Here in Pordenone, life is an endless round of parties, each more glamorous than the last. Sorry, that’s not my lifestyle but that of Ellen Richter and co in Leben Um Leben (Richard Eichberg, 1916). This film is a sequel so abandon all hope of following the plot all ye who enter in. What I can tell you is that Weimar star Ellen Richter, subject of a retrospective here at the Giornate, plays a scheming Princess in this glitzy romp. There was a costume ball, a “jolly hunt”, some stolen pearls, a run on the “Volksbank” and non-stop shenanigans and all of it was entertaining but it didn’t quite add up to a whole film. Still there was a marvellous multi-tinted dance sequence, as if the star of the floor show was grooving under coloured electric lights, which was far more than set-dressing – it was an attraction all of its own, a very modern throwback.Continue reading Le Giornate del Cinema Muto 2021: Pordenone Post No 2
Who can resist a good film book? Not me. Sometimes I have to close my eyes when I pass a bookshop, just to save my bank balance..
Recently, I’ve been lucky enough to dip into several new silent movie-related books – some of which have been sent to me to review. In fact I have spent so much time reading them that there aren’t enough hours left in the day to report on them all. Here instead, are some rapid-fire reviews of books worthy of your consideration.
Every one of them would repay the decision to spend a leisurely afternoon browsing in the library of your choice – some you may even want to splash out on as a gift or a treat to yourself. I am sure you deserve it.
Silent Features: The Development of Silent Feature Films 1914-1934
Edited by Steve Neale (University of Exeter Press)
A great idea for a book, and one that is bound to be popular with students and scholars alike. The idea is to track the development of the feature film as a form, via a series of meticulous case studies. Each essay here functions as a mini-monograph on one feature film, covering its sources, production and critical reception in admirable depth.
This book has 17 chapters and almost as many contributors. It roams across films from Europe, Russia, America, China and Japan, and many of the choices are far from the usual suspects. There are some much-feted classics here, Assunta Spina, Wings, I Was Born, But …, The Phantom Carriage, but also The Strong Man, Lazybones, Miss Mend and The Wishing Ring. With each leap to different place and time, it’s hard not to wish for a second or third volume to fill in all the gaps.
Two British silents are covered, while Steve Neale’s essay on Lubitsch’s Lady Windermere’s Fan notes the similarities of that film with the 1916 adaptation from the Ideal studio. Piccadilly is the subject of a rich analysis by Jon Burrows which is both a pleasurable read and consistently illuminating. Another great silent London film, Maurice Elvey’s Palais de Dance (1928), is discussed in detail by Martin Shingler. Hopefully, his excellent essay may pique more interest in this overlooked film.
- I have reviewed this in more detail for a forthcoming issue of the Journal of Film Preservation
- You can order Silent Features here.
The Call of the Heart: John M Stahl and Hollywood Melodrama
Edited by Bruce Babington and Charles Barr (John Libbey)
You can’t have failed to notice the spread of Stahlmania by now, and not before time. Babington and Barr have been on a mission to put John M. Stahl back where he belongs in the annals of great American film directors. Perhaps it’s because he made “women’s films”, because melodrama is an unfashionable word, or because some of his best films were remade by Douglas Sirk (and it’s not long since he was fished out of the “forgotten” category), but Stahl hasn’t had his due for a while. That was before screenings of his best silent and sound films became some of the most popular programmes at Pordenone and Bologna last year. And before this impressive book.
This volume, with contributions from writers around the globe, represents a truly exhaustive study of a single director. There are essays on each of his films, even the lost ones, and biographical pieces by Babington to fill in some of the mystery surrounding this undersung director. Many people will be familiar with Stahl’s sound films, such as Leave Her to Heaven (1945) and the 1930s melodramas Back Street, Only Yesterday and Imitation of Life. Showcased at last year’s Giornate, however, the silent films are a revelation, and in their command of emotional complexity, freewheeling narrative and telling human detail cast a fresh light of the triumphs of the best sound films.
Richard Koszarski kicks off the silent section with a meticulous study of Stahl’s first substantial screen work, The Lincoln Cycle of short films on the beloved US president. Watching these shorts, Stahl’s ambition and talent is obvious from the outset. It’s clear now, that Stahl’s silent work alone deserves re-evaluation and a series of brilliant essays in this book by Lea Jacobs, Charles Barr and Imogen Sara Smith explore his first features with insight and clarity. Many of these films are very rarely shown, but this book should encourage more screenings.
Those of us who have been working on Stahl as part of this project expressed just one regret when we gathered at Pordenone. It was that we had been able to see all the other films before writing our individual pieces, because they are all connected, in such fascinating ways. The lurid plotting of Leave Her to Heaven has its roots in Stahl’s silent era melodramas, the immense sensitivity of his 1930s “women’s pictures” is trailed in the emotional delicacy of the later silent features. Thorough as this work is, and definitive as it feels right now, it may well be the start of something bigger.
- Full disclaimer: I contributed two pieces to this book. There is a full review by David Cairns in the January-February 2019 issue of Sight & Sound.
- You can order The Call of the Heart here.
- Read more on The Woman Under Oath here.
Film Serials and the American Cinema 1910-1940: Operational Detection
By Ilka Brasch (Amsterdam University Press)
The film serial was once a staple of cinema programming, until TV came along and spoiled the fun. In this thoroughgoing study of the form, scholar Ilka Brasch gets to grips with what exactly made the serial such a compelling format. It’s goes beyond the thrill of the cliffhanger. Brasch has plenty to say on the appeal of the weekly thriller, but also drills into the “operational aesthetic” that informs our love of technological wizardry on screen and the particular pleasures of the police procedural drama.
And although the film serials may no longer grace our cinema screens, as Brasch points out, the rise of home video and digital streaming has allowed many of us to become 21st-century serial fans all over again. I couldn’t help but think of how popular daily serial screenings have become at Pordenone and Bologna. Maybe the serial has legs after all. How’s that for a last-minute twist?
- I wrote a little more on this book for the April 2019 issue of Sight & Sound, which is on sale next week.
- You can order Film Serials and the American Cinema 1910-1940 here.
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.
In the studio, I am joined as ever by Peter Baran, and also by special guest Julian Coleman (you can follow him on Twitter here).
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.
Welcome to another edition of the Silent Paris Podcast. I am at the Toute la mémoire du monde festival of restored cinema all weekend and podcasting my reports from the screenings. Saturday was a game of two halves: two silent films and two British films noir. Listen to today’s podcast to find out what I made of them …
Welcome to the long-awaited return of the Silent London Podcast – coming to you straight from Paris. I am at the Toute la mémoire du monde festival of restored cinema and I will be podcasting my reports from the screenings. Today, my first two days at the festival including lots of of Hollywood fare: the good, the bad and the baffling. This podcast tackles a lot of films about war and racism: films by D W Griffith, Abel Gance, Thomas Ince …. But there is plenty of star power too, from Rudolph Valentino, Douglas Fairbanks and Lillian Gish.
I hope you enjoy this first podcast from the festival!
The parade’s gone by for another year. The projector is empty, the Verdi is empty, even the Posta is empty. Yet again I can say watched a ridiculous number of films, but still missed many I wished I had seen. The Giornate was full to the brim with silent spectacles this year. And while it may be too early to speculate about Key Trends of the Weissberg Era, we can say the festival is in safe, and loving, hands. It was a vibrant schedule, crammed with exciting films. I had an especially good Giornate. How about you?
Today was always going to be bittersweet, but I offset that sharp tang of sadness with some great films and some enjoyably ludicrous ones, too. If we are going to remember this year as the year of big, beautiful movies (and I am at least), I enjoyed a fitting final day.
First question of the day: Who’s Guilty? Me, because I missed the final instalment in this diverting series, but I did arrive at Cinemazero in time for some Al Christie funnies. My eye was caught by a cross-dressing romp called Grandpa’s Girl (1924), but that wasn’t what I had stepped out for this morning.
I had a date with cinematic greatness, in the form of Ozu’s I was Born, But … (1932), the most sensitive and character-led of comedy dramas, shown in the Canon Revisited strand. Wonderful to see this projected, with Maud Nelissen’s ambitious and sensitive accompaniment. As a smart companion said: it’s a film about children but it’s really about all of us, at any age, at any time, in any place. This film is funny and wise and always beautiful: even when the camera is focused on the scruffy and mundane stuff of our scruffy and mundane lives, there is harmony and freshness. And oh, just make sure you never miss the chance to watch (and rewatch) this one. Promise? And the perky Momataro cartoon beforehand was a treat too.
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.
What is admirable in the clash of young minds is that no one can foresee the spark that sets off an explosion, or predict what kind of explosion it will be. – Victor Hugo, Les Misérables
Forgive me and my fellow delegates if we are a little dazed, but today an array of high-wattage stars dazzled the Verdi: Clara Bow, Ossi Oswalda and Douglas Fairbanks all took a turn in the spotlight, and didn’t we all know about it? But they were all playing second fiddle, I am afraid, to one of the festival’s guests of honour.
The real star of the day was Naum Kleiman, erstwhile director of the Moscow Cinema Museum, who was in town to deliver the Jonathan Dennis lecture at the Giornate. He didn’t really do that, though. He spoke a few words, and graciously answered our questions, but instead of a formal lecture we watched a new film that has been made about Kleiman, the Museum, and the frankly appalling state of affairs in Russia today, where the museum has been evicted and its good works all-but sacrificed to the opaque aims of the Ministry of Culture. It was called Cinema: a Public Affair, and it was directed by Tatiana Brandrup, who was also in attendance to answer questions. At an event where we have so much Russian cinema to celebrate, it is beyond distressing to learn that film culture in that country is in such a perilous position. Founded in 1989, the Cinema Museum used to show 20 – 20! – films a day. Important films, films from around the world, films that are now impossible to see in Russia. It was always run on a shoestring – Jean-Luc Godard made a gift to the Museum of a Dolby sound system ahead of a retrospective of his works there. But now, the situation is as absurd as something in one of the Soviet comedies screening at the Giornate. A new building intended to house the Museum has been repurposed as a parking garage, while the Museum’s collections are all in temporary storage at yes, garages at the Mosfilm studios…
Kleiman is an inspiring man, who spoke in the film movingly about the first film he remembered seeing as a four-year-old child. Before that point he had seen war, he had seen fear and devastation, in fact his own father was missing, but one night at a park near his refugee camp in Tashkent, he saw the cinema for the first time. That screening of Michael Powell’s The Thief of Bagdad was to him a “window on to another reality”. He stood on his bench, and flapped his hands, imagining that he had a magic carpet under his feet. And he has dedicated his life to sharing that magic, that escape, that understanding of a different world, with other people. A member of the Verdi audience asked simply: “How do you find the strength to go on fighting?” “I’m not fighting,” he replied. “I’m just working.”
For Kleiman, the conversation that films can spark are almost the point of screening them. “The film begins when it’s over,” he said. And although they were lighthearted in tone, this morning’s programme of shorts illustrated that perfectly. A package put together by Laura Horak on the theme of cross-dressing girls on film, these movies, which were mostly comedies, were hugely intriguing, and provided delicious food for thought. The shorts included actresses playing boys, playing dual roles or simply playing characters who dress up as lads, or take on male characteristics. The way that the teens and twenties of the last century approach these ideas is consistently intriguing – so often they skirt close to something really subversive, something to challenge the relentless heterosexuality of so much silent Hollywood cinema, and then retreat, having nibbled their doughnut and kept it too. I enjoyed Anna Q Nilsson as a rebel spy in disguise during the civil war in The Darling of the CSA (1912) (riding sidesaddle even when in drag). I also liked a futuristic “nightmare” of 21st-century gender role reversals called What is the World Coming to? (1926), a surprisingly nifty restoration of a 16mm print, in which a kept husband worries that his bigshot wife spends too much time with her “sheik stenographer”. Continue reading Le Giornate del Cinema Muto 2015: Pordenone post No 4
And in the meantime we must scrutinize the things that have vanished, needing to know if only to avoid them. Counterfeits of the past, under new names, may easily be mistaken for the future. The past, that ghostly traveller, is liable to forge his papers – Victor Hugo, Les Misérables
You wait weeks for one Douglas Fairbanks picture and on a rainy Sunday in Pordenone you get two! I am beginning to suspect I may have a wee crush on Mr Fairbanks Sr, so help me. Don’t tell me we can’t be together.
Forget that nonsense for a minute, the wet Sunday morning began with another fine selection of City Symphonies. Much to admire in all of them, but my favourite was the lyrical De Steeg/The Alley (1932), a portrait of a street in Rotterdam, and the people who live there, shot so nimbly and sensitively I wanted to walk down that road and meet those people straight away. Second, for me, was a similar piece, Pierement (Barrel Organ, 1931), shot in a working-class district of Amsterdam. As we follow the progress of the organ down the road, we meet new faces, new places and the day winds on, with the passage of time marked as the barrel organ cards concertina into their neat stack at the back of cart. A simple idea, beautifully executed.
Softened up, we settled into the Woody Allen fever dream that is When the Clouds Roll By (1919), the first item in the much anticipated Victor Fleming retrospective. Dancing vegetables! Douglas Fairbanks walking on the ceiling! Fairbanks is astonishing in this one: vibrant and funny and handsome and romantic and mad all at once – and the film is shot with humour and ingenuity and bags of style. Plus, I cared about all the characters, despite the ludicrous story – the superstitious mania shared by Fairbanks and his lady-love was cute and quirky rather then maddening as it would be in real life. It is a real cutie this picture – come for the famous dream sequence and stay for Dougie’s magnetic personality.
After Fairbanks, only the most masculine of movies could satisfy the Verdi audience, so a grab-bag of six westerns scratched the itch perfectly. These were a little rough and ready at times (just how we like em, eh?) but this was no endurance feat. These early westerns may have the slenderest of plots, are sometimes crudely performed and oddly staged, but they have a dynamism that’s hard to resist. And there were touches in each film (a desperate proposal on a playing card, for example) that made them irresitibly human. This programme flew by. It was like being the despatch rider in Saved by the Pony Express (1909) leaping on to a new horse as soon as one tired out. That would make Allan Dwan’s The Poisoned Flume, the wild stallion of the bunch … which is a fair shout. As Richard Abel points out in the Giornate catalogue, the irrigation of California would prove contentious on film right up to Chinatown and this is a captivating revenge drama, where the devil really was in the details. Continue reading Le Giornate del Cinema Muto 2015: Pordenone post No 2
Just in time for Christmas, Masters of Cinema is rereleasing some more of its silent back catalogue, in gorgeous new dual-format DVD/Blu-ray editions. This is a Good Thing no doubt, and if there is one title especially suited for the pantomime season it’s The Thief of Bagdad (1924) – a middle eastern romp starring Douglas Fairbanks as Ahmed, a light-fingered adventurer, beautifully photographed and bulging with the last word in 1920s special effects.
Forget the effects for a minute though, forget Raoul Walsh behind the camera, Anna May Wong slinking around the corners, and William Cameron Menzies’s towering sets, and settle in for the Douglas Fairbanks show. This is Fairbanks at his very best: fortysomething, athletic, beaming, stripped to the waist and bouncing in and out of giant pots, swashbuckling and soaring through the air and under the sea. If you want to understand why Fairbanks was the King of Hollywood, this is a key text. He burns up the screen here, forcing you to smile, to chuckle, to gasp in awe at his latest trickery or feat of physical prowess, daring you to remain unmoved. It would take a heart of stone not to relent – it’s his ambition as producer that lends this film its grand scale, and his radiant personality that wins the audience’s affection as well as its awe.
But you will have to possess a mind as gymnastic as Fairbanks’ buff body not to be troubled by the fact that this movie is pure orientalist claptrap. It can be done – Fairbanks on a magic carpet with his princess Julanne Johnston by his side is a sight beauteous enough to tempt you into a little light doublethinking duty. Just like Ahmed, you’ll have to earn your happiness here. It’s not a nasty film, but it is an ignorant one. If it weren’t for the gloss of that stunning production design and the stardust sprinkled by its leading man, that would be all we had to write about. As it is, we can take heart from the fact that the guff that underpins this movie is mostly well-intentioned but misguided romanticism. Rather this, you could argue, than yet another flick where the only middle eastern characters are bloodthirsty terrorists.
By now, I think we agree that the global capital of silent cinema is Pordenone, and Charlie Chaplin is its patron saint. It was surely fitting that our last glimpse of the Giornate, on the capacious screen of the Teatro Verdi, was the little feller himself, in extreme close-up, at high risk of having his heart broken, smiling to the end. City Lights, our gala screening tonight, is not my favourite Chaplin feature but that doesn’t mean it didn’t have power enough to sweeten the end-of-the-festival blues. Rumours that certain of the delegates are likely to be found curled up in Piazza XX Septembre like the Tramp himself come Sunday’s dawning were unsubstantiated as we went to press …
Speaking of which! I can’t wait a moment longer to to tell you about my most hotly anticipated movie of the Giornate. We all have our foibles, and as a newspaper journalist of increasingly long years, I do like a flick about the inkies. The Last Edition (Emory Johnson, 1925), freshly restored by EYE and the San Francisco Silent Film Festival, promised much joy for the unbridled newspaper geek. Shot on location at the offices of the San Francisco Chronicle, and with its full collaboration, this hotheaded movie is actually a rather clear portrait of the newspaper production process – from commissioning desk to printing press. Mostly the printing press. I was a bit bemused by the moment when the printer turns the masthead and headline upside-down on a plate that has already been made, just by turning a handle. Huh? But I loved the “rush the extra” sequence (“We’ve got eighteen minutes to change the story. C’mon boys!”), which follows the process of swapping in new copy at the last minute from the reporter filing to the copy desk, the typesetters and on to print. I’ve been there myself, with slightly different technology, but the same adrenaline, many a time. Although, needless to say, there were no female journalists in The Last Edition. All stonking if rather rough and ready and a fantastic picture of San Francisco in the 1920s too. I have no earthly idea why they needed to jazz up all this fascinating typesetting material with a plot involving gangsters, corruption and a massive fire at the newspaper office, but I may be slightly biased.
I should mention that The Last Edition was preceded by a 1912 Thanhouser short The Star of the Side Show, about a young “midget”, who refuses to marry the neighbours’ boy, also short-statured, so gets signed up for the carnival instead. It is described in the catalogue as “a prototype for Tod Browning’s Freaks, only more endearing”. That about sums it up. A tricky film to love but another fabulously expressive performance from Marie Eline, the Thanhouser Kid in the lead role. No, in case you’re wondering, she was just a little girl …
You know it’s Pordenone when you’re still having a conversation about melodrama, cliché and the difference between parody and sendup as you turn the key in the lock of your door at midnight. Or maybe that’s just me and the people I choose to hang out with. Still, I think it’s telling, because the penultimate day of the Giornate had plenty for us to chew on, get lost in and provoke the temper too.
But first, let me lay the scene: a medium-sized town in northern Italy, it’s Friday, spitting with rain. Interior: a bell rings, it’s nine am in the auditorium and it is clear that quite a few people in attendance have that Friday feeling. You know, the one was manifests itself in a splitting headache and grey circles under the eyes? But if there is one thing that we have learned this week, it is that Yakov Pratazanov is worth getting out of bed for.
And Chiny I Liudi (Ranks and People, 1929), a portmanteau film comprising adaptations of three Chekhov short stories, was another great “serious comedy”, leading me to kick myself that I missed last night’s Don Diego I Pelageya (1928). Each story deals with the problems of living in a rigorously stratified society: a clerk fears he has offended a high-up and apologises to death; an officer is caught between asserting his authority and sycophancy to a general; a poor woman marries a heartless rich man, but has her head turned when she experiences high society. It was all beautifully done, as witty as it was tenderly heartbreaking. A false perspective frame of the clerk approaching his senior’s desk, and a high-angled shot pretty Anna admiring herself in her finery were particularly memorable. I’m more keen than ever to see tomorrow morning’s sound-era Pratazanov. Another 9am Soviet film, just how I like it.
Russian cinema, but not as we know it, before the midday break without a curio from Germany: Panzerkreuzer Potemkin (1930). This is the “talkie” adaptation of Eisenstein’s classic, of course, featuring the Meisel score (in his own arrangement) and a lot of dubbed dialogue. All the intertitles apart from act breaks have been removed from the body of the film and historical explanations tacked on either end, read out in a thumping German voiceover. So it runs shorter than the original, but for me slightly less smoothly, which I freely admit may simply be due to my familiarity with the rhythms of the silent original. It seems strange to hear the men mutter their complaints rather than seeming to rise instinctively to a collective understanding of their circumstances. And because the film was conceived without so much dialogue, a lot of what we hear in this version is simply redundant. There’s an interesting, unintentional effect whenever dialogue runs over a montage cut, actually, as when an officer shakes a sailor awake or another sailor throws that fateful plate. But anyway, it would be very hard to kill the majesty of this movie – the images speak so eloquently that even if Stephen Horne were to reprise his kazoo routine from yesterday, the audience would still be moved. And of course, for a native German speaker, this may be the Potemkin they have always imagined. See what you think (please excuse the “Verdi tidemark”):
Today was a tale of two Fairbankses, both of them Douglas Sr, and of two Barrymores, both of them John, whom I think we can all agree was a bit of a beloved rogue. In the film of the same title, which came first today, he plays a gadabout poet in a 15th-century Paris so smothered in snow that it looks like a Christmas card. And this is Barrymore a la Fairbanks, just to confuse you, leaping from rooftop to rooftop with a goblet of wine in his hand and a jaunty feather in his cap. You just know that he is going to save France (despite the best efforts of feeble-minded King Louis XI, played creepily by Conrad Veidt with a finger up his nose), win the heart of a fair lady (Marceline Day as a poetry-loving aristo), complete some audacious stunts and compose lots of jaunty (terrible) verse on the spot. There is also a completely gratuitous loincloth scene, for the keener Barrymore fans among us. The Beloved Rogue (Alan Crosland, 1927) is total bunkum, but much more fun than, say When a Man Loves. The only way to enjoy this sort of thing is to commit totally to it, and we were helped along by sparkling accompaniment from not one musician but four: a harmonious grouping of Donald Sosin, Elizabeth-Jane Baldry, Frank Bockius and Romano Todesco.
But John won’t win my heart that way: I crave romance, and splendour, and something beautiful to soothe my fevered brow. Beau Brummel (Harry Beaumont, 1924) will do the trick nicely thank you. It’s gentler, and more tender than the other JB films we’ve seen this week, even if equally as preposterous. Barrymore is the foppish captain deemed too lowly to marry his lady-love (an excellent, if teenaged, Mary Astor), who therefore plots to take obscure revenge on “society” by insinuating himself into the Prince Regent’s inner circle and fighting the system from within, yeah. But dear me, he does it in style. Skinny britches, umpteen rows of frogging, diamond buttons on his frock coat and a powdered wig – and still all you can concentrate on are those flashing eyes and his wicked comic timing. Preening in front of the mirror, practising his poses, or repeating the same lines to another pretty woman until he almost believes them himself … ah he’s a belov-able rogue here too all right. And in the end, it’s very touching, if both overdone and overlong. Stephen Horne was there for the duration (the Giornate showed the fullest print possible, of course), with a light touch on piano, flute and accordion bringing out the best of the comedy and plucking on our collective heartstrings. Good for the soul.
Douglas Fairbanks is just as reliable a star as JB, if a simpler proposition all round. We were lucky enough to see The Good Bad Man (Allan Dwan, 1916) today, a western that went about its business as swift and straight as an arrow. Fairbanks is a Robin Hood cowboy, stealing from the rich-ish and giving to illegitimate children. Is there a dark secret in his past? Will he discover it, have his vengeance and live to make eyes at Bessie Love another day? I thought he just might – but was I right, kids? Kudos to London-based musician David Gray who accompanied the movie with verve and accuracy – he has been partaking in the Giornate’s musical masterclasses all week and this show marked his graduation.
Our second sighting of Dougie was far more epic. The evening show brought another eye-popping collection of two-strip Technicolor treats, including a bizarre set of out-takes from The Gaucho (1927): a reel of attempts to shoot Mary Pickford as a vision of the Virgin Mary on a rockface. Shimmering loveliness its very self until an assistant hovers into view with a clapperboard. Fairbanks showed his face, and his biceps for the main feature, the unstoppable force that is The Black Pirate (Albert Parker, 1926): as gruesome as it is gorgeous and grand, this is a hard film to take against. If only because that dagger-down-the-main-sail makes you catch your breath each time. And in case you were wondering, John Sweeney can even make a sea shanty sound elegant. Classy stuff.
Almost time to turn in, and Whoozit (Harold L Muller, 1914) was our first bedtime story. Now, if a whole Charley Bowers movie makes very little sense at all, then I think it’s fair to say a single rediscovered reel will be a puzzler indeed. Great larks though: oysters with eyes humping across the bathroom floor, a teddy bear growing a beard, magic spectacles and an ogre sharpening a giant razor. Deeply enjoyable, brilliantly surreal.
One last thing before we go. The return of Sidney Drew, paired up here with Clara Kimball Young, to prove that the silent movies were spoofing silent movies long before pesky 21st-century scamps thought to do so. I thought Goodness Gracious; Or Movies as They Shouldn’t Be (1928) was ragged, but good clean fun, with hapless Gwendoline careering through loopy scenarios while chomping on her chicklit and waiting for her “brave youth” Cornelius to rescue her from another poorly framed misadventure. Undercranked and overegged and mad as a box of oysters. But a wiser soul than I caught up with me and raised a valid question: if this is the parody what is the original? Especially bearing in mind that this was made in 1928. Hmmm …
Corpse of the day: Bessie Love’s dear old pa in The Good Bad Man, God love him. Flat out on his front porch and breathing like a freshly landed fish.
Absurd romantic metaphor of the day: Home is where the hearth is for John Barrymore and Marceline Day in The Beloved Rogue – “Your eyes have swept my heart clean and kindled a fire there that will outlast me.”
Tiny things I love about Pordenone No 36: When the logo appears before a film and a group of dedicated colleagues cheer their own archive. Adore it.
- My blog from the first day of the Giornate is here.
- My blog from the second day of the Giornate is here.
- My blog from the third day of the Giornate is here.
- My blog from the fourth day of the Giornate is here.
- My blog from the fifth day of the Giornate is here.
- My blog from the sixth day of the Giornate is here.
- For more information on all of these films, the Giornate catalogue is available here
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
• Update 19 September 2011: Cambridge Film Festival is screening Robin Hood again, tonight, with live music by Neil Brand in the grand surroundings of Trinity College. Sounds wonderful. Click here for details.
It’s going to be a good summer for outdoor screenings of silent films, both across London and at festivals around the country. And I expect this one will be one of the most atmospheric. Cambridge Film Festival On Location is presenting a special screening of Robin Hood (1922), the swashbuckling classic starring Douglas Fairbanks, along with the world premiere of a new score by Neil Brand.
This is an epic, but charming Robin Hood, shot on some of Hollywood’s largest and most lavish sets, with fantastic action sequences and a mischievous streak of humour. Fairbanks leaps tall turrets in a single bound as a spectacularly gymnastic Robin Hood, while Wallace Beery gives us an imposing King Richard. Allan Dwan directs with flair, making the most of the gigantic sets – getting a lot of mileage out of the drawbridge, in particular.
Robin Hood dazzled audiences back in the 1920s. Photoplay magazine (quoted on Kevin Brownlow’s The Parade’s Gone by) raved about it, while considering it the apotheosis of Hollywood excess:
More than anything else, Robin Hood is a show. It seems to be stretching the word photoplay to classify it under that name. In fact, it’s the last thing in spectacles. We doubt if the silversheet will go much further along this expensive road.
If only Ridley Scott had taken the hint. I love the word “silversheet”, too. Perhaps we should try to bring that one back.
Robin Hood screens at the theatre in Rendlesham Forest in Suffolk on Monday 29 August. Neil Brand’s merry band will include violinist Günter Buchwald and percussionist Jeff Davenport. For more details, click here.