There are plenty of changes afoot at the BFI London film festival, with a new artistic director, more venues being used around the capital and a rejigged set of thematic categories across the programme. The Treasures strand has been beefed up, and that can only mean good news for silent film enthusiasts. So, without further preamble, here’s what you can look forward to this year:
This is the big one, the archive gala presentation. Hitchcock’s tragic coastal romance is one of his most beautiful films, and an accomplished, fascinating silent. Anny Ondra, Carl Brisson and Malcolm Keen take their places at the corners of an Isle of Man love triangle, and Hitchcock milks their doom-laden situation for every drop of suspense. This will of course be a presentation of the BFI’s new restoration of the film, and as he did last year with The First Born, Stephen Horne will be writing and performing a brand new score.
Rather dishearteningly described as ‘Tim Burton meets The Artist’, Pablo Berger’s modern silent plays three times during the festival, in the Cult strand. It’s a Gothic adaptation of Snow White, set in the world of bullfighting in 1920s Spain and it looks very intriguing. You can read more here and we’ll have a better idea what to expect when the reviews come in from its screenings at the San Sebastian and Toronto festivals later this month.
The West London Trades Union Club in Acton, London W3 is a welcoming place for those who enjoy a well-kept ale and a natter, and a haven for left-leaning cinephiles too. The venue’s Saturday afternoon film club is friendly, and pleasingly broad-minded: recent seasons have taken a look at the work of film-makers ranging from Joseph Losey to Paul Robeson as well as giving club members the chance to show their own favourite titles, week by week.
Last year I spent four hugely enjoyable, chatty Saturday afternoons in west London showing silent films chosen in collaboration with members of the club. The discussions afterwards were well-informed, not to say boisterous, and one topic we often returned to was: what are you going to show next year?
So, the silent film club is back, with some much-longed for comedy, another British film, some Weimar glamour and French impressionism. Here’s what’s coming up this autumn in Acton:
Comedy double-bill: The General (1926) and The Circus (1928)
Two classic films from the two titans of silent comedy: Buster Keaton’s ingenious civil-war chase film The General and Chaplin’s poignant, hilarious The Circus. These two films offer an opportunity to marvel at the best of silent comedy, but also to compare and contrast the different styles of these two great film-makers. Buster Keaton’s deadpan mechanical inventiveness versus Chaplin’s sentimental appeal and graceful physicality – you decide. 8 September 2012, 4pm
Hindle Wakes (1927)
This adaptation of the much-loved northern melodrama was filmed by Maurice Elvey, a giant of British silent cinema, now sadly all but forgotten. Elvey was a trade unionist himself, and Hindle Wakes is the story of a clandestine romance between a factory worker and an industrialist’s son. It’s gorgeously filmed, with some fantastic “Wakes Week” sequences shot in Blackpool – and the heroine, played by Estelle Brody, is a refreshingly modern woman. Not to be missed. 20 October 2012, 4pm
Pandora’s Box (1929)
Another modern woman, and one of the most famous films of the silent era. Louise Brooks is truly iconic as the liberated, amoral Lulu breaking hearts in swinging Weimar Germany. Erotic, witty and ultimately tragic, Pandora’s Box is a classic that rewards repeated viewing and while coolly received at the time, has subsequently made an international star or its reckless leading lady – it now stands as the definitive portrait of a decadent society. 10 November 2012, 4pm
When Marcel Herbier announced his intention to adapt Zola’s L’Argent but to place it in the contemporary setting of the 1920s Paris stockmarket, many were horrified that he would take an acclaimed historical novel about ruthlessly greedy, over-reaching bankers out of its context. But Herbier’s passion, “to film at any cost, even (what a paradox) at great cost, a fierce denunciation of money”, proved as pertinent in pre-crash Europe as it does now, in the fallout of the global financial crisis. L’Argent is not just social commentary, it’s an ambitiously innovative film, a masterpiece of poetic impressionism. 15 December 2012, 4pm
You don’t have to be a member of the club, or even of a trade union, to turn up and receive a warm welcome – and you will find the venue at 33 Acton High Street, London W3 6ND. It’s about five minutes walk from Acton Central train station, and on plenty of bus routes.