Fans of ‘reel’ films gathered in Rochester New York State for the George Eastman Museum fifth Nitrate Picture Show. It is a trek, though the train journey is very scenic. And where else can you see a whole programme of the format on which film emerged, as used by Thomas Edison and the Lumière Brothers. The Museum is well appointed. The Dryden auditorium is well designed, comfortable and the sight lines are good. The staff and volunteers are friendly and knowledgeable. And the projection team are expert in a set of skills that, sadly, are becoming rare.
The programme has now settled into a standard order. It is revealed on Friday morning. You have to be prepared to take the films on trust. And one title, the last, is [rather coyly] hidden as a ‘Blind Date’ with a tantalising single frame to set you guessing over the intervening two days.
Friday afternoon commences with talks by experienced archivists on nitrate; ‘Keepers of the Flame’. This year enjoyed David Russell from the Imperial War Museum and Elaine Burroughs who worked at the British Film Institute and also for FIAF. This offers the opportunity to learn more about nitrate, archiving, preservation and the occasional hazards of the work.
The first set of titles are the shorts, including documentaries, newsreels or travelogues and animation.
Two of the latter offered particular pleasures, both in Technicolor, a system whose vibrant colours have an extra sheen in nitrate.
Tulips Shall Grow was war-time animation, (USA 1942), from the hand of George Pals. The print and the Technicolor were in fine condition in a Library of Congress print. The plot involves a young Dutch couple who suffer when the ‘army of Screwballs’ invade. But ‘Mother Nature’ provides a catalyst for resistance and victory over the invaders.
The Cobweb Hotel (USA 1936) was a delightful animation with a far more sardonic tone from David Fleischer provided by the UCLA Film and Television Archive. Flies, including a honeymoon couple, battle to escape the malevolent designs of a spider.
The early evening programme was Luis Buñuel’s L’Age d’Or (1930). The screening was from a George Eastman print which they acquired from the legendary Henri Langlois and it was in reasonable condition. This is an undoubted classic and a fine example of surrealist film. It is longer and more complex than Un Chien Andalu (1929), partly because it has both title cards and recorded dialogue, plus recorded music and effects. Sex, violence, satire, subversion and sardonic humour engage one for just over an hour. I especially like the giraffe flying out a window, the cow on the bed, and a familiar figure with hitherto suppressed biography.
The evening ended with The Beautiful Blonde From Bashful Bend (1949). This was the last major title directed by Preston Sturges in Hollywood. The print from the Museum of Modern Art was in good shape and the Technicolor format offered bold and vivid colours. The ‘Blonde’ (Betty Grable) is a western ‘sure shot’ whose main problem is her unfaithful boyfriend Blackie (Caesar Romero). The action tends to slapstick but is done with real panache. The climatic sequence is a lengthy gun battle full of witty visuals.
Saturday morning opened with the 1947 Nightmare Alley. This was a print from the UCLA Film and Television Archive. It was a pleasure to watch. Generally seen as a film noir the film lacks the flashbacks and confessional mode of the genre. And the femme fatale in this story is an overweening ambition embodied in fake spiritualist Stanton ‘Stan’ (Tyrone Power). The film was directed by Edmund Goulding, a Hollywood talent who deserves greater recognition. This film also has fine black and white cinematography by Lee Garmes.
The afternoon started with a short film by Arne Sucksdorff from the Swedish Film Institute / Svenska Film Institute, Strandhugg (1950). The print was in excellent shape and Sucksdorff’s films offer fine black and white cinematography; here with poetic sequences of the seaside.
The feature in this session came from the National Audiovisual Institute of Finland; People of the Summer Night (Ihmiset suviyössä, 1948) was directed by Valentin Vaala. Set over one night in a small rural community we watch various relationships and actions among local people; these include birth, death, and conflicts fuelled by alcohol. There also seems to be a implicit gay character. The cinematography by Eino Heino is excellent. The film offers a ‘warm-hearted and sensitive’ evocation of the ordinary but compressed for dramatic purposes.
Late afternoon offered a Cinecolor western, The Nevadan (1950). Cinecolor was a two colour subtraction system, cheaper and quicker to process than Technicolor. Not that many features were filmed in the process which offered especially vibrant orange, red, blue and green. The film has a typical Randolph Scott hero. Upright and stalwart, he outmanoeuvres and outguns the villains led by George Macready. And there is the young Dorothy Malone, not just a romantic interest, but involved in the action. The print from the Austrian Film Museum had quite a lot of scratches and noticeable splices but the colour was excellent.
Rebecca (1940) was a George Eastman print in pretty good condition. There is some fine cinematography by George Barnes and a great score by Franz Waxman. I find that the first part of the film is really good as we encounter [through the eyes and ears of the unnamed heroine) the dead titular character. But once the past is revealed I think the film becomes less interesting and dynamic. The screening included a set of screen tests with Joan Fontaine, Nova Pilbeam and Anne Baxter. This demonstrated how apt was the casting of John Fontaine.
The Sunday opened with a classic film noir, Dead Reckoning (1947). This was a Library of Congress print with signs of wear, both on the emulsion and on the sound track. However, it still showed off the qualities of this black and white film. The movie has all the characteristics of a noir thriller; the confessional mode, flashbacks, the world of chaos into which the hero falls, night and chiaroscuro and a femme fatale. But I did not find it had a strong noir feel. This is mainly because the fatale, ‘Dusty’ (Lizabeth Scott] seems more like the scheming female of private eye films such as The Maltese Falcon. And Humphrey Bogart’s ‘Rip’ is in the mould of the same private eye.
The afternoon offered a John Barrymore film, Counsellor at Law (1933), finely directed in an adaptation from Elmer Rice’s play by William Wyler. The print was from the UCLA Film and Television Archives in very good condition. The early sound track apparently needed adjustment from time to time by the projectionists. Barrymore is excellent as a shyster Lawyer George Simon, originally from the Jewish Lower East Side of Manhattan. The film [and play] follow his Machiavellian manoeuvres when a past case returns to haunt him. The pace and the dialogue are crisp and sharp; Isabel Jewell as telephonist Bessie is a delight. And there is one memorable scene when Simon agrees to defend the son of an old Jewish neighbour, Harry Becker (Vincent Sherman). Harry is a communist and in a terrific sequence turns on Simon who he denounces as a class traitor. Even though this is pre-code Harry later dies from injuries sustained from the New York police.
Then to Blind Date. This year the title was worth a wait, Gone to Earth (1950). The clue was a shot of the wedding cake after Hazel’s (Jennifer Jones) marriage to the Reverend Edward Marston (Cyril Cusack). In the adaptation of a novel by Mary Webb Hazel, is caught between the religious but liberal Edward and the sexy but brutal Squire ‘Jack’ (David Farrar). Rather than a triangle this is a square, including Foxy, a young vixen [unfortunate not credited]. Jennifer Jones is miscast as this wild country spirit but she gives her performance real panache. Cusack is grave and convincing and Farrar probably had the female audience swooning with desire. The print was from the George Eastman Museum, a donation by the Selznick family. Fortunately it was the British print not the shorter US version titled The Wild Heart. The directors were those idiosyncratic romantics, Michael Powell and Emeric Pressburger.
So this was a rewarding weekend filled full of cinematic pleasures. The organisers and volunteers got a deserved ovation at one point. And, in a habit that is distinctive to George Eastman, the audience were also invited to applaud the projectionists who work overtime to presents these old and often delicate prints.
Punters who would like to see a whole programme of the original cinema format should note that next year the Picture Show Weekend is later, June 4th to 7th 2020. We were advised that Yuri Tsivian is on a mission for the Museum scouring European Archives for Nitrate Prints. Perhaps Dziga Vertov, Max Ophuls or Jean Renoir?
This Festival was held between May 4th and May 6th at the George Eastman Museum in upper New York State. The Eastman Museum is now one of the few places where one can see 35mm film prints on the stock that was once the standard for cinema. The Museum’s Dryden Theatre was crowded for most of the weekend with archivists, critics and fans enjoying the distinctive image that the format offers.
In fact those of us there on the Thursday had a pre-festival treat with a screening of Hamlet (1948) from a Library of Congress print. Lawrence Olivier’s film adaptation of one of Shakespeare’s major masterpieces is a fine piece of work. He and his supporting cast are excellent. The adaptation uses judicious cutting to present an impressive drama. And the art design and cinematography are great to watch, given the technical standards at that time. The sound is equally well done and includes in the opening of the drama Olivier voicing his father’s ghost. The print showed up well on the nitrate stock. The frequent chiaroscuro looked good and the cast and their lighting had that silvery quality found on early stock.
The Festival programme was only announced on the Friday morning, a tactic I find rather coy. So we walked into Rochester centre to wander round the excellent second-hand bookshop there. One watches one’s baggage weight on the way out in order to be able to select from an extensive film section together with a wide range of other subjects.
The afternoon included two presentations. And, as is usual, the first set of screenings were short films on nitrate. It commenced with Symphony of a City (Människor I stad, 1947). This film, directed by Arne Sucksdorff, presented a day in Stockholm and the film won the Best Short Subject (One reel) at the 1949 Academy Awards. There was the only silent film at the Festival, Our Navy (1918) for which Phil Carli’s accompaniment added élan. There was an early Cinecolor short, filmed using a sub-tractive two colour process. This presented a Roman Catholic priest, [a Jesuit I think] exploring a glacier in Alaska. Following this was a 1946 Technicolor travelogue,Along the Rainbow Trail, found on the San Juan River. But the pick of the programme was Len Lye’sTrade Tattoo(1937). Only six minutes in length this is fine example of the work of this talented animator. On nitrate stock the film was a dazzling tapestry of colours, which involved hand painting and a certain amount of surrealist imagery.
The Friday early evening screening is traditionally a foreign language print and we were treated to an early Ingmar Bergman film, Sommarlek / Summer Interlude (1951). Much of the film presents a youthful romance in flashback. I think it is the first Bergman film with recognisable authorial narrative and characterisations. The majority of sequences were filmed in an archipelago over water and islands, and the dappled woods, sun-lit rocks and changing water hues were a real pleasure on nitrate.
The late film, starting at 10 p.m. was the 1938 Holiday, directed by George Cukor and starring Cary Grant with Katharine Hepburn. The two leads and supporting cast were good but I was not convinced by the script. The Cary Grant character, supposedly immune from desires for wealth, seems more about facilitating the plotting than presenting a convincing character. The film is handsomely produced and the print was good quality.
Saturday morning saw only one film, The Razor’s Edge (1946). This was adapted , fairly faithfully, from a novel by Somerset Maugham. It starred Tyrone Power as a man searching for meaning in life over decades. The protagonist suited Power’s persona, which whilst often swashbuckling is also frequently divided psychologically. Herbert Marshall was engaging as the writer (Maugham) though his commentary was much reduced from the book. Opposite Tyrone Power were the young Anne Baxter and Gene Tierney. Tierney enjoyed some of the best sequences in the film. This was her fourth appearance in a Nitrate Picture Show programme; who is the unpublicised fan at the Museum? The film was directed by Edmund Golding, an underrated director in Hollywood. He works well with actor and made several titles with Power. And he works well with the cinematography. There are frequent finely executed tracking shots which give the film an continuing flow as years and settings change. There was also good production design and a generally suitable score.
Then lunch. This year the Museum bar was augmented by food trucks in front of the Museum. Fortunately whilst there was quite an amount of rain over the weekend it was not in the meal breaks.
After lunch we enjoyed a print from the Narodni filmy archiv in Prague, Mlhy Na Blatech / Mist of the Moors (1943). This was a rural drama on fairly conventional lines. But there were sequences where the landscape, with trees, hillocks and ponds showed up well on nitrate.
There followed an early Anthony Mann western, Winchester ’73 (1950). This is not Mann’s finest work but James Stewart, displaying the psychotic side of his character that was bought out in Mann’s films, is excellent. There are some fine landscapes and an intense struggle between brothers at the finale on a steep cliff. The print came from the Library of Congress. It looked pretty good but did suffer from some warping which affected the focus.
The day ended with a real treat, a nitrate print of the marvellous Powell and Pressburger film, The Red Shoes (1948), I remember Ken Brownlow in a broadcast comparing silent film to ballet: this sound film is a tour-de-force of movement and colour. Apart from the brilliant ballet shot with great skills by Jack Cardiff, there are the pleasures of the acting/dancing with a terrific performance as a Svengali impresario by Anton Walbrook. The print was quite worn but the Technicolor looked great. In fact the projection relied on two prints, partly from a George Eastman Museum print, and for the final two reels a personal copy belonging to Martin Scorsese. I did think that the final two reels were of slightly better quality.
Sunday morning is usually the slot for a film noir, a genre which, with its chiaroscuro, suits the palette of nitrate. This year we had Cry of the City, a 1948 RKO film directed by Robert Siodmak. The film’s lead was Richard Conte as a gangster hospitalised and trying to avoid a murder rap. His nemesis is played by Victor Mature. Conte is striking whilst Mature is excellent, though he does not quite fit a character from the same Italian neighbourhood. The print was in good condition and was a pleasure to watch.
The afternoon film was a Soviet musical, a rarely seen genre. The director was Eisenstein’s assistant from the silent era Grigoriy Aleksandrov who made several film in this genre. Moscow Laughs (Vesolye Rebyata, 1934) offers a plot which centres on an a musical shepherd who is mistaken for a famous visiting conductor. The film opens in Odessa and there are some well done set-ups and a fine travelling shot on a local beach. There is a splendid sequence where the animals invade a local bourgeois reception creating chaos: the sequence offers almost surreal incidents. Later the ‘conductor’ takes his orchestra to a Moscow theatre. The latter stages are rather hammy and a little clunky. This is not socialist realism: more like a embryo effort for a new genre. The print’s distinction was that the film was restored in 1958 on surviving nitrate stock, making it the most recent film on nitrate seen at the Festival. The restored print apparently followed the original closely but much of the sound track was rerecorded.
This bought us to the ‘Blind Date’ screening. With even more coyness than over the programme the title of this film is only revealed as it runs on-screen. To tantalise the audience a single still is included in the brochure as a clue. I have consistently failed to guess correctly. Apparently at the first Nitrate Picture Show one visitor correctly identified t a footprint in a flower pot – from The Fallen Idol. This year I suggested a mining film.
There was a ripple of response when the shot/still appeared in an early scene, a hole waiting repair on an upside down curragh used by ‘The Man of Aran, Robert Flaherty’s famous docudrama from 1934. This is a n epic portrait of a small isolated community on the edge of the Atlantic. We saw the central family fighting the rough seas, fishing for giant sharks, and laying out sparse potato patches on the inhospitable terrain. This was a fine demonstration of the virtues of nitrate. The roaring seas, the glistening foam, the sun-lit cliffs and shadowed rocks all looked magnificent. It was a high quality print of a striking film.
The festival brochure includes details of the prints including the shrinkage. It is now reckoned that nitrate prints have a longer shelf life than acetate prints, whilst comparatively digital dies in childhood. But nitrate prints do shrink over time; it is reckoned that once shrinkage reaches 1% projection becomes extremely difficult or impossible. This is one of the difficulties faced by the projection team who also work with Projectors that contain safety features in case of fire. So there was frequent applause for the team during the Festival. We also had digital sub-titles for several films but I thought the Museum has not yet mastered the technology as on several occasions the English titles went out of sync with the foreign dialogue. Not a serious problem.
We had a full and rewarding weekend. Next year’s Picture Show will be on May 3rd to May 5th. This means it will fall on several important birthdays, notably Karl Marx. I suggested that a good title for next year would be Fame is the Spur (1947), a film by the Boulting Brothers which includes a rare feature, a photograph of Marx on the wall of a Manchester bookshop. Or there is May 3rd, the birthday of Mary Astor. It would be great to have a nitrate print of The Maltese Falcon (1941) or even Red Dust (1932).
Keith has already posted his review of the films of 2017. I agree with many of his picks, but disagree on a couple and want to list a few different titles.
It was a strange year for me in the sense that I was overseas for nearly a month in February/March and most of what was on offer were ‘awards movies’. I also missed the Glasgow Film Festival which in the last few years has provided me with access to ‘festival films’ I might have missed. On the other hand it has been a good year for festivals at HOME in Manchester. Somehow, I still managed to watch over 100 films in the cinema and many more on DVD/download. Here are my highlights:
Most overrated films of the year
La La Land and Dunkirk (2017)
These were two of the most lauded and most discussed films of the year. Neither of them are ‘bad’ films and both have many good points to recommend them. Yet, overall, they didn’t move me or suggest that they deserved prizes. I saw La La Land in Canada with a large and appreciative audience a few weeks after it opened and all I can think is that they might never have seen or might have forgotten what a classic MGM musical might be like. As for Dunkirk, I might have felt differently if I hadn’t first seen the 1958 version of the story and explored documentary material. I suspect that the spectacular nature of the film, especially on IMAX/70mm screens was far more important for some audiences than the meanings the film generated.
Mainstream films of the year
It is significant that the four mainstream films I’ve chosen include three African-American films and three films with women as the central characters – the two key issues in 2017’s film releases.
Two outstanding films about North American life
These two, very different, films were both directed by women. Both explore women’s lives in specific regions of respectively, Maritime Canada and America’s Mid-West. Neither found a large audience but I suspect that those who did see them enjoyed them very much.
European film of the year
Frantz (France-Germany 2016)
I thought this was an astonishing film. There were plenty of other European films I enjoyed but also several I was unable to find in cinemas or that haven’t yet been released in the UK.
British films of the year
Lady Macbeth seems to have divided audiences, including my colleagues. I don’t understand why. Alongside the magnificent God’s Own Country it has figured prominently in both British and European awards competitions. These two début films give me hope for British cinema.
Asian releases of the year
It is getting harder to see important films coming out of South and East Asia at the cinema and I’ve chosen two films here from the handful of titles I was able to see. There was also another Koreeda film this year, After the Storm (Japan 2016) which was up to the same high standard this master has established. I also enjoyed many of the films in HOME’s ‘Not Just Bollywood‘ programme.
Archive films of the year
Cloud-Capped Star (India, Bengal 1960)
Overall, I would have to concede that this year I have been more interested in the archive programming provided via HOME’s ‘States of Danger and Deceit‘ and also the archive elements of other HOME seasons and festivals. I wish there were more current films that matched the artistry and intensity of these archive gems.
Festival film of the year
The Rider (US 2017)
I hope this gets a UK release soon. It matches Maudie and Certain Women in its vibrant presentation of the local in North America.
Your Name (Japan 2016)
The success of this film (and The Red Turtle) gives me some hope that anime will finally get established in the UK. I just hope we can still get to see the Japanese versions in cinemas.
The films I missed that I wish I had seen
The Levelling (UK 2017), I Am Not Your Negro (US 2016)
I’ll try to find these two on DVD at some point in 2018.
December has been terrible in UK cinemas with nothing but family films and mainstream blockbusters on offer and now we await the usual flood of American ‘awards films’. We’ll be struggling to find the foreign language releases and then looking forward to festivals such as Glasgow in February.
This is a compilation of short films shot in the British countryside (and in the north of Eire) between 1904 and 1981. It is part of the Britain on Film series which has already offered Railways and has a forthcoming compilation Black Britain. This is an archive project to ‘digitise’ thousands of films, originating on celluloid, and making them available for public viewing. These ‘tours’ are distributed by the Independent Cinema Office, who have an excellent track record of providing features and archive material to independent cinemas. I saw this compilation at the Hyde Park Picture House as part of the ‘Leeds Young Film Festival’.
Before the film we had an interesting introduction by Kate McGann, a curator with the National Film Archive in the documentary section. We had some notes with details of the films included in the compilation but she added some particular comments on especially interesting aspects. Her main thrust was to provide a context for these films. She commented that much of the period represented on the films had seen real ‘change and upheaval’ in the countryside. An aspect that is the focus of Laurie Lee’s memorable ‘Cider with Rosie’: Lee provided the commentary for one of the films.
She also talked about the changes in technology and style across the films. Cecil Hepworth, who made the earliest film in the programme, would have been working with bulky cameras, and the supporting equipment like tripods etc. It seems likely that he staged much of the action, seemingly merely observed. And since synchronised sound only arrived in the 1930s several film rely on title cards [intertitles] to provide information for the audience.
A little later Basil Wright, filming in the Cheviot Hills, was able to work alone with his camera and accessories, but the now available sound would have been added later in the studio. Both these films were in black and white. But another example from the Pathé Company used colour stencilling, one of several techniques like hand painting and tinting/toning for adding colour.
By the 1950s colour film stock had become available and the Technicolor brand offered a rich palette of colours on screen. We had two films that used this technology. (Note, you can see one of the Technicolor Cameras at the Insight Collection at the National Media Museum. Signposts re Science and Media Museum).
The camerawork in many of the films relies mainly on the static shot. As technology developed camera movements like pans and tracks became available. All the film used some sort of editing (cutting between shots), though the later films are more sophisticated .
The programme also illustrated a number of genres in what we now term documentary. The earliest would have been known as ‘actualities’. Early on there were also Newsreels, and there was an extract form one of these. And there were examples of ‘travelogues’, ‘marketing films’ and ‘public relations’, both commercial and state funded. Some of the later films came from television networks and a couple of films really fall into the amateur or ‘home movie’ category.
The compilation ran for 75 minutes. It was partly chronological but partly thematic.
“Machynlleth (In the Heart of Cambria) | Dir: unknown | UK | 1929 | 2 minutes
This glorious Pathécolor film of the ancient capital of Wales pops with the beauty of rural life. “
This short film was essentially a travelogue. It offered a series of shots, beautifully coloured with hand stencils. These included shots of a valley, river, trees in blossom and sheep grazing.
There was an accompaniment on the sound track by piano and flute.
“O’er Hill and Dale | Dir: Basil Charles Wright | UK | 1932 | 18 mins
The first sound documentary produced in the UK, this is an affectionate and at points humorous account of a Scottish shepherd’s daily life in the Cheviot Hills.”
Basil Wright has been described as a ‘humanitarian poet’. He was a member of the rightly famed British Documentary Movement. The film mainly uses single static shots with a couple of pans over the landscape. But Wright (filming himself) makes extensive use of angles, especially low-angle shots that emphasise the scale of the mountainous vistas. He also (later in the studio) edited the film into a mini-narrative. So after seeing the Shepherd, Martin, with his flocks drama ensues when a storm sweeps across the hills. This leads into a ‘happy’ ending with a lamb saved from expiring.
The commentary, by Andrew Buchannan, and the orchestral accompaniment were added later. And the film was seen in British cinemas courtesy of Gaumont British.
“Great Hucklow Jubilee | Dir: L. du Garde Peach | UK | 1935 | 9 mins
These gorgeous scenes of Great Hucklow capture the Derbyshire village’s preparations for the celebration of King George V’s Silver Jubilee, presenting a charming portrait of life and laughter in the Pennine village.”
This is an example of amateur filmmaking in the period. L. du Garde Peach actually worked in the Film industry as a scriptwriter. One of his most famous contributions was co-authoring the 1935 Yorkshire -based Turn of the Tide. Here though he is showing off his locality and the Village Players whom he organised.
The film uses intertitles and was accompanied by a piano and percussion on the soundtrack.
“‘Dry Village’ | Dir: Unknown | UK | 1964 | 5 mins
A cautionary tale of the ‘dry village’ of Bessbrook, Co. Armagh, whose founder believed that the absence of a pub would remove the need for both the police and pawn brokers.”
This appears to be an ironic offering from television reporter James Boyce, presumably working with a network team. The film offers a series of interviews and comments. Boyce’s offerings for viewers appear to have capitalised on the eccentric, this is a good example. There is no hint of the ‘troubles, only a few years away.
” The Village Pet | Dir: Unknown | UK | 1931 | 1 min
After Billy the seal was caught in the Wash and rehoused in the village pond, this heart-warming newsreel item shows him tentatively accepting a fish supper from his adoptive family – the good folks of Warham in Norfolk.”
This is an extract from a ‘Topical Budget’ newsreel; a newsreel series that ran from 1911 until 1931. The film opens with a highly embroidered intertitle. Then we meet Billy and the village inhabitants, especially the children, enamoured with this occupant of the pond.
The film has an accompaniment by piano and accordion.
” West of England | Dir: Humphrey Swingler | UK | 1951 | 10 min
Glorious Technicolor casts a dreamlike spell over Gloucestershire’s Stroud valleys in this gorgeous short film. Author Laurie Lee contributes to the script for a narration which accompanies painterly images of evergreen scenery, people and industry. “
This was a fine example of the lustrous palette found in Technicolor. The commentary is read by Stephen Murray. The film is full of glorious shots of the Stroud Valley, old buildings and a graveyard, valley slopes, smooth rivers and nestling tress and flora. Later we enter an old linen factory where the rich colours of the cloth exploit the colour process. The film is edited into a gentle narrative. The opening shows a horse and rider wending their way down hill. There follow later some good example of forward and reverse tracking shots. The commentary proposes a ‘secret’ which is followed till we hear and see an explanation of the Stroud cloth industry. At the end the horse and rider wend their way back uphill; then a cut shows us a modern tractor, presumably as comment that Stroud is modernising.
The commentary and orchestral accompaniment were added at Merton Park Studio,. And the film received a cinema release from United Artists.
” Cold War Villages | Dir: Unknown| UK | 1981 | 3 min
In 1981, with no end to the Cold War in sight, plans are afoot in the Midlands to prepare for nuclear attack. These include a bunker for 400 people in a Rutland village with a population of 300, while in Derbyshire a local landlord takes responsibility for the somewhat simplistic advance warning system.”
This looks like one of those programme fillers in regional television broadcasts. The reporter, Terry Lloyd, introduces two mini-stories related to ‘the nuclear threat’ with interviews with local people. Rather like the ‘dry village’ this looks like an ironic comment on eccentricity, possibly even invented. By 1981 (despite the 1984 TV film Threads) the nuclear question was less of an issue than that of US missiles based in Britain.
The first case is a plan to turn a disused Rutland railway tunnel into a commercial bunker; £2,000 for a single person. Predictably it was never built.
The second tale is a Derbyshire pub with an ‘early warning system’. Among the limitations of this device are the absence of a warning device. There is (almost certainly staged) film of the publican warning the village on his bicycle. It seems the village was spared a nuclear attack.
“Any Man’s Kingdom | Dir: Tony Thompson | UK | 1956 | 5 mins (extract)
A standout from the British Transport Films collection of travelogues – this one highlighting the attractions of Northumberland, the northernmost part of England. In this extract people travel from far and wide to enjoy the delights of Bellingham Fair, which includes traditional Cumberland wrestling.”
This film has a commentary and an orchestral accompaniment with actual sound including traditional pipes. It offers shots of the people attending this traditional fair and of some of the attractions. There is a fine sequence of a country dance edited through a series of close-ups of the band and the dancers. Towards the end of this extract twilight falls and a young couple are seen in silhouette followed by a pan over a river. The film, in Technicolor, was finalised at The Anvil Studio.
“Blacksmith | Dir: Peter Baylis | UK | 1941 | 5 mins
‘Things aren’t what they used to be’: Mr Bosley, village blacksmith at Corfe, near Taunton, is the subject of this nostalgic study of ancient craftsmanship. As his commentary talks us through the process of shoeing a horse, the patiently composed images gracefully evoke an ageless sunlit Somerset day.”
The film was part of a series on ‘craftsmen’ by the Shell Film Unit. This commercial film’s documentary unit was launched in 1934 and carried on to the present, now ‘The Shell Film and Video Unit’. Its output of mainly short films was an important contribution to British documentary. This film follows a farm horse into the forge as we watch the traditional techniques of shooing in a series of close-ups and mid-shots. .
“Eardisland Village | Dir: Unknown | UK | 1978 | 5 mins
The residents of Eardisland, a picture postcard Herefordshire village, are unhappy about their impending conservation status which would curtail new development. How can a village continue to thrive with an ever ageing population and no new blood?”
This films is from ATV’s ‘Today series’ with reporter Peter Green and shot in colour.
The camera takes us round the village and a series of interviews with inhabitants. There are few young people and ‘conservation’ threaten to embed this further. The catalyst for this concern is the proposed closure of the village school. Added to this is the comment that they have even
‘taken the vicar away’.
Despite the film the school did close in 1979.
“Day in the Hayfields | Dir: Cecil M. Hepworth | UK | 1904 | 3 mins
Enchantingly beautiful, Cecil Hepworth’s modest interest film captures the essence of an English midsummer and the harvest in a time before tractors with men cutting hay using a horse-powered reaper. Less productive but very charming are the local babies and toddlers playing in the cut grass.”
Cecil Hepworth is one of the most important pioneers from the early days of British cinema. One of his most famous titles was a the key contribution to canine cinema, Recued by Rover (1905). Here he is filming on location alongside the Thames near to his studio at Walton-on-Thames. The film offers a series of static shots, almost like tableaus. we see the harvesting, transport by horse and cart, and the local children playing.
There is an accompaniment on piano and accordion, as lyrical as the film itself.
“Skating on Lough Neagh | Dir: Unknown | UK | 1963 | 2 mins
As the Big Freeze plays havoc with the working life of Northern Ireland, there is plenty of time for play. The frozen Lough is a call to the adventurous and the ridiculous as dogs, dancers and even drivers take to the ice.”
This appears to be either amateur footage or something filmed for a local television network. It appears that it is actually the ‘Black Lough’ at Dungannon. And like some earlier films it is partly a record of oddities and eccentricities, including a group performing the twist and a mini car travelling over the frozen lake.
The end credits of the compilation include Stephen Horne who performed the musical accompaniment for the films without soundtracks. Stephen is a multi-instrumentalist as demonstrated in the accompaniments.
The films came courtesy of BFI National Archive, the Media Archive for Central England and the Northern Island Screen Digital Archive.
They were all transferred on to a 2K DCP. All were in either 1.33:1 or 1.37:1 ratios. The image quality was generally good. Note, as usual the DCP was in 1.85:1 and the titles for the individual films was spread across the complete frame; this was a shame as it prevented the cinema bringing in the masking to the Academy ratio. The sound was variable, presumably partly due to older prints and also to transferring optical or magnetic tracks on to digital.
Definitely a programme worth seeing. And there is more information about the films, the series and ‘Britain on Film’ at the BFI.