Tag Archives: Giornate del Cinema Muto

Giornate journal 2020: Pordenone post No 7

The last night of Pordenone is always bittersweet – the fun is over for another year. There are bags to be packed and it’s time to make one’s journey home, marathons and rail strikes permitting.

The same melancholy accompanied the closing of the 39th Limited Edition, but there’s a note of triumph too. The online version snatched victory from the jaws of defeat, you might say. Fewer films, of course, and none of the bonhomie that brews in the Verdi and the Posta, but something else. A celebration of the global silent film community.

The Giornate welcomed twice as many accredited delegates as usual this year. Many of those will be people who can’t usually travel to Italy, but perhaps there are some among them who might visit for the first time in person next year – the dates are 2-9 October 2021 people, mark it in your diaries. The Limited Edition has been a great advertisement for the real deal.

Day Eight

Three things I can’t resist: a film about a ballerina, a Nordisk romantic drama from the early teens, and accompaniment by John Sweeney. So although I had an elsewhere to be on Saturday, I raced home to catch up with Balletten Datter (Holger-Madsen, 1913). German dancer Rita Sacchetto, known for her Tanzbilder dance interpretations of famous works of art, plays Odette, a feted ballerina who gives up the stage to marry a count. But the footlights are calling, and jealousy is festering between her titled husband and her dance director …

The absolute highlight was a solo scene in which Sacchetto plays dressup in her old stage gear in front of the mirror. A joyous diva moment, thrilling acted and deftly staged of course. This was, I fear, a silly film. But I loved it and the Danish Film Archive is to be credited for its recent swath of first-rate digital restorations, and for making them so accessible in this of all years. Sweeney, of course, did us proud with a film that swung between on and off-stage sequences – he made it all feel like a dance.

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Giornate journal 2020: Pordenone post No 6

By Friday night of Pordenone the cracks are usually beginning to show: sleep deprivation, caffeine addiction and FilmFair splurge-shopping. Are we holding up better or worse in this Limited Edition year? Hydrating, taking regular screen breaks and a minimum of 30 minutes of exercise a day? No, me neither. In fact I am just warming up, and I could handle a silent movie show every night please, for at least a month.

Day Seven

A showstopper of a masterclass today, as the multi-instrumentalists assembled: Gunther Buchwald, Stephen Horne and Frank Bockius. Another double book presentation too, and the announcement of the Jean Mitry prize, but all roads lead to Mary Pickford here on Silent London. And A Romance of the Redwoods, courtesy Cecil B DeMille and Jeanie MacPherson in 1917.

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Giornate journal 2020: Pordenone post No 5

Did you spend your Thursday evening straying with Brigitte Helm? I hope so …

Day Six

GW Pabst’s Abwege (1928) is, as Jay mentioned in his intro, a certain thread of what we think of when we imagine Weimar cinema. Not the exoticism of Expressionism of high-concept fiction, nor the relentless realism of Street Films, but a sampler of the era’s endless fetisished culture. This is a tale of infidelity, intrigue, independence and the famous temptations of the Berlin nightlife in the 1920s.

Continue reading Giornate journal 2020: Pordenone post No 5

Giornate journal 2020: Pordenone post No 4

Now remind me, did I mention already that I was in Athens recently? Yes, Athens, the cradle of western civilisation. Well I was. And today I returned there via the magic of silent cinema …

Day Five

But first, an audience with the maestro. I was lucky enough to catch the masterclass today and so I spent a happy hour listening to Mr Neil Brand discussing his career and approach to silent cinema accompaniment. His explanation of how to read a scene backs up my theory that the musicians have all the best critical insights when it comes to silent cinema. It’s all about close reading, and rolling with the narrative punches. Still, catch up with this for yourself if you can – Neil has far more interesting things to say than I do.

Continue reading Giornate journal 2020: Pordenone post No 4

Giornate journal 2020: Pordenone post No 3

Today’s trip to Pordenone should probably have been made available on the National Health, pandemic or no pandemic. In times of stress, laughter is the best medicine, after all.

Day Four

A real treat this afternoon before the films began was the masterclass of masterclasses. John Sweeney hosted a roundtable conversation between some of the Giornate’s wonderful accompanists: Philip Carli, José María Serralde Ruiz, Daan ven den Hurk and Mauro Colombis. Lots of insights here into writing, recording and improvising silent cinema scores, and I really like the way that Pordenone has incorporated live events into the online limited edition, and especially the sense of collegiate conversation, and the sharing of expertise that characterises a week in the Verdi. This was a superb example of that. Do catch up if you can, if only to understand why John and Philip have such an aversion to thinking of rabbits, or squirrels.

Continue reading Giornate journal 2020: Pordenone post No 3

Giornate journal 2020: Pordenone post No 2

Pordenone is about halfway between Athens and London, right? So at some point on Monday I was probably there, just 37,000ft above it. Travelling cramped my style somewhat at the start of this week, but I don’t give up on silent cinema. Not ever.

It might seem perverse that I was at a open-air cinema in Athens watching Ammonite when I could have been trying to force my hotel wi-fi into rendering a masterwork of Chinese cinema on my laptop,. However, I’ll tell you this: there is a magic lantern scene in Ammonite, while made me smile, ruefully, and remember the fantastic first programme of the day, which of course was …

Day Two
The Brilliant Biograph! The name contains its own review. Many of you will have seem many of these films before, or at least heard me bang the drum for them, but still, it’s worth reminding ourselves what marvels they really are.

Continue reading Giornate journal 2020: Pordenone post No 2

Giornate journal 2020: Pordenone post No 1

There is nothing like watching a film in Pordenone, the collective joy of sharing a discovery or a fabourite classic, with hundreds of fellow silent film enthusiasts in the Teatro Verdi. This year’s Giornate del Cinema Muto Limited Edition, also, will be nothing like that. We will be dialling in online, streaming films in our separate spaces, alone. But that is not to say I haven’t been anticipating it with relish. I have been counting down the days.

This year I will not be blogging the collective experience of sharing the silents in the Verdi, of discussing them over coffee and spritzes in the Posta. My experience of the festival will be different to yours, very different in some cases. This is my Giornate journal and it won’t be like the ones I have written before.

Day One
It’s a silent film fan’s nightmare. I am late for the Giornate! When the first programme was broadcast on Saturday afternoon I was not at home with my projector poised, I was … at a film festival in Europe. Lucky me, I was on the jury of the Athens International Film Festival this year, a festival that took place IRL, in the open-air. So as Pordenone began I was in an outdoor cinema in the National Gardens in Athens, handing out prizes and then watching Christian Petzold’s gorgeous water-nymph romance Undine.

Continue reading Giornate journal 2020: Pordenone post No 1

Abwege (1928): delirious dissolution in the Weimar nightlife

Abwege, otherwise known as Crisis, or The Devious Path, is streaming as part of the 2020 Limited Edition Pordenone Silent Film Festival. You can sign up here – tickets start at €9.90.

Abwege, GW Pabst’s 1928 film about the descent of one respectable married woman into the depth of the notorious Weimar nightlife is one of the unmissable titles in the programme, and it will be available for 24 hours from Thursday 8 October, with musical accompaniment by Mauro Colombis. You can explore the rest of the programme online.

Pabst was born in Austria in 1885. He started out in the theatre, an actor turned director who only began making films in 1923 at the age of 37. He soon became known as an actor’s director, and especially an actress’s director. His 1925 film The Joyless Street, for example, starred both the Danish diva Asta Nielsen and a then little-known Greta Garbo. He also made two films with the iconic Louise Brooks. But Brigitte Helm, the star of Abwege, was the special one for him.

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Pordenone goes online: news about the 2020 Giornate del Cinema Muto

The news you were waiting for, or perhaps dreading, is here. The Pordenone Silent Film Festival has announced that its programme for 2020 will be postponed until 2021. But! There will be a virtual, “limited edition” version of the festival online this year, running 3-10 October 2020.

The need to make health our number one priority, and the impossibility of welcoming a full complement of international guests in the Teatro Comunale Giuseppe Verdi for our annual rendezvous with silent film, has led the organizers of the Pordenone Silent Film Festival/Giornate del Cinema Muto to shift the 2020 programme set by director Jay Weissberg to 2021. Given that eight days of thematic screenings and events is simply not viable in an online format, the decision has been made to make the world’s leading film archives the Festival’s co-producers, in a sense, offering them the opportunity to present some of their riches online to the Giornate’s public during the established dates.

So, as always but even more so, the festival will be an international collaboration of film archives – and there will be plenty for us to watch. The cinematheques involved include: the Library of Congress in Washington D.C., Lobster Films in Paris, Det Danske Filminstitut in Copenhagen, the China Film Archive in Beijing, EYE Filmmuseum in Amsterdam, the National Film Archive of Japan in Tokyo, together with the Cineteca del Friuli, co-founder with Cinemazero of the Pordenone Silent Film Festival.

There will be everything we come to expect from Pordenone: rarities, restorations, live music, a collegium, the Jean Mitry award and even the bilingual catalogue. I can’t actually wait.

Wait, there’s more. The Giornate has a blog now? I’m beaming.

With an eye to reinforcing the ties between the Festival and its international public, a new blog is being launched this weekend, called La Gatta Muta; or, The Silent Cat, created by director Jay Weissberg and hosted on the Giornate’s website. Its aim is to stimulate discussion by uncovering the forgotten people and episodes of the silent era, privileging storytelling as a path towards rediscovery.

See you in the cyber-Posta!

Le Giornate del Cinema Muto 2019: Pordenone Post No 7.5

Greetings, not from Pordenone, but from Marco Polo airport. Sadly I am not staying for the final day of the Giornate, so this may not be the blogging finale you were expecting.

There is a fine day ahead for those of you still at the festival, including Colleen Moore in Ella Cinders and Reginald Denny in Skinner’s Dress Suit, not to mention the conclusion of the Charles Hutchison serial The Great Gamble.

Tonight’s special event in Teatro Verdi is one that I am especially sorry to miss, and perhaps the fog surrounding the airport this morning is some kind of sympathetic sign.The closing gala for the 38th Pordenone Silent Film Festival will be Alfred Hitchcock’s murky murder mystery The Lodger: A Story of the London Fog (1927), starring the beauteous Ivor Novello and the marvellous Marie Ault. I hope you’re looking forward to watching the silky new BFI restoration of this British silent classic, especially when I tell you that the music will be Neil Brand’s brilliant new orchestral score, conducted by Ben Palmer. Enjoy it for me, blub. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 7.5

Le Giornate del Cinema Muto 2019: Pordenone Post No 7

“You must go to the KiPho!” That was the message of the morning, where KiPho means cinema: kino + photografie. It takes a certain frame of mind to rise early in the morning to learn “how to be modern” from films that are nearly a century old, but here in Pordenone it seems perfectly natural. So today’s Weimar shorts selection began with Kipho, AKA Film from 1925, a speedy run-through of the medium to that point, flipbooks and all. That was followed by the most bizarre, and brilliant, ad for a motor show I have ever seen (featuring a martian, fallen to Earth and revived with lager, and that was just the start of it), some tips on kitchen design and lighting and a couple of comical films offering hygiene advice. And that’s how to be modern.

This concoction of the weird and the well-meaning was followed by Cecil B DeMille’s 1916 epic Joan the Woman, starring opera singer Geraldine Farrar, gorgeously accompanied by Philip Carli. All 11 reels unspooled today, although I confess that I couldn’t stay for all of them, which is a shame as what I saw was h-y-p-n-o-t-i-c. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 7

Le Giornate del Cinema Muto 2019: Pordenone Post No 6

Norma Desmond reckoned the silents didn’t need dialogue. But she never came to the Giornate. This may be a silent film festival but it’s good to talk. And listen. So I spent about as much time listening to people chat today as I did watching them mouth words. And yes, today did mark the return of benshi artist Ichiko Kataora to Pordenone with the Japanese silent Chushingura (1910-1917). So there is a method to this festival madness, I promise you. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 6

Le Giornate del Cinema Muto 2019: Pordenone Post No 5

You can’t watch everything. Well maybe you can. I can’t. So it is with regret that I have to make some difficult choices – today of all days. Weimar cinema or William S Hart westerns, for example. I followed my heart, and my research interests. What else can you do?

So I spent my morning immersed in 1920s Germany (and my 2019 inbox). To begin with, a diverting selection from the Weimar Shorts strand, which including some utter wonders. Watching Otto Dix at work with ink, watercolour and oil paint was a real thrill. Although I felt a little “seen” by his first portrait: a lady with dark, heavy circles around her eyes. That was Schaffende Hände. Otto Dix (1924). There were more artists at work too: the uncanny elegance of Lotte Pritzel’s wax figurines came to life in Die Pritzelpuppe (1923), and when they were shot in silhouette it was hard to forget that other great female film artist of the Weimar years, Lotte Reiniger. I was especially intrigued by the tableaux at the end in which actors (including Niddy Impekoven) posed in costumes designed by Pritzel, in unheimlich imitation of the puppets’ posture, as part of a pantomime, Die Kaiserin von Neufundland, written by Frank Wedekind. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 5

Le Giornate del Cinema Muto 2019: Pordenone Post No 4

Still mooning about the goat-herder? Another Giornate blogpost will take your mind off it, Marion.

One of the beauties of Pordenone is the fact that the programme is so omnivorous, ranging far and wide over the first four decades of film history, and the audience are equally diverse. No doubt the main attraction of today, the headline act as it were, was the Hollywood comedy double-bill that played this evening. While I enjoy Marion Davies and Laurel and Hardy as much as the next silent cinema blogger, like everyone here I have my own particular passions that draw me back to the Verdi every year.

So it was that I woke up this morning most excited to see an eleven-minute film playing in the middle of the morning: Gerolamo Lo Savio’s 1909 Otello. Yes, I am a silent Shakespeare fan and this was my treat for the day. Stencil-colour, Venetian location shooting, a passionate but hardly Moorish Othello (I think it was the divine Michelle Facey sho said that meant he was surely “lessish”) and a nicely malevolent Iago made this a Shakespeare to savour, even if inevitably one had to devour it in one small mouthful. The colour was especially memorable here – notably a brief bloom of scarlet at Othello’s throat as he dies. An attractive and unexpected gory entry in the silent Shakespeare canon. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 4

Le Giornate del Cinema Muto 2019: Pordenone Post No 3

Not to brag*, but I recently returned from the San Sebastián International Film Festival. There I saw people falling over themselves to catch a glimpse of Penélope Cruz or Kristen Stewart. That’s cool, but I do like it here at Pordenone where the mere sight of Léontine’s name on a title cart can cause someone in the Verdi stalls to whoop so loud that I was wondering who it was from the second balcony.

This bit certainly isn’t a brag, but my day job followed me to Pordenone this week, and I was tapping away at my laptop in my hotel room, writing about H****y W*******n when I suddenly realised I only had a minute to spare to get to the Verdi for the next session, the session I really didn’t want to miss: the return of Nasty Women, curated by Maggie Hennefeld and Laura Horak. Readers, I dashed to the Verdi and what I saw there was enough to wipe such horrid thoughts from my mind. Joyously anarchic, gleefully disruptive, messy, wild and endlessly hilarious antics, perpetrated by women on an unsuspecting world. Alice Guy-Blaché’s pregnant Madame with her escalating cravings, Léontine vandalising the petit bourgeoisie of a whole town, the housemaids on strike and marching through the streets, Cunégonde trying to keep tabs on her man … I loved all these gigglesome, radical short comedies. Up to and including the wonderful La Peur des Ombres with its shadowplay, sophisticated splitscreen and good-natured gurning – it rips a classic DW Griffith actioner into shred and sprinkles it around like confetti. Would love to think Weber saw it before making Suspense. This sort of thing should be available on the NHS: National Hilarity Service. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 3

Le Giornate del Cinema Muto 2019: Pordenone Post No 2

It was a day for film stars in Pordenone today: from the contract players lining up to do studio promo in this morning’s Films on Film programme to Ita Rina the Slovenian tragedienne in the Estonian drama Kire Lained at the end of the night. But when I consider all the stars shining brightly in the Verdi today, I have to confess, my heart belongs to William S.

Tonight’s evening screening was devoted to the western star William S Hart, kicking off a whole strand devoted to his peculiarly soulful machismo and hearty horsemanship. Before the feature we had two short films. One was a talkie clip from 1939 with Hart introducing his final film, Tumbleweeds (1925) and lamenting, it seemed, both the decline of the old west and the passing of his days as a western star. Only slightly less poignant was a silent fragment of Hart on a promotional tour of New York in 1919 and, so the intertitles told us, pining for the frontier lands. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 2

Le Giornate del Cinema Muto 2019: Pordenone Post No 1

Charlie Chaplin, whose early masterpiece The Kid played this year’s Giornate opening-night gala, said some very wise things. Among which was the famous dictum that “a day without laughter is a day wasted”. It’s especially glorious to reflect on that idea after a day spent in fits of giggles in the Verdi. Today belonged to Chaplin, to Max Linder, to Suzanne Grandais and Léonce Perret. And more than that, to a rather more grand cosmic joke, played in Pordenone today, which thankfully had results rather more charming that catastrophic.

Yes, the slapstick gods truly smiled on us at the start of the 38th Giornate del Cinema Muto. How else to explain the fact that the industrious town of Pordenone had scheduled both a silent movie festival, and a marching band convention for the same day? Yes, a dozen or more brass bands were stepping around the piazza outside the Verdi reinterpreting pop and rock favourites, all while the afternoon films were playing. Fret not, the Verdi was entirely soundproofed, so there was no interruption to the excellent work of the day’s pianists. But just imagine what Messrs Chaplin and Linder might have made of such a circumstance?

Anyway, enough of my prattle. Welcome home! Today your humble correspondent enjoyed an especially fine afternoon of silent goodness, and she is feeling very buoyant indeed about the week to come. Continue reading Le Giornate del Cinema Muto 2019: Pordenone Post No 1

Le Giornate del Cinema Muto 2018: Pordenone Post No 8

What do you need to make a great movie? At the end of a week at Pordenone, is it the images that burn in your mind, or the stories that tug at your heart? Today we had more films that wooed us with visual than narrative pleasure, making for an exhilarating lineup that celebrated the artistry of silent cinema.

Let us begin at the end – with the gala performance of The Chess Player (Raymond Bernard, 1927), restored by Photoplay in 1990 and playing here with a superb orchestral rendition of Henri Rabaud’s original score. This story of revolutions and robotics is a tremendous one, but it’s the images that scorch: The automaton army raising its sabers in unison; Edith Jehanne surveying the wreckage through a broken window; the pyrotechnic display of the firing squad in a snowy palace courtyard. A wonderful, rousing, and visually thrilled film that provided a suitably grand flourish to a week that has revelled in epic excitement.

 

A case in point: the tremendous The Last of the Mohicans (1920), one of those Canon Revisited films that is tucked away in an unassuming slot in the schedule and acts like a shot in the arm to the jaded festivalgoer. I had not seen it before and my expectations were somewhere around the middle, but this is wonderful stuff. Amid the action (which is wonderfully staged and always nailbiting) what emerges is an unexpectedly tragic and touching romance – one you wouldn’t go looking for in material like this, but there you go. I was moved. And of course that cliffhanger sequence is the best we have seen all week and we have seen some excellent ones.

Continue reading Le Giornate del Cinema Muto 2018: Pordenone Post No 8

Le Giornate del Cinema Muto 2018: Pordenone Post No 7

I probably should have mentioned this before, but the 37th Giornate del Cinema Muto is officially the best yet ever, no returns. Why? Because Pola Negri is this year’s poster girl.  Artistic Director Jay Weissberg knows the truth – she’s the greatest. So tonight, we were all (the wise among us) enthralled and delighted to see La Negri on the big screen, in a freshly restored print of Ernst Lubitsch’s Forbidden Paradise. In this 1924 Paramount film, Negri plays Catherine the Great and everyone else acts awestruck. Rightly so.

The morning began with one of this blog’s other favourite silent stars: Large Handsome, AKA Lars Hanson. In the frothy pastoral comedy A Dangerous Wooing, he scales a mountain to win his sweetheart, sharply described in the catalogue as a model of “passive female sexuality”, wanly waiting for Lars to reach her. Well, she does put out a hand to help pull him to the top in the end I suppose. This was a thing of gossamer really, four acts of light comedy and magnificent scenery. But Hanson adds heft and I couldn’t think of a more joyful morning movie.

Continue reading Le Giornate del Cinema Muto 2018: Pordenone Post No 7

Le Giornate del Cinema Muto 2018: Pordenone Post No 6

Lyda Borelli, Lillian Gish, Florence Vidor, Stacia Napierkowska. Let’s hear it for the ladies after an exceptionally strong day at the Giornate. My favourite film of the day was a Stahl that surprised us all, so let’s start with the great master of melodrama himself. or do I mean, the master of comedy?

Husbands and Lovers (1924) was one of the few silent Stahls I had seen before, sort of. I had seen a cutdown version of this film, which stars Vidor and Lewis Stone as a married couple, and Lew Cody as their friend who makes up one of those triangles we have learned so much about this week. It’s dedicated to “the tired American wife who has a husband and craves a lover, or some such. The shortened version gave me a bum steer, turning it into a mini-melodrama. This is a sparkling, and very smart marital comedy, much in the same vein as Lubitsch’s The Marriage Circle. In the opening sequence, Vidor does everything she can do for her helpless man to assist with his morning routine, dashing about in her dressing gown. And then the cad has the verve to say she looks frumpy and untidy.  Does that mean there was not a hint of tragedy or an outlandish coincidence in sight? No, but it was played for laughs. And the joy of it is the slowly shifting relationship between the three characters, first one way, then another, until a joyous ending. Fantastic cinematography, sharp lead performances and a very adult understanding of what gets lost and goes unsaid in a long-term relationship. Do look out for this if you can. And it goes without saying, it gave us plenty more to talk about at today’s Stahl collegium presentation. Continue reading Le Giornate del Cinema Muto 2018: Pordenone Post No 6