Happy 10th birthday to our favourite friends north of the border, The Hippodrome Silent Film Festival! This annual Bo’ness bonanza of silent cinematic goodness has pulled out several stops for its 10th anniversary edition, which runs from 18-22 March 2020, and features great movies, brilliant musicians, special guests and apparently, a barrage of custard pies.
Happy new decade Silent Londoners! Let’s kick off the Twenties with a party shall we? A Silent London Poll-Winners’ Party. You know the drill by now, these prizes go to the best of the past year in silent film, as voted for by YOU. With that said, I will starting handing out the gongs immediately
Best DVD/Blu-ray of 2019
This was a very popular winner – the Eureka/Masters of Cinema DVD/Blu release of the magnificent Der Golem was by far your favourite disc of the year. The package comprises a beautiful restoration of the movie, accompanied by a choice of great scores and a feast of insightful extras. An excellent choice. I reviewed this release in more detail in the January 2020 edition of Sight & Sound.
- Honourable mention: Fragment of an Empire (Flicker Alley)
Best Theatrical Release of 2019
Go, Golem! The expressionist classic was your classic for the best theatrical release of the year, as this sumptuous restoration played several dates around the world. I saw it in NFT1 in the summer and I am not sure I have recovered yet.
Best Modern Silent of 2019
It may not BE silent but it WAS shot silent, as forthcoming screenings with live musical accompaniment are sure to emphasise – Mark Jenkin’s brilliant Cornish drama Bait was your favourite modern silent of the year.
This is an edited version of the screening notes I wrote for the screening of Laila at the Hippodrome Silent Film Festival 2019. That screening was accompanied by a spellbinding score by Rona Wilkie and Märit Falt, commissioned by Hippfest, which will be touring Scottish venues with the film in the coming months – more details below.
George Schnéevoigt was born in Copenhagen in 1893. His Danish father was a musician and his Finnish mother was a photographer. He lived with her in Berlin for much of childhood, before returning to Denmark as a young man to become a filmmaker. As a director at the Nordisk studio, he directed several films, but he also worked as a cinematographer, most notably on some beautiful films by Carl Th. Dreyer (The Parson’s Widow and Leaves from Satan’s Book, both 1920). It was when working as a cinematographer on a film called The People of the Wilds (1928), a melodrama set in the Sami community in northern Norway, that he was struck by the inspiration for his Laila (1929).
With the help of Norwegian producer Helge Lunde, Schnéevoigt was able to make Laila, an adaptation of a popular novel about the Sami people by author J. A. Friis. At the time, the indigenous Sami people, who lived in Norway, Sweden, Finland and Russia, were the targets of a certain amount of racial prejudice – traces of which you can see in the finished film. Nevertheless, Friis’s novel took a slightly more sympathetic view, and had proved a big success. It had first been written as individual stories under the title From Finnmark: Descriptions, but Friis added more chapters to create a cohesive novel named Lajla, using the adventures of a young woman to tie the story together. Continue reading Laila (1929): the epic adventure of a young woman’s life
Friday is International Women’s Day and all through March it is Women’s History Month. It also appears to be Lois Weber month, too.
Not that we need any excuse to celebrate a great silent film director, but it just so happens that this March I am hitting the road around the UK to talk about Lois Weber, and I don’t want you to miss out on seeing her wonderful films.
On Friday 8 March I will be in Hereford at Borderlines Film Festival with South West Silents, Tara Judah and Lillian Henley, for an evening devoted to Weber. There will be introductions, screenings of Suspense and The Blot accompanied by Henley and a Q&A afterwards. You can book tickets here.
On Friday 22 March I will be in Bo’Ness at the Hippodrome Silent Film Festival with South West Silents again. I’ll be introducing a screening of The Blot with live accompaniment by Lillian Henley once more, in the afternoon. Pick up your tickets here.
And on Sunday 24 March I will be in Hexham at the Forum Cinema as part of the Tyne Valley Film Festival. I will be giving a short lecture on female filmmakers in the silent era before a screening of Shoes. Book your tickets here.
See you there!
- I say all that, but I am also introducing City Lights at BFI Southbank tomorrow – come along!
- You can keep track of introductions and lectures I am doing on this webpage.
- 30-Second Cinema, which I edited for Ivy Press, is also out this month. You can order a copy here.
- Silent London will always be free to all readers. If you enjoy checking in with the site, including reports from silent film festivals, features and reviews, please consider shouting me a coffee on my Ko-Fi page
Hipp, Hipp, hooray, it’s Hippfest programme launch day. You can now head over to the Hippfest website to read the full lineup for one of my very favourite silent film festivals. And book your tickets while you’re at it – over the years I’ve learned that popular events at Hippfest can and will sell out. Hippfest is just less than two months away, running 20-24 March, 2019 so you want to move quick, but not so quick that you don’t have time to peruse this handy preview, of course.
Here are some of my highlights of the schedule:
- Forbidden Paradise – You know that your humble scribe is smitten with Pola Negri. So when I saw the restoration of the sizzling Ernst Lubitsch comedy starring Negri and Rod La Rocque at Pordenone, I was bowled over. I am looking forward to watching it again, slightly more composed, but also glammed up for the HIppfest Friday Night Gala. This film deserves your best bib and tucker. I am also psyched to hear the new score by Jane Gardner. Here’s what I said when I saw it in October: “Hearts and reputations are won and lost. Moustaches are twirled. Fingers and furtive glances are everywhere. A revolution rages and is quashed, and always, behind a door Negri is making a conquest or throwing a plan into disarray. It’s ironic and light, but also physical and passionate. I can’t tell you what a treat it is. Seek it out and savour if you can.”
There is more than one way to build a silent film festival, but perhaps some events might like to acknowledge twins – fellow fests that take the same approach to curating and commissioning archive cinema screenings. I think I have found a kindred spirit for the Hippodrome Silent Film Festival. I wonder if they would agree?
Saturday night at Hippfest was a bit of a departure – a horror double-bill. Is this the start of a new tradition? If so, it has begun well. We finished the night with Benjamin Christensen’s loopy house-of-horrors caper Seven Footprints to Satan (1929), gorgeously accompanied by a brilliant new score from Jane Gardner. The first feature was a classic: Lon Chaney as the villainous double-amputee Blizzard in the sharp shocker The Penalty (Wallace Worsley, 1920). That film is set, beautifully, in San Francisco, which was perfect – at least according to my latest theory!
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.
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.
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.
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.
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.
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.
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.
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.
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.
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!
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!
This means you can start booking your tickets now and believe me, these events often sell out, so act fast.
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.
- 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.
- 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.
- 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.
- 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 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.
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.
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 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 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.
It’s a busy time! Here’s a roundup of the silent movie news I really want to share with you.
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.
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.
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.
“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.
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.
The fifth instalment of Scotland’s only silent movie festival announces its programme today – and judging by previous years, you should start snapping up tickets straight away (tickets go on sale today, 10 February 2015, at noon). The Hippodrome Festival of Silent Cinema takes place in Bo’ness, a small town tucked away on the banks of the Firth of Forth in Falkirk, Scotland. Bo’ness has a stunning vintage cinema, the Hippodrome, which has been restored to its 1920s glory, and each year hosts of a celebration of the silent era that is as welcoming as it is wide-ranging.
HippFest celebrates its fifth birthday in style with three major World Premiere Festival Commissions, a pop-up cinema at Bo’ness & Kinneil Railway, the chance to discover forgotten stars Colleen Moore and Eric Campbell and get hands-on with a series of workshops and interactive events covering everything from beatboxing to Joan Crawford’s favourite dinner party recipes.
You can find all the information about the festival, and how to book tickets for the events, on the festival website here. You can also follow the festival on Facebook and Twitter. This year’s event runs from 18-22 March 2015 and below I have picked out some highlights from the programme. I have to say I am pretty excited.
- The Friday night gala screening will be the hilarious Synthetic Sin, starring Colleen Moore. There’s a dress code ladies and gents – flapper glamour! Neil Brand will accompany on piano and some silent movie blogger or other will be introducing the film …
- “The Film Explainer” Andy Cannon will perform alongside extracts from Dr Jekyll and Mr Hyde, along with musicians Wendy Weatherby and Frank McLaughlin.
I’ve just returned from the Hippodrome Festival of Silent Cinema in Bo’ness, Falkirk. It’s a fantastic event – I really enjoyed myself and only wish I could stay longer. To give you a flavour of the weekend, if you missed out this time, here’s a mini-podcast and a selection of social media updates too. Surely there is no cooler hashtag for a #silentfilm event than #hippfest?
Hats off to Alison Strauss and her team and Falkirk Community Trust to – Hippfest is a triumph.
Scotland’s only silent film festival returns to the glorious Hippodrome cinema in Bo’ness with another impressively wide-ranging programme. There are some real treasures to be unearthed here: rare screenings of little-seen but highly valued films, and innovative ways to share the magic of silent cinema with younger audiences. Gala screenings include the Dodge Brothers‘ Scottish debut, accompanying the Hollywood classic Beggars of Life, starring Louise Brooks; Jacques Feyder’s heartstopping Visages d’Enfants closes the festival, with music from Stephen Horne; Frank Borzage’s wartime weepy Lucky Star plays on the Friday night, with Neil Brand on the piano; and Jane Gardner will perform a specially commissioned new score for Ozu’s gangster drama Dragnet Girl. German group The Aljoscha Zimmermann Ensemble will provide a score for Murnau’s timeless The Last Laugh; Jason Singh will create his magical vocal soundscapes for Grierson’s landmark documentary Drifters, live at the Hippodrome.
This is a guest post for Silent London by Alison Strauss, director of the Hippodrome Festival of Silent Cinema, Bo’ness. The Silents by Numbers strand celebrates some very personal top 10s by silent film enthusiasts and experts.
Our Dancing Daughters (1928, Harry Beaumont)
The moment when fun-loving flapper Joan Crawford launches herself on to the dance floor and sets the party alight with a high-tempo Charleston, ripping her skirt to a more liberating length as she goes.
Danse Serpentine (1896, Auguste and Louis Lumiere)
The 45-second kaleidoscopic record of a vaudeville dance – created by pioneering dancer Loie Fuller – in which an anonymous performer elegantly whirls her arms in the long-flowing fabric of her costume to mesmerising effect, thanks to the immaculate hand-tinting work of the Lumiere Brothers’ army of finely skilled women behind the scenes.
Pandora’s Box (1929, Georg Wilhelm Pabst)
Trained dancer and former Ziegfeld Follies girl, Louise Brooks is electrifying as Lulu, especially when, with all eyes on her, she takes to the floor at her own wedding with yet another admirer – a female guest – and the pair dance in a sexually charged vertical embrace.
The Four Horsemen of the Apocalypse (1921, Rex Ingram)
Another raunchy tango, this time with Rudolph Valentino in a sequence that launched him as a legend. The woman in Julio’s arms submits to his overpowering masculinity in this iconic routine that set the standard for all subsequent movie tangos.
(Watch from 14 mins, 50 seconds)
That’s My Wife (1929, Lloyd French)
Stan Laurel is persuaded by Oliver Hardy to masquerade as his wife in order to secure the bequest of a rich uncle. In one of the funniest sequences Stan, looking lovely in an evening gown, dances the two-step with Ollie in an effort to shimmy a stolen necklace down through his undergarments!