This is a guest post for Silent London by Alison Strauss, director of the Hippodrome Festival of Silent Cinema, Bo’ness. The Silents by Numbers strand celebrates some very personal top 10s by silent film enthusiasts and experts.
Our Dancing Daughters (1928, Harry Beaumont)
The moment when fun-loving flapper Joan Crawford launches herself on to the dance floor and sets the party alight with a high-tempo Charleston, ripping her skirt to a more liberating length as she goes.
Danse Serpentine (1896, Auguste and Louis Lumiere)
The 45-second kaleidoscopic record of a vaudeville dance – created by pioneering dancer Loie Fuller – in which an anonymous performer elegantly whirls her arms in the long-flowing fabric of her costume to mesmerising effect, thanks to the immaculate hand-tinting work of the Lumiere Brothers’ army of finely skilled women behind the scenes.
Pandora’s Box (1929, Georg Wilhelm Pabst)
Trained dancer and former Ziegfeld Follies girl, Louise Brooks is electrifying as Lulu, especially when, with all eyes on her, she takes to the floor at her own wedding with yet another admirer – a female guest – and the pair dance in a sexually charged vertical embrace.
The Four Horsemen of the Apocalypse (1921, Rex Ingram)
Another raunchy tango, this time with Rudolph Valentino in a sequence that launched him as a legend. The woman in Julio’s arms submits to his overpowering masculinity in this iconic routine that set the standard for all subsequent movie tangos.
(Watch from 14 mins, 50 seconds)
That’s My Wife (1929, Lloyd French)
Stan Laurel is persuaded by Oliver Hardy to masquerade as his wife in order to secure the bequest of a rich uncle. In one of the funniest sequences Stan, looking lovely in an evening gown, dances the two-step with Ollie in an effort to shimmy a stolen necklace down through his undergarments!
The end of the first world war was marked with a variety event, including films, at the hall. Subsequent presentations, running from October to December 1919, celebrated Allenby in Palestine and Lawrence in Arabia. Antarctic and Everest expeditions were commemorated in benefit screenings. In 1926, the RAF band contributed to a programme including a lecture by the aviator Alan Cobham, the film recording his arrival back in London after his flight to Australia, and an address from the prime minister of Australia: of course, the Imperial Institute was a close neighbour, perhaps influencing the selection of items recorded in the archive. European films screened included Murnau’s 1926 Faust and Turzhansky’s 1926 adaptation of Jules Verne’s Michel Strogoff. A lavish souvenir pamphlet (above) was published to accompany the trade show of Graham Cutts’ 1925 TheBlackguard, an adaptation of Raymond Paton’s novel, featuring a romance between a Russian princess and a violinist. A special attraction at the event was a dance performed by Serge Morosov “of the Imperial Russian School of Ballet”.
The novelist Naomi Mitchison, sister of JBS Haldane (a founding member of the Film Society) recalled in her memoirs the long run of Fritz Lang’s Die Nibelungen in the summer of 1924. The London Symphony Orchestra performed a Wagnerian prelude and a sub-Wagnerian score for the film (commented upon by Picturegoer critics as derivative), composed by G Huppertz.
In addition to orchestral accompaniments, programmes give details of songs and soloists. Furthermore, for Frank Lloyd’s swashbuckler The Sea Hawk (1924), the prow of a ship was installed in front of the screen, while for Southern Love (Herbert Wilcox, 1924), balcony decorations and special effects were provided.
Indeed, a brief survey of Royal Albert Hall programmes confirms a more general observation to be drawn from the trade and general press: in the 1920s, performance and staging manifestly contributed much to the cinematic experience in London and to British audiences’ enjoyment of films, even outside regular cinema venues.
The Artist screens at the Royal Albert Hall on 30 & 31 December 2013, with the London Symphony Orchestra and composer-pianist Ludovic Bource, conducted by Ernst Van Tiel. There is no official dress code for this event but anyone who wishes is encouraged to celebrate the elegance and style of Hollywood’s Golden Age of Glamour, and not just for the New Year’s Eve performances.
“[Talkies] are spoiling the oldest art in the world – the art of pantomime. They are ruining the great beauty of silence.” – Charlie Chaplin to Motion Picture Magazine, 1929
The phenomenal success of The Artist has sparked an understandable resurgence of interest in silent film. The success at the Baftas and the Golden Globes was a foreshadow of last night’s Oscar triumph, where the film bagged, as hoped, statuettes for best picture, director, actor, costume and score. A number of projects have developed in recent years that disregard dialogue in the quest to tell a story, from Silent Life – a silent film about Valentino currently in post-production, to a Charlie Chaplin musical set to open on Broadway this year and Louis, a silent film about Louis Armstrong complete with live score that had its European premiere last year at the Barbican. This interest, reductively dubbed the rise of ‘Retrovision’ by the Guardian, is more than just a passing fad. Creating silent films in a post-silent era, while unusual, isn’t unique: from Chaplin in the 30s to Jacques Tati in the 50s and Mel Brooks in the 70s, many directors have embraced the challenges of creating a narrative based on images rather than speech. It’s often the lament of film composers that their work is considered successful only when the audience is oblivious to it; when it forms such a seamless continuity between emotion and story that the viewer barely notices it’s there. But with ‘Soundies’ – films that have synchronised music and sound effects, but limited speech, the sound paradoxically reaches an elevated level. In fact, such ‘Soundies’ often use their score as a fundamental part of the narrative in a more progressive and successful way than most regular films, and the sound itself becomes a character in the action. In celebration of The Artist’s Oscar success, here’s an introduction to a few of my favourite post-silent-era silent films.
At the core of the narrative of The Artist is the issue of sound itself; the seminal point in Hollywood history where film transitioned from silents to talkies. Hollywood itself has long been enamoured with this era, and classics such as Singin’ in the Rain (1952) and Sunset Boulevard (1950) have both helped to mythologise this process. The descent of silent stars as talkies were developed has become part of Hollywood folklore, but in reality it was more often the case that moguls used the coming of sound to renegotiate or break contracts with stars they wanted to lose – it was used as as a purging process to usher in fresh meat for cinema audiences.
Well, I think we can allow ourselves to enjoy the moment. Michel Hazanavicius’s The Artist has become the first silent film to win the best picture Oscar since Wings. It also carried away best actor (for Jean Dujardin), best director, best score and best costumes. Martin Scorsese’s not-quite biopic of Georges Méliès, Hugo, was the other big story of the night, winning the same number of awards, including heavyweight gongs for cinematography and art direction as well as three technical awards: best sound mixing, best sound editing, visual effects. I’d like to think it doesn’t take anything away from Scorsese to suggest that his awards were also a tribute to Méliès himself, in recognition of his beautiful, magic films.
We all know that Hollywood loves films about the movies, and there are those who love silent film who don’t necessarily love these two films – but there is no doubt that last night was a triumphant one for fans of the silent era. Let’s not forget that the Buster Keaton-inspired The Fantastic Flying Books of Mr Morris Lessmore triumphed in the best animated short category too. And the 2012 Academy Awards capped a joyous year in which early cinema was talked about more than it had been for years.
Here’s a quick look back at how it was reported on Silent London:
Warning: this blogpost contains spoilers! Close this tab on your browser. Go to the cinema and watch The Artist. Then we can talk…
The Oscars are looming now, and The Artist is still the frontrunner for the biggest awards, which is one of the most exciting triumph-of-the-underdog stories Hollywood has produced in years. So the chances are, lots of people who would never have thought to watch a silent movie have now done so, and fingers crossed, they’re hungry for more. If you’re one of those people, read on. The Artist gives nostalgia, and film geekery, a good name, and whether you think it matches up to the films it pays tribute to or not, it’s the perfect prelude to a movie marathon. But where to begin, especially if you’re new to silent cinema?
We are living in strange, glorious times. The Artist, Michel Hazanavicus’s silent billet-doux to Hollywoodland, has officially “swept the board” at the Baftas. Best director, best actor, best original screenplay and best picture all fell to a modern silent film, for the first time, it should go without saying, in Bafta history. The Artist also picked up much-deserved prizes for cinematography, costume and score. It has all made for an unexpectedly emotional night here at Silent London towers.
Why? The Artist isn’t the only modern silent to have been made in recent years. It isn’t even the best. But when you are as passionate about a particular corner of film history as I am, and as the readers of this blog are, it does the heart good to see it in the spotlight, with a trophy in each hand. The air has been punched, a stray tear has been wiped and now a glass of vin blanc has been poured, and raised in honour to the lovely M Hazanavicius. The Artist is a lovely film, and most quibbles I, and other early cinema enthusiasts, have with it, are impossible to untangle from its privileged position as a standard-bearer for the silent era. At some point we have to give it credit for getting into that position in the first place. So congratulations to The Artist – for earning both popularity and critical acclaim and being so damn charming with it.
Martin Scorsese’s Hugo won a brace of awards too: best production design and best sound (ho ho). So I’ll raise another couple of toasts: to cinema pioneer Georges Méliès, and to Martin Scorsese, a masterful director and the world’s greatest living advocate for film preservation. That’s part of the reason he won the biggest award of the night – the Bafta fellowship.
After a triumphant run at international film festivals, modern silent movie The Artist is finally coming to the UK – and here is the toe-tapping trailer. The film is set in Hollywood at the end of the silent era and stars Jean Dujardin and Bérénice Bejo as an established and an aspiring star. James Cromwell, John Goodman, Penelope Ann Miller also appear and Michel Hazanavicius directs. It’s a charming film, inspired by classic Hollywood movies – the kind of thing that gives nostalgia a good name. You can read the Silent London review of The Artisthere.
The Artist opens in the West End on 30 December, then in selected cinemas 6 January and nationwide from 13 January.
Could a silent, black-and-white film really become a box-office hit in 2011? At festival after festival around the world, critics have been raving about The Artist (2011), Michel Hazanavicius’s homage to late-1920s Hollywood. Leading man Jean Dujardin has picked up the Best Actor award at Cannes, and thanks in part to Harvey Weinstein’s support, the Oscar speculation has already begun. Surely this is madness, though – even the director himself says, “nobody watches silent movies any more”.
But The Artist is gorgeous enough to make anyone lose their reason: it’s lushly photographed in silvery monochrome, romantic and funny, too. Dujardin’s sparkling performance as silent star George Valentin comes across like a new Douglas Fairbanks – but incredibly, he’s more suave – and when he bumps into Bérénice Bejo’s flirtatious flapper Peppy Miller, the chemistry is irresistible. The Artist tells the story of their troubled love affair, and the way their career paths diverge when the “talkies” arrive. The scene is almost always stolen, however, by Uggy, Valentin’s dog, whose adorable tricks will charm the most silent-sceptical of audiences.
So far, so sugary, but here’s another layer to The Artist. This is a film all about cinema: about the highest achievements, and the follies, of the silent era and all the films that have come since. The silent-film references come thick and fast: from Clara Bow to Erich von Stroheim, from the Fantômas serials to Spione (1928) to The Last Command (1928). There are even a few frames from The Mark of Zorro (1920) in the mix. The talkies get a look-in too, of course. Valentin’s blonde co-star recalls Lina Lamont from Singin’ in the Rain (1952); his scenes with his wife riff on Citizen Kane (1941) and the score borrows liberally from Vertigo (1958). We’re so often watching a film within a film, or spotting a sly cinematic reference, that The Artist is almost a silent movie by stealth. Hazanavicius, like Dujardin, nearly always has one eyebrow raised about his own nostalgic project, sometimes to the detriment of the film. There’s a dramatic moment towards the end of The Artist that is almost entirely ruined by an intertitle gag, for example. It gets a laugh, but it’s a cheap one.
These knowing moments are dangerous, because they threaten to break The Artist‘s enchanting spell and pull the audience out of what is for the most part a dreamily seductive experience. At its best, The Artist is a triumphantly modern silent film, which shows the influence of Fritz Lang, Josef von Sternberg and Frank Borzage but never looks like a relic. I loved the early sequences when Valentin and Miller first fall for each other: their backstage tapdance, and their repeated takes of the same scene (from cool, to sexy, to loving and finally collapsing into giggles) are pure silent cinema magic. When Miller is alone in Valentin’s dressing room, she snuggles up to his suit jacket, slips one arm into the sleeve and begins to canoodle with herself. It’s a wonderful piece of visual film-making, and says far more, with more charm, than dialogue ever could. Silent cinema fans will recognise the move from a scene in Borzage’s Seventh Heaven (1927), when Janet Gaynor shrugs her lover’s jacket on to her shoulders and wraps the sleeves around her. It has to be said, though, that The Artist‘s version is a lot sexier – it’s not 1927 any more.
The Artist isn’t always so cuddly. The lively, if anachronistic, score is not quite continuous; it’s brave enough to drop away for a moment’s pause, leaving the cinema in dead, unaccustomed, silence. That’s a bold move, and a self-conscious one, too. And as Valentin’s confidence takes a knock, expressionist shadows, spinning headlines, trick photography and one audacious nightmare sequence are all piled on to make us feel his pain. Sadly, it’s here that the film veers between homage and pastiche, and suffers just a little in the process. Does Hazanavicius want us to love silent cinema, or to laugh at it? Ultimately, The Artist doesn’t want to answer that question, it just wants to entertain, which it does, brilliantly.
I entered the cinema worrying about whether this film will be able to charm mass audiences or just film buffs and furrowing my brow over whether its potential success could spearhead a silent film revival. As the credits rolled I really didn’t care any more. The Artist is a joy and it doesn’t deserve to be weighed down with such responsibilities. If you’re watching it at the London Film Festival this week, you’re in for a treat.
For the rest of us, Launchingfilms.com currently lists the UK release date as 30 December 2011.
The American trailer for The Artist, Michel Hazanavicius’s love letter to silent cinema, is here. It’s beautiful, and almost note for note the same as the French trailer we saw in the spring. The only differences are that the US version doesn’t name any of the actors until the final card, and I swear they have beefed up the sound of tap shoes clicking across the floor in the dancing sequences. It’s not synched sound, and there’s definitely some of it in the French version, but there’s more now. It’s still utterly gorgeous though – I’m not sure what delights me more, Jean Dujardin’s Hollywood smile, Uggy the performing dog or Bérénice Bejo’s wardrobe.
The Artist is released in France on 12 October 2011 and in the US on 23 November 2011. No word on a UK release date yet.
As far as I know, The Artist (2011) is the first silent film ever to be placed in competition for the Palme d’Or. It’s been a long time coming, and it’s fair to say that silent film fans will take a keener interest than usual in the Cannes judging this year. There has been a lot of early buzz about The Artist, not least because it was swiftly snapped up and flaunted around town by the Weinstein Company. But then again, some of the other films in the competition have earned rave reviews already: notably Lynne Ramsay’s We Need to Talk About Kevin.
Winner or not, The Artist is the most high-profile modern silent in a long, long time and we’re all keen to see it, to find out whether it lives up to the hype, and whether it’s a sensitive tribute to an era of exquisite film-making, or a heavy-handed pastiche.
To this end, I’ve pulled together as many reviews from Cannes as I can find so in the long wait for The Artist to hit UK cinemas we can amuse ourselves by forming our own opinions. We can base this a little on what the critics say, and mostly, of course, on our own preconceptions springing from the extraordinarily beautiful trailer: