Pordenone is about halfway between Athens and London, right? So at some point on Monday I was probably there, just 37,000ft above it. Travelling cramped my style somewhat at the start of this week, but I don’t give up on silent cinema. Not ever.
It might seem perverse that I was at a open-air cinema in Athens watching Ammonite when I could have been trying to force my hotel wi-fi into rendering a masterwork of Chinese cinema on my laptop,. However, I’ll tell you this: there is a magic lantern scene in Ammonite, while made me smile, ruefully, and remember the fantastic first programme of the day, which of course was …
Day Two The Brilliant Biograph! The name contains its own review. Many of you will have seem many of these films before, or at least heard me bang the drum for them, but still, it’s worth reminding ourselves what marvels they really are.
This is a guest post for Silent London by Kevin Brownlow, the Oscar-winning film historian, filmmaker and author. On 16 November 2019 the Kennington Bioscope is holding a Cecil B DeMille Day at the Cinema Museum in London, in honour of the great director who started out in the silent era. The programme for the day has been curated by Brownlow and includes prints from his own 16mm collection. All the silent films will have live piano accompaniment. Here Brownlow introduces his highlights of the day and DeMille himself.
When did you last notice anyone screening a Cecil B DeMille Retrospective? He is the most neglected of the Great Pioneers – DW Griffith, Thomas Ince and Mack Sennett – and yet he could be as controversial as Griffith, as innovative as Ince and as funny as Sennett.
This is a guest post for Silent London by noted silent cinema musicians Neil Brand and Philip Carli. The Silents by Numbers strand celebrates some very personal top 10s by silent film enthusiasts and experts.
There are more of these X-rated moments than you might think and people will have plenty of their own choices according to taste, shockability and squeamishness. By definition, all silent cinema is pre-Code and Will Hays was brought into the Hollywood fold as censor in the 1920s not just because of Hollywood’s own scandals, but because filmmakers were pursuing stronger, more adult storylines and nobody seemed to be taking the lead on what was acceptable. So, by way of giving the lie to the idea that silent cinema is somehow cinema in adolescence, here’s a list of some memorable times when the boundaries were pushed, in descending chronological order.
All Quiet on the Western Front (1930)
And yes it was also released as a silent! A soldier grips the barbed wire during an attack, a shell explodes and only his arms remain hanging from the wire. One of many unforgettably horrific images from this great film.
Diary of a Lost Girl (1929)
The brothel dance as the couples peel off to their various rooms is as easygoingly suggestive as you could want and easily more “real” than anything Von Stroheim could have dreamed of. Mind you, Louise Brooks would undoubtedly have made it into this list somewhere.
The Unknown (1927)
Having cut off his own arms for love of Joan Crawford (who can’t bear to be touched), murderer Alonzo (Lon Chaney) has to watch her responding sensually to the arms of a circus Strong Man (Norman Kerry) she has fallen in love with. Again, most Chaney films would qualify for this list, particularly the Tod Browning ones, for a whole different set of reasons. The Penalty, Victory, West of Zanzibar, all feature scenes or entire plotlines that would have trouble getting past the censor five years later. Meanwhile, Joan Crawford had already made at least one appearance in an extant pornographic film while still a struggling actress.
Captain Salvation (1927)
An X-certificate intertitle in which Pauline Starke screams at Lars Hanson “My step-pa ‘helped’ me once – a good thing the baby died!”
The Flame of the Yukon (1926)
A fiery end for the villain in this movie (if memory serves) who is set alight by a kerosene lamp thrown at him, the flames only being quenched when he falls to his death.
Behind the Door (1919)
With memories of WW1 still fresh in the minds of audience and makers alike, this uncompromising tale of a husband’s bloodthirsty revenge on brutal German submariners who raped his wife ends with the title “I tried to skin him alive but the sonofabitch died on me!”
DW Griffith gave Babylon the full treatment, including a bathing orgy with lovingly shot nudes. Even more so than was the case with Cecil B De Mille and scantily clad classical maidens, Griffith seems to have demanded jaw-dropping realism and sensuality from his cast.
The Cheat (1915)
Sessue Hayakawa brands Fannie Ward in unflinching close-up, because as he puts it, he brands “all his property …”
Lois Weber’s film has a quite gorgeous “Naked Truth” wandering through most of the four allegorical reels. Although this was obviously intended to edify rather than titillate, audiences were unlikely to have been as artistically mature about this as Weber might have hoped. Mayor James Curley of Boston supposedly insisted that clothing be painted on her in every frame in order to get the film past the city censors.
An Interesting Story (1904)
A man gets run over flat by a steamroller in James Williamson’s An Interesting Story – OK, two cyclists inflate him back to life again, but think what a shock it would have been to audiences of the time!