting, including a semi-autobiographical flick called Mary of the Movies, which she also acted in. In the the 30s, she even wrote a talkie short for Keaton. And when critical favour began to smile on The General in the 70s, she was on hand to speak at screenings and festivals, explaining what it was like to play one of Keaton’s not-so-straight women. We don’t have opportunities like that any more, so thank you Marion.
Yes, that is a real train
The one that falls through the burning Rock River Bridge? Yup. It’s not a model (you’re thinking of The Blacksmith). And if you thought it was CGI – shame on you. Famously, the destruction of the train in The General is the most expensive shot in silent movie history, and it’s a salient reminder that everything you see on screen here is real – including the danger that Keaton and Co frequently faced as they went about those wild stunts.
Those damn Yankees
Marion Mack isn’t the only thing here that gives us a flashback to Mack Sennett’s mid-teens romps. Those Yankee soldiers giving chase to Johnnie and Annabelle are enjoyably, hilariously inept. Hoot as a whole gaggle of them fail to fix the points our man has so thoroughly snookered, until their driver appears with a an axe and a shove; chortle as they topple like dominoes with every jolt of the engine. These buffoons are Keystone Kops in all but name. A guilty pleasure in a very sophisticated film.
War is hell
It’s not all larks and big kids playing with big train sets, of course. The General is a war movie, based on a true story – the hijacking of a train headed for Chattanooga, Tennessee. And it’s easy to forget that The General has a rather grim battle scene of its own, with swords and snipers and several deaths. Even the jokes fail to lighten the mood here. The flag gag, in which Johnnie grabs a confederate pennant from his falling comrade’s hand, and waves it in victory from a rocky outcrop, only to discover he has seriously misplaced his feet, is an unexpected splash of black humour. It’s a nifty moment that sharply undercuts any jingoistic vibes you may get from this story of a plucky underdog and his little engine that could.
If you see The General on its extended run at BFI Southbank, it will accompanied by Keaton’s sublime early short One Week. If you were to ask me, right now, which of the two were the better film, I would have to say … “tough call”.
This is a guest post for Silent London by Alison Strauss, director of the Hippodrome Festival of Silent Cinema, Bo’ness. The Silents by Numbers strand celebrates some very personal top 10s by silent film enthusiasts and experts.
Our Dancing Daughters (1928, Harry Beaumont)
The moment when fun-loving flapper Joan Crawford launches herself on to the dance floor and sets the party alight with a high-tempo Charleston, ripping her skirt to a more liberating length as she goes.
Danse Serpentine (1896, Auguste and Louis Lumiere)
The 45-second kaleidoscopic record of a vaudeville dance – created by pioneering dancer Loie Fuller – in which an anonymous performer elegantly whirls her arms in the long-flowing fabric of her costume to mesmerising effect, thanks to the immaculate hand-tinting work of the Lumiere Brothers’ army of finely skilled women behind the scenes.
Pandora’s Box (1929, Georg Wilhelm Pabst)
Trained dancer and former Ziegfeld Follies girl, Louise Brooks is electrifying as Lulu, especially when, with all eyes on her, she takes to the floor at her own wedding with yet another admirer – a female guest – and the pair dance in a sexually charged vertical embrace.
The Four Horsemen of the Apocalypse (1921, Rex Ingram)
Another raunchy tango, this time with Rudolph Valentino in a sequence that launched him as a legend. The woman in Julio’s arms submits to his overpowering masculinity in this iconic routine that set the standard for all subsequent movie tangos.
(Watch from 14 mins, 50 seconds)
That’s My Wife (1929, Lloyd French)
Stan Laurel is persuaded by Oliver Hardy to masquerade as his wife in order to secure the bequest of a rich uncle. In one of the funniest sequences Stan, looking lovely in an evening gown, dances the two-step with Ollie in an effort to shimmy a stolen necklace down through his undergarments!
This is a guest post for Silent London by Paul Joyce, who blogs about silent and classic cinema at Ithankyouarthur.blogspot.co.uk. The Silents by Numbers strand celebrates some very personal top 10s by silent film enthusiasts and experts.
Cinematic dreams are a staple of the silent era more than any other, possibly because much of what was on screen had only previously been experienced in dreams for contemporary audiences. Now our dreams are founded on over a century of cinema and we’re so much harder to impress but … we can still dream on. Here’s a top ten of silent dreams with a couple of runners up as a bonus.
The Astronomer’s Dream (1898)
A madly inventive three minutes from George Méliès in which an old astronomer is bothered by a hungry moon as the object of his observation makes a rude appearance in order to eat his telescope.
Dream of a Rarebit Fiend (1906)
A feast of special effects in Edwin S Porter’s cautionary tale on the matter of over-indulging in beer and cheese. Jack Brawn plays the titular fiend who suffers all manner of indignities once he staggers home to his bed, whereupon his sleep is interrupted by rarebit imps and his bed flies him high into the night sky … Proof that the whole cheese-and-dreams rumour is actually true.
In August Blom’s classic – the first Danish feature film – Olaf Fønss’ doctor dreams of walking through the sunken city of Atlantis with his dead friend, as the passenger ship he is on begins to sink. It’s either a premonition or recognition that his true feelings have been submerged … JG Ballard was obviously later inspired to write The Drowned World.
Poor Little Rich Girl (1917)
After being accidentally overdosed with sleeping draught by careless servants, Mary Pickford’s character falls into a deep and dangerous sleep … As she hovers on the edge of oblivion the story runs parallel between the doctor trying to save her and her dreams in which those she knows are transformed in her Oz-like reverie. Sirector Maurice Tourneur excels as “the hopes of dreamland lure the little soul from the Shadows of Death to the Joys of Life”.
When the Clouds Roll By (1919)
Douglas Fairbanks is harassed by vengeful vegetables after being force-fed too many in an effort to drive him to suicide (yep, it’s a comedy). Directed by Victor Fleming, who later returned to dreams with Dorothy and that Wizard.
Continue reading The top 10 silent film dream sequences
The funniest weekend of the year is back: Bristol’s own rib-tickling Slapstick Festival. This year marks not only the 10th year of the festival but, as you all very well know, the 100th anniversary of Chaplin’s iconic Little Tramp. The Slapstick Festival will be celebrating the tramp in fine style with an orchestral gala screening of the the wonderful City Lights (1931), recently voted into the Top 10 Silent Movies by the Guardian and Observer. The screening will be introduced by comedian Omid Djalili and music will be provided by the 39-piece Bristol Ensemble.
There’s a full weekend of funny films beyond the Chaplin too. Check the listings below for details. Notable screenings inlcude the Societ laugh-riot The Extraordinary Adventures of Mister West in the Land of the Bolsheviks (1924), the rarely shown Raymond Grifffith romp Hands Up! (1926) and a chance to see Constance Talmadge in Her Sister From Paris (1925). And don’t miss Harold’s Lloyd’s classic Safety Last! (1923) with Radio 4’s Colin Sell on the piano.
More treasures are to be found in the talks and lecture events: David Robinson on the Tramp, Kevin Brownlow on Chaplin and the Great War, all three Goodies on Buster Keaton and Graeme Garden delving into the work of German Jewish comic Max Davidson.
There will be some modern work featured too: from Wallace & Gromit (naturally) to The Meaning of Life and Withnail & I. Yes, Tim Vine will be offering a tribute to Benny Hill too!
The 10th Slapstick Festival will be held at various venues across Bristol from 24-26 January 2014. Visit the website for more details, or read on for full listings and ticket information.
That’s all, folks. I don’t know about the other festival delegates, but I am utterly and completely scherben*. it has been a fantastic festival: eight days to wallow in the full diversity of what we call silent cinema. I have learned a lot, met some wonderful people and enjoyed many, many movies.
The final day began with rain, a sleepy trek to the Cinemazero and some really quite startling footage, completely unsuited to the tender hour. I am not talking about Felix the Cat, who entertained a select crowd with his adventures as a wildlife documentarian in Felix the Cat in Jungle Bungles (1928). I am talking about the new documentary feature by David Cairns and Paul Duane, Natan. This award-winning doc tells the truth, or attempts to, about Bernard Natan and his incredible life.Continue reading Le Giornate del Cinema Muto 2013: Pordenone post No 8
Competition time again, Silent Londoners, and this time I am giving away tickets for a night of silent film and live music at one of our favourite venues, Hackney Attic. The lucky winner can look forward to an uproarious evening, featuring Buster Keaton, Charlie Chaplin, Laurel & Hardy (in their first film together) and even Felix the Cat – plus a surprise! This latest event in the Filmphonics series has been put on by the silent film fanatics at the Lucky Dog Picturehouse. Here’s what they have to say about it:
The Lucky Dog Picturehouse specialise in providing an authentic 1920’s silent film experience, with live piano soundtrack. Collecting together 5 of the best silent film shorts ever made by some of the world’s greatest silent stars. Buster Keaton attempts to build his new flat-pack home in the stunt-filled ‘One Week’. You’ll find a love-lorn Charlie Chaplin in ‘The Pawn Shop’. Laurel & Hardy team up for the first time ever in ‘The Lucky Dog’ (featuring a dog to rival Uggie from The Artist). To balance the dog ‘Felix the Cat’ makes a madcap appearance. And the final film is “TBC” but it might involve a certain “Trip to the Moon”. All of the films will be scored by live keyboard accompaniment. Just as they were supposed to be seen.
To win a pair of tickets to the Lucky Dog Picturehouse night, simply email the answer to this simple question to email@example.com with Lucky Dog in the subject header by noon on Friday 17 May 2013.
- In which British town was Stan Laurel born?
The Lucky Dog Picturehouse night at Hackney Attic is on Sunday 19 May at 7.30pm. Tickets start at 7pm for members (with £2 off if you book for The Great Gatsby the same day). Click here to book and for more information.
The Hackney Attic at London’s newest Picturehouse cinema is becoming to make name for itself as a silent film venue, with recent screenings ranging from Piccadilly to Aelita: Queen of Mars. Heartening news, then, that this trend continues with another Filmphonics presentation of a silent classic this month: Buster Keaton’s groundbreaking comedy The General, on 20 January 2013.
Surely The General needs no introduction from me: the funniest war film you’ll ever see, an astonishing technical achievement and did I mention it was hilarious too? If you need a taster though, you could do worse than this sampler from film critic AO Scott:
There’s more good news: this screening of The General will be accompanied live by the marvellous Costas Fotopoulos on piano.
Costas has now been working for many years as an improvising silent film pianist at BFI Southbank and he has also accompanied silent films at the Barbican Centre, the Prince Charles Cinema, Riverside Studios, Chelsea Arts Club among other venues, as well as scoring many silents in the London Film Festival.
The even better news is that you could get your hands on a free pair of tickets to this screening. Free. To win a pair of tickets to see The General at Hackney Attic, just send the answer to this question to firstname.lastname@example.org by noon on Wednesday 16 January. The winner will be chosen at random from the correct entries.
- What was Buster Keaton’s real first name?
The West London Trades Union Club in Acton, London W3 is a welcoming place for those who enjoy a well-kept ale and a natter, and a haven for left-leaning cinephiles too. The venue’s Saturday afternoon film club is friendly, and pleasingly broad-minded: recent seasons have taken a look at the work of film-makers ranging from Joseph Losey to Paul Robeson as well as giving club members the chance to show their own favourite titles, week by week.
Last year I spent four hugely enjoyable, chatty Saturday afternoons in west London showing silent films chosen in collaboration with members of the club. The discussions afterwards were well-informed, not to say boisterous, and one topic we often returned to was: what are you going to show next year?
So, the silent film club is back, with some much-longed for comedy, another British film, some Weimar glamour and French impressionism. Here’s what’s coming up this autumn in Acton:
Comedy double-bill: The General (1926) and The Circus (1928)
Two classic films from the two titans of silent comedy: Buster Keaton’s ingenious civil-war chase film The General and Chaplin’s poignant, hilarious The Circus. These two films offer an opportunity to marvel at the best of silent comedy, but also to compare and contrast the different styles of these two great film-makers. Buster Keaton’s deadpan mechanical inventiveness versus Chaplin’s sentimental appeal and graceful physicality – you decide.
8 September 2012, 4pm
Hindle Wakes (1927)
This adaptation of the much-loved northern melodrama was filmed by Maurice Elvey, a giant of British silent cinema, now sadly all but forgotten. Elvey was a trade unionist himself, and Hindle Wakes is the story of a clandestine romance between a factory worker and an industrialist’s son. It’s gorgeously filmed, with some fantastic “Wakes Week” sequences shot in Blackpool – and the heroine, played by Estelle Brody, is a refreshingly modern woman. Not to be missed.
20 October 2012, 4pm
Pandora’s Box (1929)
Another modern woman, and one of the most famous films of the silent era. Louise Brooks is truly iconic as the liberated, amoral Lulu breaking hearts in swinging Weimar Germany. Erotic, witty and ultimately tragic, Pandora’s Box is a classic that rewards repeated viewing and while coolly received at the time, has subsequently made an international star or its reckless leading lady – it now stands as the definitive portrait of a decadent society.
10 November 2012, 4pm
When Marcel Herbier announced his intention to adapt Zola’s L’Argent but to place it in the contemporary setting of the 1920s Paris stockmarket, many were horrified that he would take an acclaimed historical novel about ruthlessly greedy, over-reaching bankers out of its context. But Herbier’s passion, “to film at any cost, even (what a paradox) at great cost, a fierce denunciation of money”, proved as pertinent in pre-crash Europe as it does now, in the fallout of the global financial crisis. L’Argent is not just social commentary, it’s an ambitiously innovative film, a masterpiece of poetic impressionism.
15 December 2012, 4pm
You don’t have to be a member of the club, or even of a trade union, to turn up and receive a warm welcome – and you will find the venue at 33 Acton High Street, London W3 6ND. It’s about five minutes walk from Acton Central train station, and on plenty of bus routes.
Another podcast, and this time it’s all about the laughs in our comedy special. I’m joined in the studio by Phil Concannon of Philonfilm.net, Ayse Behçet, who writes the Charlie’s London series for Silent London, and podcast expert Pete Baran. Plus Chris Edwards of the wonderful Silent Volume blog also contributes a few well-chosen words on his favourite silent film: Exit Smiling, starring Beatrice Lillie.
We’ll be talking about our favourite silent comedies, and yours, and perhaps touching on a few films and film-makers you won’t expect. Plus we’ll be reviewing some recent silent film screenings, Ayse will be reporting back from the Cinema Ritrovato festival in Bologna and we’ll be taking a look at the calendar too.
There’s also a lot of business about trousers. And possibly the odd 90-year-old spoiler.
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The Farnborough Symphony Orchestra begins its 90th anniversary year by performing the live accompaniment to two screenings of the 1927 comedy classic silent film The General at Farnham Maltings on Saturday 17 March.
The General, directed by and starring Buster Keaton, was recently listed in The Independent as one of the 10 best silent films, and features some of the most dangerous (and explosive) stunts with steam trains ever filmed. Carl Davis’ score includes every famous civil war song, as well as a tender folk song the composer’s grandmother used to sing him when he used to sit on her knee. The General was described by Orson Welles as “the greatest comedy ever made, the greatest Civil War film ever made, and perhaps the greatest film ever made” and this unique performance, conducted by the FSO’s charismatic musical director Mark Fitz-Gerald, will delight young and old alike.
The General screens on Saturday 17 March at at 3pm & 7.45pm. Tickets are priced at £10 for adults or £5 for children or students in full-time education and are available from the FSO Ticket Secretary on 07775 789477, Farnham Maltings Box Office on 01252 745444 or online at www.farnboroughsymphony.org.uk