Tag Archives: Hippodrome Festival of Silent Cinema

Hippfest 2017: the Silent London Podcast

Thank you to the Hippodrome Silent Film Festival for another great week/end of music and movies in a very warm and sunny Bo’ness. I was there from Wednesday to Saturday and here’s my podcast report from the event, now in its seventh year.


From Nell Shipman’s The Grub Stake and Lorenza Mazzetti’s Together to Marion Davies and Marie Dressler in The Patsy, Ruan Lingyu in The Goddess and Aleksandra Khoklova in By the Law there was a special emphasis on the women of silent cinema at this year’s festival. But the programme as a whole was far too diverse to summarise here. I hope you enjoy hearing all about it – especially if you were lucky enough to be here.

Hippfest 2017: the Silent London Podcast

Big thanks to the Hippodrome cinema and to the festival, but also to the lovely people of Bo’ness, the Richmond Park Hotel, the Corbie Inn and my absolute favourite, the Ivy Tea Room.

Help Hippfest buy a piano here.

The Silent London Podcast is available on iTunes. Go there for more details and to subscribe – if you like what you hear, please leave a rating or review too. The intro music is by kind permission of Neil Brand, and the podcast is presented in association with SOAS radio. The other music you can hear on this podcast was written and performed by Maud Nelissen and the Sprockets for the Hippodrome Festival.

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Back in Bo’ness: the 2017 Hippodrome Festival of Silent Cinema

Thwack! Did you hear that? It’s the sound of the latest Hippfest programme landing on the digital doormat. I’m a big fan of Hippfest, a welcoming event, with an ambitious, highly entertaining, lineup of screenings and a frankly beautiful venue. If I could, I’d turn the Scottish thermostat up a couple of notches next month, because this southern softie will be back in Bo’ness for the festival, which runs from 22-26 March 2017, and takes place mostly in the town’s gorgeous vintage cinema, the Hippodrome.

As the schedule is announced today, that means the tickets are on sale already, and if something here catches your eye, book as soon as you can – Hippfest screenings can, and very often do, sell out.

nell-shipman

So what’s on offer this year? The first day is devoted to female film pioneers, a subject close to my own heart: with a talk from film expert Ellen Cheshire, and an evening screening of Nell Shipman’s The Grub Stake (1923), with a brand new score from Jane Gardner and an introduction by yours truly. Read more about the amazing Nell Shipman here.

The Goddess (1934)
The Goddess (1934)

Thursday afternoon brings a Chinese double-bill – a lecture on the women of Chinese silent cinema by Professor Paul Pickowicz, and a screening of the BFI’s revelatory archive compilation Around China with a Movie Camera, introduced by composer Ruth Chan. On that subject, watch out for the Saturday afternoon screening of an unmissable Chinese silent, The Goddess (1934) starring Ruan Lingyu as a mother in a terrible predicament, with music by John Sweeney.

Continue reading Back in Bo’ness: the 2017 Hippodrome Festival of Silent Cinema

Nell Shipman and the pioneer spirit of silent cinema

Nell Shipman, silent-era actress, writer, producer and director, gives new meaning to the phrase “film pioneer”. A truly adventurous soul, at the height of her career she starred in a series of outdoorsy action films featuring a menagerie of animals and seriously risky stuntwork – when she nearly drowned shooting a scene in a river, it didn’t occur to her to complain: instead she said, “I should have paid Vitagraph for the adventure.” Furthermore, she worked completely outside the system, running her own production company and filming her “little dramas in big places” deep in the hills of Idaho, more than 1,000 miles north of Los Angeles.

But isolation from Hollywood has contributed to a neglect of her legacy. Along with many of her contemporary female film-makers, she was missing from the first histories of the film industry, and remains little-known. A new documentary directed by Karen Day, The Girl from God’s Country, intends to rectify that. The film tells the story of Shipman, but also broadens the scope to examine how her peers’ histories have also been erased and the impact of that on the modern industry and on generations of female filmgoers.

Canadian-born Shipman was a thrillseeker through and through, who “refused to be a lady” and ditched school early to go into rep, becoming what she called a “vagabond actress”. She wrote her first novel soon after marriage and the birth of her first child, then moved into screenwriting. When the star of a film failed to turn up to the set one day, Shipman stepped in and started her career as a screen actress. Her breakthrough role was in Vitagraph’s God’s Country and the Woman (1916), an adaptation of a novel by James Oliver Curwood, bestselling author of American wilderness adventures, and the first in a series of God’s Country films.

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Silent London hits the road

 

London’s great, it really is, but sometimes a blogger has to seek wider horizons. So this year I will be packing up my laptop and getting my soy cappuccino to go. I’m hitting the road to report on the silent film festival circuit – more of which anon – and I may possibly be popping up in a cinema near you.

First, an exciting announcement! The British Silent Film Festival is back this year. We have dates and a venue confirmed – 14-17 September 2017, at the Phoenix in Leicester – but no more news yet. Barring flood or fire, I’ll be there, and I recommend that you attend also.

Shoes (1916)
Shoes (1916)

Before that, however, I’ll be introducing two fantastic silent films by female directors at venues that couldn’t be much further from Leicester, and each other.

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Hippfest ever after: the 2016 Hippodrome Festival of Silent Cinema

When the glasses were clinking and plans were being made at the close of the Hippodrome Festival of Silent Cinema this year, there was one thing that gave us pause. A sobering thought among the celebrations…

2016, it seemed, was the year of the unhappy ending. From the high tragedy of Stella Dallas, to the poignancy of Peter Pan, the sweet irony of Exit Smiling, and the apocalyptic predictions of Wunder der Schöpfung – there was not a happy-ever-after in sight. And don’t get me started on Variety, Mania or Daybreak

But despite that, I was grinning like a loon for most of the weekend. Hippfest offers a warmer welcome than most film festivals, but crucially, it has the quality to match its quirkiness. An excellent range of films, screened with accompaniment from some of the world’s best silent cinema musicians. The vintage cinema may be cute, but the festival itself is seriously credible. Here’s a flavour of the fun we had in Bo’ness this year.

See you next year!

Hippfest returns: the 2016 Hippodrome Festival of Silent Cinema

It might be the northern welcome, it could be the gorgeous vintage cinema, but it’s probably the combination of great films and first-class music … the Hippodrome Festival of Silent Cinema is a highlight of our calendar. This year’s festival runs from 16-21 March 2016 and excitingly, the programme has just dropped!

Exit Smiling (1926)
Exit Smiling (1926)

This means you can start booking your tickets now and believe me, these events often sell out, so act fast.

Mania: History of a Cigarette Factory Worker (1918)
Mania: History of a Cigarette Factory Worker (1918)

The full programme is online here, so you can have a proper browse, but the lineup includes:

  • One of the greatest films of all time, Dovzhenko’s Earth, is the opening night gala, with a brand new score from Jane Gardner and Hazel Morrison.
  • Camera acrobatics in Dupont’s thrilling love-triangle drama Varieté starring Emil Jannings and Lya di Putti, with Stephen Horne and Frank Bockius providing excellent, multilayered accompaniment.
Variety (1925)
Variety (1925)
  • The hilarious Exit Smiling starring Beatrice Lillie (“the funniest woman of our civilisation,” according to Noël Coward) as an aspiring stage star in a shabby touring company, with the ever-brilliant Neil Brand on the piano. That’s the Friday night gala with an introduction by Bryony Dixon – and the perfect excuse to dress up.
  • The unbeatable tearjerker Stella Dallas (the 1925 version), with a new score by Stephen Horne performed by himself and Elizabeth-Jane Baldry, and an introduction by your own humble correspondent.
Peter-Pan-1924
Peter Pan (1924)
  • Intergalactic German space documentary Wunder der Schöpfung screens with a wild soundscape score by Herschel 36 (who will be talking about how they wrote their score in another event at the festival) on Saturday night.
  • Late Chinese silent Daybreak, starring Li Lili, with accompaniment by John Sweeney. This screening will be supported by a talk on early Chinese Cinema, which is sure to be illuminating.
Earth (1930)
Earth (1930)
  • My own favourite film star, Pola Negri, in one of her early German films, Mania, with music from kraut-rock band Czerwie.
  • Reel rations – Bryony Dixon’s tour of British propaganda films from the Great War.
  • Herbert Brenon’s charming, inventive Peter Pan, with an acclaimed live score by harpist Elizabeth-Jane Baldry.
Stella Dallas (1925)
Stella Dallas (1925)
  • British train crash drama The Wrecker – screened at Bo’ness train station!
  • Comedy! Courtesy of a Laurel & Hardy triple-bill, as well as Buster Keaton in My Wife’s Relations and Anita Garvin and Marion Byron in A Pair of Tights.

To book for any and all of these events – head to the Hippfest website.

The Silent London poll of 2015: the winners!

The votes are in! Thanks to everyone who contributed their thoughts to this year’s poll – we had a wide range of responses, and votes cast from around the world. Looking back on the 2015 reveals that it was a very strong year for silent film, which meant that many of these decisions were very close-run things. Congratulations to everyone who won a category – and those who just missed out too.

protesting-suffragettes-early-1900s1
Make More Noise!

The best DVD/Blu-ray of 2015

There have been some corking discs and box sets released this year, so there were several contenders for this prize. But out in front by some distance, was the BFI’s brilliant suffragette compilation with music by Lillian Henley: Make More Noise! Don’t mind if we do.

Make More Noise!
Make More Noise!

The best theatrical release of 2015

Not so many titles up for contention here, and some confusion as to what represents a bona fide theatrical release. Good to see some love for films that were popular on the festival circuit such as Synthetic Sin and The Battle of the Century, even if they weren’t exactly what we were looking for here. However, among several nods to Steamboat Bill Jr and Man With a Movie Camera, your winner was … well why not: Make More Noise! again. Congratulations to Bryony and Margaret Deriaz, who curated this fabulous selection of films.

The Tribe (Plemya, 2014)
The Tribe (Plemya, 2014)

The best modern silent of 2015

My personal favourite new film of 2015 won this category hands-down. While Miroslav Slaboshpitsky’s deaf-school drama The Tribe technically has plenty of dialogue, the fact that said dialogue is entirely in Ukrainain sign language makes this a silent film for most. And an astonishingly powerful one too. Not for the faint-hearted, but a fantastically exciting film nonetheless.

The Phantom of the Opera
The Phantom of the Opera

The best orchestral film screening of 2015

Well you saw some excellent shows in 2015, didn’t you? There were many great nominations for this category, and the title very nearly went to a London screening … but not quite. The winner was the triumphant conclusion to this year’s Pordenone silent film festival: The Phantom of the Opera with Carl Davis’s excellent score played by Orchestra San Marco and conducted by Marc Fitzgerald. I can confirm that this was a blinding performance, but also that the Teatro Verdi lighting stayed firmly in place throughout the show.

Continue reading The Silent London poll of 2015: the winners!

News: Slapstick, Hippodrome, Neil Brand, Nanook and more

It’s a busy time! Here’s a roundup of the silent movie news I really want to share with you.

Bristol fashion

The Slapstick festival, our favourite reason to visit Bristol, is back in 2016, running from 20-24 January with a fantastic lineup of events topped by a special gala screening of Chaplin’s The Kid. But there’s so much more to the programme than that. I am looking forward to Kevin Brownlow’s favourite silent comedy westerns, Lucy Porter on the genius of Anita Loos, David Robinson’s lecture on the inside story of The Kid and a musical screening of Cecil B DeMille’s jazz-age drama Chicago (1927), as well as tributes to Buster Keaton, Harold Lloyd, Ben Turpin and more. Read more and book here and don’t forget to support the Kickstarter campaign if you can.

 

Neil Brand – and friends
Neil Brand – and friends

Brand new

It would take a smarter woman than me to keep up with Neil Brand these days – he pops up everywhere from the BBC to the Royal Albert Hall to the good old BFI. The best way to keep tabs on his activities and make sure you don’t miss a show, is his website neilbrand.com, which has just been thoroughly revamped. There’a google calendar of his upcoming events (very useful) and links to buy his DVDs, albums and books. Plus, there is an INCREDIBLY USEFUL page, titled So you want to programme a silent film? which is a clear, and authoritative guide to how to put on a silent film screening – from rights to music to marketing. If you are contemplating putting on a show – read this first. There is also a link through to Brand’s Originals site, which has some fascinating material about film music and musicians in the silent era. I hear that these pages will be getting their own makeover shortly.

Continue reading News: Slapstick, Hippodrome, Neil Brand, Nanook and more

The Silent London Podcast: Festivals, firsts, a favourite and Flesh and the Devil

Flesh and the Devil (1926)
Flesh and the Devil (1926)

Back to the studio for a full-length edition of the Silent London Podcast. I’m joined by Pete Baran to talk about the festival scene, discuss the first silents we ever watched and catch up on the news. We’re joined by London Symphony director Alex Barrett, who tells us about his favourite silent film, The Passion of Joan of Arc, and we preview the British Silent Film Festival as well as reviewing the great Hollywood silent Flesh and the Devil.

We also make inappropriate comments about Greta Garbo, and I get a little bit over-excited about Pordenone. Just another day in the office really.

 

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Hippfest 2015: a barnstorming weekend in Bo’ness

Bye bye Bo'ness #hippfest

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“If a cinema could give you a hug, this is what it would feel like.” That’s how Bryony Dixon described the Hippodrome Festival of Silent Cinema in Sight & Sound last year, and as usual, she’s not wrong.

This year I returned for my second trip to the festival, now in its fifth year, and the welcome was warm, the music was fabulous, the films magnificent and the crowds enthusiastic.

It’s a tribute to Ali Strauss, Shona Thomson and all the team behind Hippfest that this small town in Scotland draws silent movie fans from across the country (and the globe) as well as introducing the locals to the delights of EA Dupont, Mikhail Kalatazov and Buster Keaton. I had a stonking time in Bo’ness this year, and would recommend the festival to anyone who loves movies, music and merriment.

Here’s what I took home from Hippfest this year:

A tan. Well, a vitamin D topup at least. I made all the usual wry comments about “sunny Scotland” in the runup to my trip, but Bo’ness was truly bonny this weekend, and my, the Firth of Forth looks stunning in the sunshine.

Synthetic Sin (1929)
Synthetic Sin (1929)

More recruits for the Colleen Moore fanclub. It was an absolute honour for me to introduce the Friday night gala screening of Synthetic Sin – and I just knew that Ms Moore would charm the spats off the assembled audience. It was a fantastic screening, with raucous laughter threatening to drown out Neil Brand’s spirited accompaniment at times. All the gala shows were sold out – well almost all of the events were – which I think goes to show that people are prepared to take a chance on films, and stars, that they haven’t heard of before. I’m not sure the Hippodrome crowd will forget Colleen in a hurry though.

The fear of God. Well, flippancy aside, I was looking forward hugely to the Thursday night screening of William S Hart western Hell’s Hinges, not least because it would be scored by those groovy cats the Dodge Brothers. But as the band struck up and immediately began crooning “Satan is real” a shiver ran down my spine. The movie provided fire and brimstone, and the Brothers gave it space to breathe and fan those flames. A massively atmospheric screening, and a wonderful opener to my festival. So few people get a chance to see a pre-1920s film on the big screen at all – let alone with so much added cool.

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