This blogpost is a version of the introduction I was honoured to give at the Hippodrome Silent Film Festival on Friday for the Nasty Women: Gender Rebels double-bill. The films were brilliantly accompanied by Meg Morley, and the festival continues all weekend.
Welcome to the world of Nasty Women. Cinema’s First Nasty Women is a curatorial project from two American academics, Maggie Hennefeld and Laura Horak. The name is taken from Donald Trump’s notorious remark about Hillary Clinton, and for the past five years, Hennefeld and Horak have been screening films that reveal women being transgressive, riotous and unbiddable on the silent screen at festivals around the world.
This May you will be able to take the nasty women home with you on a four-disc DVD and Blu-ray box set, containing 99 films, dating back to the very beginnings of cinema, sourced from a dozen international archives. It will be crammed with “feminist protest, anarchic, destructive slapstick, and suggestive gender play”.
The best thing I’ve seen so far at this year’s online Slapstick Festival is the French film Siren of the Tropics (Mario Nalpas & Henri Étiévant, 1927), starring one of the all-time greats of the dance world, Josephine Baker. With this movie, Baker became the first Black woman to star in a major studio picture. And it’s a triumph. I was lucky enough to see the film at the festival with an excellent live score played by Günter Buchwald and Frank Bockius, which definitely brought up the best of this vivacious film.
Siren of the Tropics may feature one of America’s greatest stars, but it’s a film that could never have been made in America at the time, or for decades later. In the silent era, Anna May Wong set sail for Europe to play romantic leads, escaping Hollywood’s prohibition on what it called miscegenation. In the classical Hollywood musical, Black performers from The Nicholas Brothers to Lena Horne were seen only as “featured players” with no connection to the story – so their show-stopping sequences could be excised from the film for exhibition in the South.
In Siren of the Tropics, Josephine Baker isn’t just the star of the film, she is giving a career-defining star performance. Not least because this film fictionalises the creation of her star persona. It’s the story of a young woman from the Caribbean who falls in love with a white man and follows him to Paris. While searching for him, she is scouted by nightclub impresarios and becomes the toast of the city. Finally reunited with her love, she sees that they can never be together and she makes a sacrifice for him before sailing away to America to start a new life.
It’s a complete fiction, but one that hits on all the aspects of Baker’s persona that would have been familiar to her audience. It’s her A Star is Born. Baker’s character, Papitou, displays natural dance talent at home in the fictional Caribbean mining colony of Monte Puebla, grooving on the sand with her friends. She eventually travels to Paris where she becomes feted on the nightclub circuit with an act that involves her both performing an eccentric dance in the torn blouse and satin rompers of her famous plantation routine and also bringing the house down in sequins, lace and feathers as she twirls her limbs in the Charleston: two of her signature moves. Although Papitou is a dancer, not also a comedienne, the film supplies plenty of setpieces for Baker to prove her skills in both disciplines. At the end of the film that Papitou travels to Baker’s actual birthplace, the US.
Why did I do this? Well partly that’s between me and my conscience. The man we know as the Little Tramp was born on 16 April 1889 and in Chaplin’s 130th anniversary year I thought it would be fun to list his feature films* in the manner of the Guardian’s Culture – ranked! series.
So here goes …
A Countess from Hong Kong (1967)
Sneeze and you will miss Charlie Chaplin himself in this, his final feature, which was also his only film to be made in colour. Sophia Loren plays a stateless stowaway who catches a ride to America in the cabin of a US diplomat, played by Marlon Brando of all people. Although Chaplin pokes his head round the door to play a steward, and a handful of his children have roles too, this is barely recognizable as his. The physical comedy drags, the sentiment is forced (Brando’s mumbles are the antithesis of Chaplin’s style) and it’s hard to disagree with the New York Times critic, who wrote: “if an old fan of Mr Chaplin’s movies could have his charitable way, he would draw the curtain fast on this embarrassment and pretend it never occurred”. Continue reading The best and worst Charlie Chaplin films – ranked!→
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?→
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.
Come break the Sound Barrier with us again. In this episode, we go to the edge of the world and the ends of the earth and back again with two animated features.
We’re talking about Studio Ghibli’s modern silent The Red Turtle (in cinemas now), and also Pixar’s beloved Wall-E from 2008. We talk about ‘Dustbuster Keaton’, teenage mutant turtles, pizza plants and bad romance, as well as artistic animation, dialogue-free direction and creation myths. You can even hear Pete sing!
This episode of the Sound Barrier features two druggy and slightly dim detectives. We’re talking about Julian Barratt’s absurdly funny TV spoof Mindhorn and the cult favourite that is The Mystery of the Leaping Fish (1916), starring Douglas Fairbanks as sleuth Coke Ennyday. We talk about outrageous accents, preposterous plasticine, obscene graffiti and excessive amounts of cocaine.
The Silent London Podcast is also available on iTunes and Stitcher. If you like what you hear, please subscribe and leave a rating or review too. The podcast is presented in association with SOAS radio by Peter Baran and Pamela Hutchinson.
If you want to get in touch with us about anything you hear on the podcast then you can post a comment below, or tweet @silentlondon.
The next episode of Sound Barrier will appear in a fortnight’s time. We’ll announce the films for the next podcast about a week before it launches, so you can watch what we’re watching.
Silent London in no way, not even with a wink, endorses the consumption of illegal narcotics. We prefer the consumption of Class-A silent movies.
This is a guest post for Silent London by Jonathan Wakeham, the co-founder and programer of the LOCO London Comedy Film Festival, the 6th edition of which takes place at BFI Southbank 4-7 May 2017. Find out more at locofilmfestival.com.
We’re all familiar with the iconography of male silent comedy stars: Harold Lloyd’s glasses, Chaplin’s cane or Laurel and Hardy’s signature hats. They are brands as recognisable as Hitchcock’s silhouette, and they make the same promise: a guarantee of entertainment.
But there’s no equivalent female brand: no icon that’s known the world over. That’s not because there were no women silent comedy stars. Women such as Louise Fadenza, Mabel Normand, Marion Davies, Sybil Seeley and more were big names in their day. Florence Turner — “the Vitagraph girl” — was the biggest box-office draw of her era, and arguably the first true movie star.
But although they drew huge audiences there was, from the beginning, a doubtfulness about women becoming comedy stars. Part of this came from a tradition that defined comedy as inherently male; the French philosopher Henri Bergson declared in 1900 that “laughter has no greater foe than emotion … highly emotional souls in whom every event would be sentimentally prolonged and re-echoed, would neither know nor understand laughter”.
After two whistlestop days at Bristol’s Slapstick Festival I am on the train back to London already, but the laughter is still ringing in my ears. Through the fug of good company, great films and fabulous music I can still pick out some details … just about. Here are the five best moments that I will treasure from this year.
Charley v Charley
Friday night’s silent comedy gala had plenty to recommend it, of course, but when it comes to slapstick there was one standout moment for me. The fight sequence in Mighty Like a Moose (1926), in which Charley Chase battles himself, with costume changes of course, is a special pleasure. Can I place a standing order to see this every Friday night from now on please?
The many faces of Phyllis Haver
Cecil B DeMille’s Chicago (1927) is seedy, brutal, and hilarious. Like all the best nights out. The most deliciously cynical sequence must be Roxie Hart’s trial, though. As Hart’s lawyer sells her virtues (as it were) to the jury, Phyllis Haver moves through a cycle of poses that are as funny as they are strangely convincing. This devious minx flicks her features from “brave” to “sweet” to “shrinking” to “noble” faster than a flapper can roll her stockings.
Cary doffs his hat to Buster
If Bristol had done no more than to bring us Pauline Kael’s “slapstick prince charming” himself, we would still love this city. Watching Cary Grant in screwball masterpiece The Awful Truth (1937) at Slapstick this year was an absolute hoot. But the moment in this fizzy film when Grant is perched on the handlebars of a motorbike, Sherlock Jr-style, and touches his collapsed opera hat to his forehead in imitation of the great Buster Keaton? Priceless.
UPDATE: I updated this post on 6 September 2015 once the programme for the Silent Laughter festival had been finalised.
Our favourite south Londoners are at it again. Fresh from staging a triumphant weekend-long event in June, the Kennington Bioscope team promise a full day of chuckles with a comedy festival in October. Tell us all about it, Ken!
Programmes include shorts with Charley Chase, Lupino Lane, Laurel & Hardy and others; rare features with Raymond Griffith and Walter Forde (Britain’s best silent comedian) concluding with Harold Lloyd’s classic GIRL SHY.
Plus special presentations – Kevin Brownlow on his Buster Keaton Thames TV series ‘A Hard Act to Follow’, David Robinson on Laurel & Hardy (whom he interviewed in 1954), including some new discoveries, guests Tony Slide (historian, author, founder of ‘The Silent Picture’) and Matthew Ross (editor of ‘Movie Night’, Britain’s only magazine devoted to silent & vintage comedy).
Here is the final programme – the Raymond Griffiths films is Paths to Paradise (1925) and the Walter Forde title is You’d be Surprised (1930). And I have heard, from the most delightful little bird, that the vegetarian cafe next door will be open for food again, possibly with a special offer for festivalgoers.
Sounds great. The perfect cure for the post-Pordenone blues, Silent Laughter is a one-day event taking place at the Cinema Museum on Saturday 24 October, from 10am-10pm. Tickets will be available from 1 September so bookmark this page now.
Wait a minute, wait a minute …
Yes, you ain’t heard nothin’ yet. The Kennington Bioscope is branching out even further, into the realm of early sound cinema, with a little something they are calling Kennington Talkies. What?
At this time of year, a silent film fan starts packing sun cream and sandals and contemplating a journey south to enjoy some warm weather and classic cinema in the company of like-minded souls. But there will be plenty of time to talk about Bologna later. This weekend just gone, I set forth in a southerly direction on the Bakerloo line, snaking under the Thames to the Cinema Museum in Kennington, south London. What I found there was very special indeed – and long may it continue. Everyone who was there with me will relish the idea of the Kennington Bioscope Silent Film Weekend becoming a regular thing, and for the lucky among us, an amuse-gueule for Il Cinema Ritrovato in Bologna.
We love the Kennington Bioscope, that’s already on the record, so the Silent Film Weekend is a lot more of a good thing. The team behind the Wednesday night screenings, with the help of Kevin Brownlow and a few guest musicians, have translated their evening shows into a two-day event. And with the added bonus of delicious vegetarian food courtesy of the café at the Buddhist Centre next door. It was a triumph all round.
The programme for the weekend, which you can read here, packed in quite a few classics along less well-known films. I was more than happy to reacquaint myself with Ménilmontant (1926) and The Cheat (1915) – especially on high-quality prints projected by the genius Dave Locke and introduced by knowledgeable types including the afore-mentioned Mr Brownlow. What a joy also, to see the BFI’s Bryony Dixon proudly introduce a double-bill of H Manning Haynes’s WW Jacobs adaptations: The Boatswain’s Mate (1924) is surely destined for a wider audience. And if you haven’t seen Colleen Moore channel Betty Balfour in Twinkletoes (1926) you really are missing out.
But for this report I have decided to focus on the films that were new to me. I appreciate that’s an arbitrary distinction for other people, but this way I can fold in the element of … SURPRISE.
So, yesterday I spent the afternoon in the cinema watching 18 movies. Jealous, right? I was lucky enough to be part of the judging panel for the Walthamstow International Film Festival and we were watching the shortlisted works in order to hand out some prizes. It’s a fun job, and a great local festival that I am chuffed to be a tiny part of. All the entries are around five minutes or less, and while the festival encourages local film-makers, particularly young people, it is open to all, and this year we saw films from as far away as Australia, Argentina and Hong Kong. Our overall winner was the fantastically moving, and intriguing, Speed by Jessica Bishop – a film that interrogates the grieving process by counterpointing family photos and voices. A worthy winner indeed.
This is not just a box set, more a lifestyle choice. Anyone who wants to spend a couple of hours laughing and crying with Chaplin can watch one of the features. But this new collection of the short films that Chaplin made at the Mutual Company in 1916 and 1917 offers a longer-lasting relationship with London’s favourite silent son.
Even at first glance, the BFI’s latest Chaplin release is a tempting treasure. The Mutual period includes some of Chaplin’s best and funniest shorts for one thing – the drunken ballet of One AM, the social bite of The Immigrant and Easy Street, the glorious mayhem of The Adventurer and The Cure. For the first time in the UK, all 12 Mutual films are presented on Blu-ray – and they have been newly, and immaculately restored too. These discs are a pleasure to watch. It beggars belief that these films are approaching their centenaries, because everything on screen is beautifully clear and impressively filmic, with rich detail and velvety blacks. Comedy this timeless defies age, and now the image of that comedy is every bit as immortal. I don’t have the recent Flicker Alley release to compare, but the word is that this improves on the quality of that set.
This is a guest post for Silent London by Carl Davis CBE to celebrate the 126th anniversary of Charlie Chaplin’s birth. Renowned as a composer, Davis is a conductor with the London Philharmonic Orchestra and also regularly conducts the Royal Liverpool Philharmonic Orchestra. He has written music for more than 100 television programmes, but is best known for creating music to accompany silent films – including his score for the Kevin Brownlow restoration of Abel Gance’s Napoléon.
In 2003 and 2004 the British Film Institute released, in two volumes, 12 comedy shorts by Charlie Chaplin, created by him at the contractual rate of one a month across the years 1916-1917. They are known today as “The Mutuals” after the company that produced them and, as in my case, they are often the first glimpse that people have into the art of Chaplin. My first adult look at this project occurred in 1983 while scoring the Thames Television three-part series Unknown Chaplin: virtually the entire first episode consisted of an analysis of Charlie’s working methods, brought to light after a hidden cache of Mutual out-takes had recently been discovered.
The next step forward occurred in 1989 after the successful experiment of transcribing the orchestral score and parts of the 1930 recorded soundtrack of City Lights for a live performance at London’s Dominion Theatre. The performance started a vogue, thriving today, of stripping the scores from the soundtracks of all manner of sound films and performing them live. After the London screening I found myself conducting City Lights around the world and subsequently I expanded my Chaplin repertoire with TheGold Rush and The Kid. Out of sheer enthusiasm I added the shorts The Immigrantand Easy Street to my list. But the real impetus to continue came in 2003 when I discovered that the BFI were planning to release the complete Mutuals. I declared my interest and our collaboration began.
Matt Lucas is a bit of a comedy hero, from his hilarious cameos on Shooting Stars, to the taste- and boundary-pushing Little Britain, to the trenchant way he knocks down the idiots who try to step to him on social media. I may not like everything Lucas does, but he is one of the most original, and bravest, voices in TV comedy. Unafraid to go against fashion as ever, his new project is a “visual comedy” TV series, Pompidou, which debuts on BBC2 on Sunday 1 March.
So I'm delighted to tell you that my new series POMPIDOU begins on SUNDAY 1st MARCH AT 6:30PM ON BBC TWO!
Lucas has co-written the series with Julian Dutton, and he plays the title character: “an elderly oddball aristocrat who has fallen on hard times”. Alex MacQueen plays his long-suffering butler, Hove. And they have a canine companion, too: the elegant Marion, an Afghan hound.
Animals fare far better in silents than talkies. The absence of dialogue puts them on an equal footing with their human co-stars, and what’s more, they’re cuter. The only place left in these synchronised days where feathered and furred characters can expect top billing is in animated movies – digitally rendered and belting out showtunes. While we have become accustomed to talking animals in children’s animations, ever since Mickey Mouse started to squeak, Aardman’s Shaun the Sheep is a gent from the old school, having stubbornly refused to articulate anything more complicated than a bleat for 20 years.
And now Shaun the Sheep, who like the most illustrious slapstick comedians, is both black-and-white and silent, has been given his very own feature film. And no bankable Hollywood name has been roped in to voice his inner monologue. While the advance publicity has not been playing up the silent angle, this is a dialogue-free delight, a champion of visual gags, physical comedy and unutterable joy. Following on from the 2007 series of short animations made for CBBC, Shaun and his fellows dwell in an almost wordless world, baa-ing and snorting and belching their feelings, just like their harrumphing two-legged companions. As in the shorts, the written word often appears as an incomprehensible squiggle – perfect for young children who would be challenged or bored by too many letters.
But Shaun the Sheep has an adult audience too, who appreciated his seven-minute TV escapades not just as kid-friendly fun, but as throwbacks to the silent comedy greats. Aardman’s previous films have cheekily plundered the classics for plots and sly in-jokes – restaging The Great Escape in a hen coop for its feature debut, Chicken Run (2000). Shaun the Sheep the Movie is no exception. There’s barely a frame, or a foley effect here that isn’t a wink to Jacques Tati. And amid nods to Inception, Taxi Driver and The Terminator, there is a Hannibal Lecter-impersonating cat who wins the movie-reference game hands down. C’mon, you’d feel cheated without a mention of The Silence of the Lambs, wouldn’t you? There’s a tip of the titfer to classic British animation too. Shaun’s longing for a break from the farm’s daily grind of tedium and indignity accidentally results in a barnyard mutiny and more than a shade of Animal Farm.
For Jacques Tati, diegetic sound is about as useful as headlights on a broom. He’d rather not illuminate anything with such a crude tool. Playtime, his masterpiece, is a work of brow-furrowing complexity in its design and structure, but a model of narrative clarity.
Amid the Babel of un-synched language spouted by its multiple characters, Tati tells us a story of a man, M Hulot, trying to negotiate a city, Paris, that doesn’t exist. Only Hulot (Tati, of course), and an American tourist, Barbara (Barbara Dennek) seem to notice that the steel and glass skyscrapers of the soaring sixties have hidden the real city, obscuring its landmarks and dividing its citizens. Tati goes to a business meeting, is diverted to a furniture show, meets an old friend who invites him home for a drink, attends the opening of a restaurant, meets a girl and loses her, all in the space of 24-odd hours.
Each twist in Hulot’s meander is a prompted by a mistake or misapprehension. His attempt to refuse to enter the restaurant shatters the door and he stumbles inside unwillingly. If I tried to explain to you why a German door salesman then ushers him further into the dining room I would expend many, many words to explain a labyrinthine incident earlier in the film that is played out in at least three languages, none of which needed subtitles at all.
Trust me, it was a wonderful moment. I felt that door salesman’s anger, his hostility, his sarcasm, his deep shame and his ingratiating warmth so deeply, because they were so strongly expressed, not because I translated “Dumbkopf!” in my head. The only skills you need to understand this film are patience and observation, which transparently makes my German GCSE barely worth the paper it is written on.
Don’t tell me you missed the fact this year, this February in fact, we are celebrating 100 years of Charlie Chaplin’s Tramp. Kid Auto Races, Chaplin’s first screen appearance as the anarchic scruff, was released on 7 February 1914. It’s a cinematic centenary of the best kind – one that affords the opportunity for screenings of wonderful films and some clever-clever comment and analysis too. An event at the BFI Southbank on 4 February will add a little star power to proceedings, as well as some new insights into the Tramp and his creator.
This special event marks the centenary of the birth of Charlie Chaplin’s ‘little tramp’. One hundred years ago this week the iconic character first stepped in front of the camera at the Keystone studios. David Robinson, Chaplin’s official biographer, presents his latest thoughts on Chaplin and the tramp and celebrates the launch of his new book ‘The World of Limelight,’ commissioned by the Cineteca di Bologna, which draws on previously unpublished material from the Chaplin Archive.
Robinson will be launching his book at the event and I think copies will be on sale after the talk with perhaps a booksigning too. A particularly well-informed little bird tells me that Chaplin’s co-star in Limelight, English actress Claire Bloom, will be in attendance also. In fact, Robinson’s book is dedicated to her. Here’s a little more about the book:
Limelight was first cast not as a film script, but as a long novella, Footlights, with the supplementary Calvero’s Story. Both are here published for the very first time – the ultimate raison d’être of this volume. Out of these Chaplin extracted a screenplay which passed through several drafts before being transferred to the screen.
The accompanying commentary in this volume explores the documentary reality of the world which Chaplin recreated from his memories and evoked for posterity – London, the music hall and ballet at the end of an era, the outbreak of the First World War. The book is illustrated with images from the author’s own collection, and reproductions of documents and photographs from the Chaplin archives, which clearly depict the development of the film LIMELIGHT that David Robinson so intricately describes.
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.
So when I had the opportunity to return to Slapstick this year I jumped at the chance. For me it was a sort of homecoming and a chance to reflect on the year’s events. My partner and I volunteered at the festival this year and we still managed to see most of the programme, which was fantastic.
Thursday night’s only event was a fascinating insight into the work of Aardman Animations, famously the force behind Wallace and Gromit and Morph. Both Nick Park and Peter Lord were present, offering the chance to see the genesis of some of their greatest works. Park and Lord have long been staunch supporters of Bristol Silents and Slapstick and were both around for the duration of the festival: two great guys who always had time to chat with fellow enthusiasts and fans.
Friday unfortunately was very busy for me until the evening, meaning I missed Boris Barnet’s The Girl with the Hatbox, starring Anna Sten and introduced by Chaplin biographer David Robinson. However, I was lucky enough to see the film while in Pordenone last year: I can tell you all it is a masterpiece whose time in the limelight is long overdue. Sten’s performance is funny and heartfelt: thankfully her talent is now being recognised.
Now, my main love of the silent era is our very own homegrown hero Sir Charles Chaplin. So the absence of Chaplin at this year’s festival did make me yearn for the twirling cane and moustache. However, the other two of the “Big Three” were present in all their glory. Saturday night saw Harold Lloyd take centre stage as the gala’s main feature with an introduction by “national treasure” Victoria Wood (that’s what festival director Chris Daniels called her: she reluctantly accepts the title, believing the only national treasure is Joanna Lumley). Harold Lloyd’s The Kid Brother and Keaton’s The Goat brought the house down and reminded us all that we do not need CGI to have a good cinematic time. For me the highlight of the night was George Méliès’ A Trip to the Moon: conserved and restored to all its full-colour cinematic glory, with a beautiful narration by Slapstick advocate Paul McGann.
On exiting I heard an audience member comment “Lloyd gets a little left behind when it comes to Keaton and Chaplin”. I am not sure if this is true – but after Kevin Brownlow’s fascinating “The Third Genius” presentation on Friday afternoon I most definitely felt I knew the man behind the comedy a little bit more than I did before. Brownlow always has such wonderful insights, having met Lloyd, Chaplin and Keaton various times. Last year I was lucky enough to be in the audience for a similar presentation on Buster Keaton. It goes without saying that men such as Kevin Brownlow and David Robinson help us all to get a little closer to an era long gone.
Saturday morning saw another presentation by Brownlow: this time on Colleen Moore – to introduce a screening of Orchids and Ermine. I think that Moore has developed quite a following: a lot of masculine swooning seemed to issue from the theatre on the crowd’s exit, and I cannot say I blame them! She was gorgeous.
Saturday night’s main feature was a selection of personal Keaton favourites by Dad’s Army legend Ian Lavender. The Electric House and College were strokes of genius made at a time when Keaton’s private life was beginning to ruin the one thing he loved so dear, his art. Lavender really struck a chord with me. He showed me a true fan’s passion for Keaton and how it can be so infectious. I often have people say to me: “I don’t know anything about Charlie Chaplin, but your passion makes me want to.” That’s the effect Lavender had on me.
Sunday saw the return of the Goodies and a fantastic reprisal of I’m Sorry I Haven’t a Clue at the Bristol Old Vic plus a chance to see the brilliant June Whitfield on stage too – receiving her Slapstick/Aardman Comedy Legend award. Yet for me the highlight was Sunday night, my only Chaplin of the entire festival. OK it was not exactly a feature, a short or even a gala. It was about 30 seconds of a cameo in the 1928 Marion Davies film Show People presented by comedian Lucy Porter. Now before you wonder, no I did not swoon. I was in fact incredibly well-behaved and blogged about it instead!
So there you have it everyone: a rundown of my highlights of the 2013 Slapstick festival. I hope you have enjoyed it and thank you for all your support in making Charlie’s London what it is. You can find us on Facebook, Eblogger, Tumblr and Twitter.
Bye for now, and here’s to 2014, the centenary of The Little Tramp …