Hippfest returns! You don’t know how happy it makes me to think about watching silent films with live music at the stunning Hippodrome in Bo’Ness.
The festival is held from Wednesday 16 to Sunday 20 March and the full toothsome lineup just dropped, as they say. Here are a few highlights, some of which have been postponed from the sadly cancelled 2020 edition. I am so ready.
The Dodge Brothers accompany FW Murnau’s City Girl on Saturday night – this is the Scottish premiere of their brilliant score for this incredible, jaw-dropping Hollywood silent.
Get it together, people! We’re only on day two of the festival and it seems a collective mania has already descended. Call it camaraderie, call it cinephilia, call it cabin fever, but there was a feverish mood on Friday, for sure. I won’t criticise something that I admit I was part of but we should all know that somewhere the ghost of Ivan Mosjoukine is raising an immaculately painted eyebrow in our direction. He’s judging us, but silently, of course.
So the residents of Leicester may have heard wicked cackles emanating from the Phoenix art centre on Friday morning, because there were laughs a-plenty to be had, for the right and wrong reasons both. Forgive me for taking the films out of sequence, but I would like to introduce you to the second film first.
As I took my seat for Not For Sale (1924) I was whispering under my breath “Please be good, please be good …” And it was. This film is an out-and-out joy, with a classically British delicacy in its sentiment, humour and satirical bite. Those good vibes I was sending out were partly due to sisterly pride: the script is by Lydia Hayward, who wrote the H Manning Haynes adaptations of WW Jacobs stories that have so delighted previous iterations of this festival. I suppose I wanted a little more proof that she was crucial to their success. And Not For Sale, which is adapted from a novel by author and journalist Monica Ewer, provided it. This is a charming comedy, with an elegant structure, strongly written characters, sharp dialogue and yes, even a skein of feminism woven into its fabric. Toff Ian Hunter is slumming it in a Bloomsbury boarding-house run by the kind-hearted Anne (Mary Odette), and they fall in love … gradually. But when he offers a proposal, sadly he shows he has not left his old world and its shoddy values behind him. The central couple are adorable, but it’s the supporting characters (Anne’s lodgers, her rascally little brother and her theatrical sister) who make this a real ensemble treat. Plus, we had beautiful piano accompaniment from John Sweeney, so we were feeling incredibly spoiled. It boils down to this: the plot is preposterous but the characters, by and large are not, and so it has a grace and a truth often absent in romcoms …
Or romantic dramas, such as today’s opening act The Rocks of Valpré (1919), a Maurice Elvey directed adaptation of an Ethel M Dell novel. The plot, the characters and even the location (Torbay doubles for coastal France) were all preposterous here. I couldn’t really understand anyone’s motivation: it was all rash promises, damaging misconceptions, wild coincidences and needless noble sacrifices. Nice to see Basil Gill again, here playing a younger man: one with a “European reputation” who “has an intimate knowledge of men” and who still gets the girl at the end of the story. Certainly it’s pretty, but not enough to distract me from the flaws I am afraid. I chuckled, and I sighed. Fair play to Elvey – this is the only existing film from his Stoll period, when I am reliably informed he was “churning them out” out a rapid pace and the problems in the film do mostly stem from the source novel. Still, it’s enough to make one throw one’s violin off the terrace and fall into a swoon, it really is.