Please excuse typos in this blogpost. I am writing this in a mixture of mental fog and nervous excitement. Yesterday I had my second dose of my Covid-19 vaccination, and the ‘Moderna flu’ is real but suddenly the future seems a little bit brighter. So I thought I would pop on here to remind you of some upcoming silent-film-related events that you can attend in person or online, making your summer a wee bit more joyous and more silent.
Hip-hip hooray, it’s Hippfest programme announcement day. News that arrives like a sweet, sweet vaccination into the veins of a drizzly February.
While personally I am sorry not to be watching these films in the warm embrace of the Hippodrome this year, the lineup is immense, and I delighted to tell you that the films will be available to stream not only in the UK, but also in Europe and North America. So if you have never had the pleasure of a trip to Bo’Ness, the silent cinema capital of Scotland, well now is your chance to experience the award-winning Hippfest magic.
The full lineup is online … NOW. So you can peruse at your leisure. But may I please bring your attention to:
Brooksie! I am honoured that Hippfest has asked me to introduce a very special screening of Augusto Genina’s Prix de Beauté starring Louise Brooks on the Saturday afternoon, which will be accompanied by Stephen Horne, who really has a way with this film.
Rudolph Valentino! Without even consulting me, the Hippfest hipsters programmers chose my favourite Valentino film for the Friday night gala. It’s The Eagle, everyone! And with Neil Brand at the keys, this will be well worth dimming the lights in your lounge for. I insisted on writing the programme notes for this one …
Oscar Micheaux and Paul Robeson! Delve into the history of Black silent film history with a rare screening of Oscar Micheaux’s 1925 film Body and Soul starring Paul Robeson, with music by Wycliffe Gordon.
Sunday with Mary Pickford! Not only is Hippfest showing the silent Hollywood masterpiece that is Sparrows, with an introduction from Cari Beauchamp, but earlier that day, we are invited to a cookalong with Jenny Hammerton of Silver Screen Suppers to make one of Pickford’s favourite recipes, and to mix a special Hippfest cocktail.
Marlene Dietrich! So happy that this is in the programme: on Saturday night, the Frame Ensemble will accompany the gorgeous German silent The Woman Men Yearn For/Die Frau, Nach der Man Sich Sehnt, starriung the divine Dietrich.
There’s more! So much more, including Bryony Dixon introducing Asquith’s Underground with Brand’s orchestral score, Pudovkin’s Chess Fever, Grass: A Nation’s Battle for Life, talks, a quiz, a tour of the Hippodrome … Book your pass as early as you can to support this wonderful festival.
““I am delighted to present our tenth HippFest… a year later than we originally planned but no less of a milestone!,” says festival director Alison Strauss. “We are looking forward to welcoming back all the many fans of HippFest and to throwing open the virtual cinema doors for audiences joining us for the first time. It’s exciting to think that more people might take the plunge because attendance this year is as easy as turning up in your own front room. This is definitely one of the upsides of a virtual festival. Whilst we will miss all being together under the star-studded ceiling of the Hippodrome we have tried to create a comparable cocktail of screenings with music, workshops, events and activities to sweep you up in the marvellous magic of early cinema. If dressing up is your thing, go for it! If you like mingling with other festival-goers, dive in to our virtual festival hub! However you do HippFest we’re sure you’ll have a great time.”
• The Hippodrome Silent Film Festival takes place online Wednesday 17 – Sunday 21 March 2021. Passes cost £20 or £5 for concessions. To read more about Hippfest and to book, click 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.
This is a guest post for Silent London by Michelle Facey, a member of the programming team at the Kennington Bioscope.
Silent films never sleep… They may seem kind of ‘quiet’ (LOL), but then, all of a sudden, they can muster and mass and come at you pretty fast and furious … And here we are, in the midst of experiencing somewhat of a feast period of silent film exhibition, certainly in London, let alone everywhere else where plenty of our favourite film medium can also be found. All boom and no bust. We’ve had wickedly brilliant Weimar silents and glorious Victorian films from the BFI, with more of the former yet to come, and 700 of the latter just recently becoming free to view on the BFI Player (free, I say!! FREE!!! Go view them NOW!! Well, maybe after you’ve finished reading this…).
Welcome to the long-awaited return of the Silent London Podcast – coming to you straight from Paris. I am at the Toute la mémoire du monde festival of restored cinema and I will be podcasting my reports from the screenings. Today, my first two days at the festival including lots of of Hollywood fare: the good, the bad and the baffling. This podcast tackles a lot of films about war and racism: films by D W Griffith, Abel Gance, Thomas Ince …. But there is plenty of star power too, from Rudolph Valentino, Douglas Fairbanks and Lillian Gish.
I hope you enjoy this first podcast from the festival!
As the nights draw in, the BFI is offering something to keep us warm and purring with satisfaction. The institute’s blockbuster season for 2015 is Love, a celebration of everything sexy, sentimental and swooningly romantic. It’s a capacious theme, but a winning one. For myself, I am never happier than when I am sobbing my heart out at an old film.
You’ll be glad to hear, however, that I managed to restrain myself on Tuesday morning, at the official press launch for the season, which offered a whirlwind romance with the history of love on screen, fromGA Smith’s A Kiss in the Tunnel (1899) to Brief Encounter (1945) to Trainwreck (2015). The BFI’s Rhidian Davis gave the presentation, which was a real joy, but his love train hit a bump when he arrived at the modern romcom. Judd Apatow’s growing influence over the genre was, he said, as if the little boys who wince when film stars start kissing are now directing the love scenes themselves. Modern romance is drowning in irony, and Seth Rogen is no Hugh Grant, he lamented.
That sounds about right – but I hope it’s not true. Perhaps this is just nostalgia, I thought, crossing my fingers. Maybe we never get over our first screen crushes, or could it be that old age knocks the corners off our screen romances, making vintage affairs seem more universal? Romance has been declared dead before, in fact. I have written a chapter for the BFI Love compendium, all about romantic films in the silent era – and believe me, at the dawn of the 1930s, plenty of critics believed that synchronised sound had murdered the art of love on screen.
The question that really made me channel my inner Carrie Bradshaw, with a winsome tilt of the head as I pushed open my laptop, arose at the Q&A afterwards. Jenni Murray was the chair, and her panellists perched on Mae West pout sofas were the BFI’s Davis and Laura Adams, director Mike Newell and screenwriter Tess Morris. It was Murray I think, who asked: where are the new Valentinos? The panel was stumped. Do we even, they pondered, need Rudolph Valentino any more?
For many a silent film fan, that’s a terrible question. Who could live without Valentino? Who would want to? Certainly, when he died young, hundreds of young women famously felt unable to carry on. For many a cinephile full-stop, the thought of a world without a Valentino figure is a glimpse of a hideously barren future. If we agree that the cinema taps into our collective subconscious, then where would our dreams be without a dream lover? Won’t anyone ever seduce us, and leave us breathless again? Continue reading Searching for the new Rudolph Valentino→
There are film stars and then there is Rudolph Valentino. Nicknamed the “Latin Lover”, few screen actors have ever inspired so much devotion – and lust – in their audience. When he died, aged just 31, there was a national outcry from his distraught female fans. Now here’s your chance to see what all the fuss is about.
The Son of the Sheik (1926) is an unashamed star vehicle for Valentino, more or less a remake of his earlier film The Sheik, but with more comedy and action scenes. Ostensibly a sequel, The Son of the Sheik stars Valentino as Ahmed, the adult son of the first film’s hero. As before, Ahmed falls for a beautiful dancing girl, Yasmin (Vilma Bánky), but is convinced by a love rival that she has been unfaithful to him. What happens next is rather difficult to explain, and certainly controversial. If you don’t mind a few spoilers, and want to read all about it, I recommend this very thorough and lively review on the Silent Volume blog.
The Son of the Sheik screens at the Prince Charles Cinema in the West End on 29 September at 8.50pm. Live piano accompaniment will be provided by John Sweeney. Click here for tickets.