As regular readers of this blog have probably guessed, I dwell in splendid isolation in a Hollywood mansion. Occasionally I kidnap a passing blogger to help me refine a post or two, but normally the only people I see are my pet leopard and Georg Wilhelm the butler. So it makes a nice change to be leave the house and talk about silent cinema in the presence of the beautiful people of London. I am doing that twice in the near future – so read all about it.
The fabulous Phoenix Cinema in Finchley is hosting a silent cinema festival on the weekend of 15-17th July, which promises to be very special. On the Saturday they are showing Steamboat Bill Jr, in a special kids screening,with Neil Brand, and also Why Be Good? with the wonderful Colleen Moore and a “live flapper performance”. On the Sunday, Ian Christie introduces a selection of archive films of north London with music by John Sweeney, followed by a screening of the cockney silent East is East, with Lillian Henley at the piano and Gerry Turvey introducing. On Friday 15th July, Stephen Horne is accompanying one of the greatest films of all time, the magical Sunrise: A Song of Two Humans, and I will be on introduction duty. Expect much inarticulate swooning from me, and sumptuous music from Mr Horne.
This is a guest post for Silent London by Isabel Stevens, production editor of Sight & Sound. The Silents by Numbers strand celebrates some very personal top 10s by silent film enthusiasts and experts.
Just as films in the nascent years of cinema were characterised by their visual innovation, so too were their posters. Designers enjoyed far more freedom than most of their successors working in the sound era, who toiled in large publicity departments and had to comply with strict restrictions on the size and prominence of stars’ images and their names.
Designs for silent movie posters were also created using many different techniques – from hand-painting unique posters for local theatres to mass-produced lithographs or linocuts. The Stenberg brothers, whose designs alone could fill a list of 10 ground-breaking silent movie posters, even invented a special projector that paused a film frame so faces could be traced, the resulting image appearing somewhere between a painting and a photograph.
The designs collected here are for both masterpieces and little-known films alike, but all preference mood and visual daring, never just relying on tantalising narrative tit-bits to sell a movie. Many of them contain echoes of art movements of the time – Cubism, Art Deco, Constructivism, the Bauhaus and Expressionism – and were created in the 1920s, that decade of wild avant-garde experimentation.
The Green Spider, Vladimir Egorov, 1916
Here is the original spiderwoman, accessorised delightfully with eight-legged earrings. It’s a surreal vision that proves that Russian film poster design in the 1910s could be just as imaginative and strange as that of the Soviet era. Little is known about this tale of lust, apart from that it was considered a cult movie at the time of its release and played in theatres in seedy parts of St Petersburg. The poster is the work of Moscow theatre designer Vladimir Egorov, sketched one presumes under the influence of the many arachnoids that featured in the drawings of Symbolist artists such as Odilon Redon and Alfred Kubin.
Safety Last!, Curt Peters, 1923
Swedish film poster design was particularly adventurous in the 1920s, as exemplified by this vibrant design featuring stunt-mad comedian Harold Lloyd swinging into the frame and promising vertiginous laughs and spectacle galore. With his clothes billowing in the wind, his hair standing on end and a smile on his lips, he’s enjoying the ride as much as you will.