Tag Archives: GCM40

Le Giornate del Cinema Muto 2021: Pordenone Post No 8

At the start of this festival I missed a date with An Old Fashioned Boy, but you can bet your last Euro I wasn’t going to pass up a rendez-vous with Casanova. Tonight, the final night of this very precious Giornate, belonged to Ivan Mosjoukine, his magnicifent eyebrows and the show-stopping music of Günter Buchwald.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 7

This is my tenth Giornate, which means I have graduated from newbie, all the way to novice, but also that I have been present for a quarter of the festival’s history. This is the 40th Pordenone Silent Film Festival – an annual celebration of silent cinema that began with a short retrospective of Max Linder films at Cinemazero in 1982, viewed by around eight people. Tonight in the Verdi, it seemed like every other seat was taken for a rendez-vous with Linder.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 6

Pordenone 6

Unprecedented scenes in the Teatro Verdi tonight, as the audience of customarily meek silent film enthusiasts stamped their feet, booed and exclaimed “outrageous!” “Close the curtains!” and “Down with this sort of thing!” But more reports on the incident the papers are calling the 2021 Giornate riot later.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 5

Anna Q Nilsson! Tom Moore! Dark deeds with gold mines, wedding regrets and stock certificates! A mysterious, abrupt finale! It can only be the welcome return this afternoon of the 1916 serial Who’s Guilty?, which we loved so much in 2016. This was a classic example, with Nilsson and Moore marrying in haste and repenting at leisure but Nilsson’s ex proving to be no better option. And that was before the mine gave up its gold. What a nostalgic treat.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 4

“I don’t think I’ll be falling in love with Ellen Richter any time soon,” said a gentleman to me in the hotel lift this lunchtime. Everyone else, please form an orderly queue. We sampled riches of Richter today, in three hour(ish)-long installments of Die Frau Mit Millionen (The Woman Worth Millions, Willi Wolff, 1923) – a fine example of her work in the “Reise- und Abenteuerfilme” or travel-and-adventure films genre.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 3

The lure of distant shores drew us into the Verdi this Monday morning, though initially it looked a little like false advertising. Ilka Schütze’s In Den Dschungeln Afrikas/In the Jungles of Africa (1921-24) was a stop-animation story of two dolls travelling via “balloon” not to another continent but only as far as their garden, or their dreams. If dolls can dream. I hope so, don’t you?

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Le Giornate del Cinema Muto 2021: Pordenone Post No 2

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.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 1

“Now more than ever, welcome home!” If Jay Weissberg’s address to the Verdi at tonight’s opening gala didn’t lodge a lump in your throat, you may be an irredeemable cynic. Or perhaps you were just marvelling at the man’s mastery of the Lubitsch Touch – the exquisite pain of terribly mixed emotions. But more on the importance of being Ernst later. Let us begin at Act One, Scene One. Enter your humble scribe, stage left.

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