Tag Archives: Pordenone Silent Film Festival

Pordenone season

Fall vibes. It’s giving pumpkin spice lattes, mellow fruitfulness, Luke Danes in a flannel shirt and the scent of a freshly sharpened pencil. This autumnal atmosphere can only mean one thing. Pack your bags, gang, we’re going to Pordenone.

The Pordenone Silent Film Festival hasn’t begun yet, it runs 7-14 October, but today the programme was announced, so let’s take a look and enjoy some shivers of anticipation. Shivers? Best put a cardigan on, it’s October.

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In memoriam: Carl Davis

I wanted to write something about Carl Davis, but I didn’t really know where to begin. Other people can say far more intelligent things about his music. Other people were in the right time at the right place.

But for an accident of birth, my first introduction to the work of Carl Davis might have been his astonishing score for The World at War, or more aptly for my interests, his collaborations with Kevin Brownlow and David Gill on the Thames Silents, or on the landmark television series Hollywood. I was lucky however, to be exactly this age: I was a bookish teenager when the BBC broadcast Pride and Prejudice, adapted by Andrew Davies, starring Jennifer Ehle and Colin Firth, and with a soundtrack by Carl Davis. Formative.

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The Greatest Silent Film Poll of 2022: vote for your winners now

Season’s greetings Silent Londoners. It’s that time of year when we like to look back at the year, and especially at all the great silent movies we watched.

Who knows what normal is any more? But this year we had in-person film festivals, seasons, screenings and conferences a-plenty. We had new books and DVDs to enjoy. New websites too! And honestly, silent cinema seems to be more popular than ever.

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Le Giornate del Cinema Muto 2022: Pordenone Post No 8

So the 41st Giornate del Cinema Muto, and my personal 11th, draws to a close with two British silent films. What is that they say about saving the best for last?

I was certainly in Italy this morning, with the Italian drama Profanazione (Eugenio Pergeo, 1924-6) – a tale of adultery, corruption, suspicious, lost pets and automobile accidents. This was spirited drama, if very heavy on the intertitles, with Leda Gys as a woman who strays and yet is more sinned against than sinning. That title translates into English as “defilement”, which gives you a sense of the subject matter, I think, and why censorship delayed the film’s release for so long. Gys is every inch the star, though notably more restrained than the diva mode, and she is the heart of this film that despite its twists and turns, is very much a serious film for grownups.

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Le Giornate del Cinema Muto 2022: Pordenone Post No 7

Day Seven of the festival and the mood on campus is very much “Thank God it’s Friday”. Not because anyone is glad the Giornate is nearly over (perhaps apart from the festival team perhaps who have worked tirelessly to ensure everything has run beautifully, as usual), but because today’s lineup is especially toothsome. More Norma! A Frances Marion-directed feature! And Ivan Mosjoukine and Brigitte Helm smouldering opposite each other! That’s before we even get to tonight’s Ruritanian romp – the 1924 adaptation of the silent era touchstone that is Elinor Glyn’s Three Weeks. Hold on to your string of pearls, we are going all-in.

First, an especially timely effort from Team Talmadge. In Within the Law (Frank Lloyd, 1923), Norma plays a shop girl who fights back. Exploited under capitalism, and imprisoned for a crime she didn’t commit, young Mary finds “going straight is a tough proposition”. Instead she teams up with a pretty blonde cellmate to take revenge on the moneyed male establishment with a breach-of-promise scheme that exploits men, cashes the big and stays strictly “within the law”.

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Le Giornate del Cinema Muto 2022: Pordenone Post No 6

This evening belonged to Marie Prevost, much-maligned silent Hollywood comedienne and high empress of flirtatiousness. She appeared twice on the Verdi screen in front of a packed hall in two fashionable comedies, one about hair and another about lingerie: first in a fragment of the multi-authored flapper farce Bobbed Hair (Alan Crosland, 1925), and then full-length in the Al Christie comedy Up in Mabel’s Room (E. Mason Hopper, 1926).

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Le Giornate del Cinema Muto 2022: Pordenone Post No 5

We have already established that Norma Talmadge is fond of a dual-role, but 1920’s Yes or No? (R. William Neill) pushes the boat out by having two Talmadge sisters on the cast list. of this New York drama Natalie T plays Emma, the maid of dissatisfied society lady Margaret (Norma) and sister of dutiful tenement housewife Minnie (also Norma). The clue is in the title here, and each woman will be asked to choose between temptation and courage, extramarital adventure and (often thankless) fidelity. So it’s a similar structure to that great Norma T melodrama Secrets (1924, Frank Borzage): a character study building to a question that tests that character. However, here we have two women, two questions, two answers – and two sets of consequences.

Choose carefully, ladies. The film is judging you. Literally, if those beartrap illustrations behind certain title cards are to be believed. In fact the title cards were a real highlight of the film, elegantly and often wittily illustrated. True, they were also a little sanctimonious, regressive… but it’s 1920 what can I say? The important point is that Norma is really splendid in this one. She does well with these two sympathetic characterisations, and while she is not charismatic in the way of a Swanson or a Pickford, she is very watchable. I am very much excited for the Normas to come. And thanks are due to José Maria Serralde Ruiz, for playing such an old-fashioned dramas if it were brand new, and building the tension beautifully.

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Le Giornate del Cinema Muto 2022: Pordenone Post No 4

What’s your favourite Latvian nationalist historical fantasy war epic? From the silent era, I mean. Taking a little while to decide? Cool, I’ll share mine. It’s Lāčplēsis AKA The Bear Slayer (Aleksandrs Rusteiķis, 1930), newly restored by Riga’s Studio Locomotive.

To reassure the squeamish among you – there is no bear slaying in this film. The Bear Slayer is a strongman of Latvian legend, so burly he can kill a bear with his bare (sorry) hands, but he uses his might for right. This film starts with a hell of a bang, in full-on fantasy mode as an evil “Black Knight” (Osvalds Mednis) with an alarming bullet-shaped head and a supremely sinister gaze tries to bear down on a damsel in distress (Lilita Bērziņa) in a castle. She has an enchanted brooch that will save her, but the Knight gets his ghoulish, wizardy goblin pals to reverse that charm. They begin preparing the cauldron with the usual eye of newt etc and at the last minute, as they prepare to take the blood of an innocent dove, the Bear Slayer/Lāčplēsis (Voldemārs Dimze) throws his sword into the works and foils the dastardly scheme.

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Le Giornate del Cinema Muto 2022: Pordenone Post No 3

Holiday hats on everyone. The sun is out in Pordenone. And although it can be a struggle to choose the dark of the cinema over basking in the Italian heat, there are compensations. Even if, this afternoon, the heavens opened in the Verdi with a screening of Joris Ivens’ splashy art film Regen (1929), part of the strand celebrating 90 years of the Venice Film Festival.

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Le Giornate del Cinema Muto 2022: Pordenone Post No 2

There’s something about Nanook… A century after it was first released, you might not expect a film with such a complex history to be, as Jay Weissberg said, one of the most anticipated events of the festival. But it certainly was. A quick straw poll of Pordenone attendees confirmed that yes, most of us had first seen Nanook of the North in a film studies classroom or lecture hall, and that we had been told both that it was a box-office sensation, and that it was partly a dupe. But this centenarian film is more than just a notch on the documentary cinema timeline, and it has a beguiling beauty and humanity that commands respect.

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Le Giornate del Cinema Muto 2022: Pordenone Post No 1

Welcome home, to your home away from home, Pordenauts. It’s the 41st Giornate del Cinema Muto and the assembled crowd in the Teatro Verdi is bursting with questions. Questions like: do we know what is unknown in The Unknown? Would you like to sin with Elinor Glyn? How much Norma is Talmadge? Does a Pathé-Baby sleep through the night? How many men could a Manxman mank if a Manxman could mank men? And (I may actually have been asked this one in all seriousness) can you point to Ruritania on a map?

Time will provide answers. Meanwhile, let us savour eight days in the make-believe land of silent cinema, once upon a time and far, far away from the troubles we left behind with our morning newspapers.

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Pordenone calling: Collegium 2022

Are you under 30 and obsessed with silent film? Even a little? Would you like to spend a week at the world’s best silent film festival talking to the best people in the field about early and silent film? And would you like to win a prize?

If that sounds like you, you will probably be interested in applying for the Pordenone Silent Film Festival Collegium in 2022. It’s a fantastic opportunity for young people who are studying cinema (in any form) to meet, learn and expand their cinematic horizons. Succcessful applicants will be hosted by the festival and have access to the full week of screenings and events as well as the special Collegium “dialogues”.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 8

At the start of this festival I missed a date with An Old Fashioned Boy, but you can bet your last Euro I wasn’t going to pass up a rendez-vous with Casanova. Tonight, the final night of this very precious Giornate, belonged to Ivan Mosjoukine, his magnicifent eyebrows and the show-stopping music of Günter Buchwald.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 7

This is my tenth Giornate, which means I have graduated from newbie, all the way to novice, but also that I have been present for a quarter of the festival’s history. This is the 40th Pordenone Silent Film Festival – an annual celebration of silent cinema that began with a short retrospective of Max Linder films at Cinemazero in 1982, viewed by around eight people. Tonight in the Verdi, it seemed like every other seat was taken for a rendez-vous with Linder.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 6

Pordenone 6

Unprecedented scenes in the Teatro Verdi tonight, as the audience of customarily meek silent film enthusiasts stamped their feet, booed and exclaimed “outrageous!” “Close the curtains!” and “Down with this sort of thing!” But more reports on the incident the papers are calling the 2021 Giornate riot later.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 5

Anna Q Nilsson! Tom Moore! Dark deeds with gold mines, wedding regrets and stock certificates! A mysterious, abrupt finale! It can only be the welcome return this afternoon of the 1916 serial Who’s Guilty?, which we loved so much in 2016. This was a classic example, with Nilsson and Moore marrying in haste and repenting at leisure but Nilsson’s ex proving to be no better option. And that was before the mine gave up its gold. What a nostalgic treat.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 4

“I don’t think I’ll be falling in love with Ellen Richter any time soon,” said a gentleman to me in the hotel lift this lunchtime. Everyone else, please form an orderly queue. We sampled riches of Richter today, in three hour(ish)-long installments of Die Frau Mit Millionen (The Woman Worth Millions, Willi Wolff, 1923) – a fine example of her work in the “Reise- und Abenteuerfilme” or travel-and-adventure films genre.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 3

The lure of distant shores drew us into the Verdi this Monday morning, though initially it looked a little like false advertising. Ilka Schütze’s In Den Dschungeln Afrikas/In the Jungles of Africa (1921-24) was a stop-animation story of two dolls travelling via “balloon” not to another continent but only as far as their garden, or their dreams. If dolls can dream. I hope so, don’t you?

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Le Giornate del Cinema Muto 2021: Pordenone Post No 2

Here in Pordenone, life is an endless round of parties, each more glamorous than the last. Sorry, that’s not my lifestyle but that of Ellen Richter and co in  Leben Um Leben (Richard Eichberg, 1916). This film is a sequel so abandon all hope of following the plot all ye who enter in. What I can tell you is that Weimar star Ellen Richter, subject of a retrospective here at the Giornate, plays a scheming Princess in this glitzy romp. There was a costume ball, a “jolly hunt”, some stolen pearls, a run on the “Volksbank” and non-stop shenanigans and all of it was entertaining but it didn’t quite add up to a whole film. Still there was a marvellous multi-tinted dance sequence, as if the star of the floor show was grooving under coloured electric lights, which was far more than set-dressing – it was an attraction all of its own, a very modern throwback.

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Le Giornate del Cinema Muto 2021: Pordenone Post No 1

“Now more than ever, welcome home!” If Jay Weissberg’s address to the Verdi at tonight’s opening gala didn’t lodge a lump in your throat, you may be an irredeemable cynic. Or perhaps you were just marvelling at the man’s mastery of the Lubitsch Touch – the exquisite pain of terribly mixed emotions. But more on the importance of being Ernst later. Let us begin at Act One, Scene One. Enter your humble scribe, stage left.

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