It may already feel like a long time ago, but 2021 was one heck of a year. We were online, we were in-venue, sometimes we were both. But we were all grateful for the films, and the music. Below, it gives me great pleasure to reveal your chosen favourites, and a selection of your insightful and amusing comments too.
Thank you for your votes. Here are your winners!
Best real-world silent film screening of 2021
Your winner:Casanova (1927), accompanied by the Orchestra San Marco, conducted by Günter Buchwald, playing his new orchestral score
“Casanova at Teatro Verdi, by Gunther Buchwald. But I also want to mention: Shoes at the Frankfurt Schauspiele with Maud Nelissen trio and also Bett und Sofa at open-air Beykoz Kundura Istanbul with Korhan Futaci and his band.”
“I only saw one (down from pre-pandemic 30 or 40 a year). So that one wins! It was a goodie though. Pandora’s Box, 35mm, Hebden Bridge, with Darius Battiwalla. Well worth the terrifying road trip over icy moors!”
Time flies when you’re getting nothing done. So I will forgive you if you don’t believe me, but this weekend the Silent Comedy Watch Party will webcast its 50th edition, a year to the day since the first show, back at a time when we were just getting our heads around this new word “lockdown”. That’s a whole year in which our Sundays have been blessed by silent comedy, live music and erudite introductions courtesy Ben Model, Steve Massa, and friends.
Silent London couldn’t let a milestone like that pass without a chat, and Ben and Steve were kind enough to take part in an interview with me, socially distanced at a range of around 3,500 miles.
Congratulations on a year of webcasting live silent film and music shows from your homes. It’s an awesome achievement. My first question has to be: why did you start the Silent Comedy Watch Party?
Ben Model: I’d played a weekend of shows in Nebraska and came home – then two days later things started shutting down and all my gigs were cancelled. I thought of the people who’d have gone to them who were now at home and couldn’t. I’d had the concept for the show in my head for a few years but with all silent film showings cancelled, this seemed like the moment to give it a shot. The tech of it worked, thankfully, and even more overwhelming was the response we got on socials and in emails.
Steve Massa: Since all our live shows were suddenly cancelled it seemed like the perfect way to stay in touch with the silent comedy universe. Ben told me he thought that we could technically do it and asked what I thought. Of course I was onboard immediately. Once we started we discovered how therapeutic laughter really is, and it became a mission to provide a little needed relief during the pandemic.
Did you ever think it was too much to take on? The work involved, all the technical challenges?
SM: This is really a question for Ben as he’s producer, technical director, film historian and accompanist. In addition to co-hosting, I gather the photos and information on the films, but he’s got the real burden of technically making the shows happen.
BM: Yes. Every week. But also, where was I going? Where was anybody going? The responses we got on socials and emails from day one were so moving, that’s what’s kept me going. No matter what the tech issues I’ve dealt with have been – and thi sis the thing my wife Mana keeps reminding me – there are hundreds of people out there who count on the show being there, for the laughs they need to get through all this.
I’ve developed an even greater respect for projectionists – what I’m doing tech-wise is pretty much like what happens in a booth during a show. And I’m doing that while I’m also hosting and accompanying, plus the factor of functioning as the tech director of a small TV studio.
Last week, I recommended a new Buster Keaton box set. Well, there’s an evergreen sentiment. I remain a devotee of physical media (and in the interests of full disclosure, also make part of my living from it), but I realise it’s getting a little trickier for people to get hold of news discs right now, whether that’s because of distribution difficulties or lack of funds. I hear you.
These reviews of Slapstick Divas: the women of Silent Comedy by Steve Massa and Specters of Slapstick & Silent Film Comediennes by Maggie Hennefeld first appeared in the June 2017 and July 2018 issues of Sight & Sound, respectively. I am reposting them here ahead of a slew of events celebrating silent cinema comediennes coming up soon.
Slapstick Divas: the Women of Silent Comedy by Steve Massa
In the silent era, as now, film comedy looks a lot like a boys’ club – and that disparity is more deeply entrenched in the arena of physical humour. For those who would like to see Marie Dressler and Marion Davies, let alone Flora Finch and Anita Garvin, as celebrated as their male peers, Steve Massa’s Slapstick Divas: the Women of Silent Comedy, will be a welcome resource. A followup to Massa’s survey of lesser-known male silent comedians, Lame Brains and Lunatics, Slapstick Divas tells an engrossing tale of female performers beating a path in the silent film industry.
An entire chapter is devoted to the most famous slapstick comedienne of them all, Mabel Normand, who segued from modelling work to acting, first in Vitagraph comedies and then at Biograph where she played dramatic roles for D.W. Griffith, but was happier putting over gags for Mack Sennett. Normand would become a fixture at Sennett’s new Keystone studio, starring in ever more physically demanding films. The chapter is named after a Photoplay description of Normand as “the sugar on the Keystone grapefruit”, but her work was as rough-and-tumble as her peers. “I have fought with bears, fallen out of a rapidly moving automobile, jumped off a second story roof into a flower bed and risked life, limb and peace of mind in innumerable ways,” she told the Los Angeles Times in 1916. She appeared in several films with Charlie Chaplin, including the feature Tillie’s Punctured Romance (1914) and was regularly paired with Roscoe “Fatty” Arbuckle. Although she was later dismissive of her skills behind the camera, she directed several films too, including Mabel’s Strange Predicament (1914), Chaplin’s first performance as the Tramp. Sadly, an accident on set one day contributed to Normand’s slow decline. While she continued to act into the 1920s, her career faltered owing partly to a series of scandals, but mostly her increasingly erratic behaviour in the studio, and gaunt appearance on film, consequences either of her brain injury, or her drug use. She died from tuberculosis in 1930, aged 37, and although she is the star of this volume, Massa notes that “her work has rarely been screened and her talent has been taken for granted”. Continue reading Sisters in slapstick: two books on silent comediennes→