Welcome to 2017 in which we celebrate the centenary of the Great October Revolution. One film that both recorded and dramatised that shock was Sergei Eisenstein’s film of the historic event, Oktyabr (Ten Days That Shook the World 1928).
Other key films from the Soviet Montage Movement include
The New Babylon (Novyy Vavilon 1929) directed by Grigori Kozintsev and Leonid Trauberg. A powerful dramatisation of the historic Paris Commune of 1871: a forerunner for the October Revolution.
Mother (Mat 1926) directed by Vsevolod Pudovkin. Set during the Russian Revolution of 1905 and based on the 1906 novel ‘The Mother’ by Maxim Gorky.
The Fall of the Romanov Dynasty (Padenie dinastii Romanovykh 1927) a seminal compilation documentary written and directed by Esfir Shub recording the years from the 300th anniversary of the Romanov imperial reign to its demise in 1917.
The Girl with a Hatbox (Devushka s korobkoy 1927) directed by Boris Barnet and starring Anna Sten. The film satirises the ‘Nepmen’, entrepreneurs who were allowed to conduct commercial business during the New Economic Policy of the 1920s.
Bed and Sofa (Tretya meshchanskaya 1927) directed by Abram Room and finding comedy in the strains experienced as the Socialist Republics were transformed.
Man with a Movie Camera (Chelovek s kino-apparatom 1929) directed by Dziga Vertov and both celebrating and analysing Soviet Construction.
Old and New (Staroye i novoye 1929) directed by Sergei Eisenstein and the transformation of a village under collectivisation.
Earth (Zemlya 1930) directed by Aleksandr Dovzhenko and set during the collectivisation programme with resistance from the rich Kulaks [wealthy peasants].
Enthusiasm (Entuziazm / Simfoniya Donbassa 1931) directed by Dziga Vertov. A film celebrating Socialist Construction in the Don Valley of the Ukraine. Needs to be seen and heard with its original soundtrack rather than with live music.
This International Festival of silent film once again attracted archivists, collectors, film fans and academics to Pordenone and to the new Verdi Cinema in Pordenone. About a thousand people, plus townspeople for the popular titles, viewed a varied and at times very high quality programme from early cinema. It was a week in which it rained a couple of times and later days were a little chillier than usual. But, of course, we spent most time in the cinema and otherwise in restaurants and bars catching up with friends and colleagues.
The major events were star vehicles with famous names. The opening night presented Greta Garbo and Conrad Nagel in The Mysterious Lady (M-G-M 1928). This was one of the fine Photoplay Productions’ prints which Kevin Brownlow has collected over the years. The film was accompanied with music by the long-time collaborator Carl Davis. Nagel played a young, not too bright Austrian officer, but he was attractive and romantic. Garbo’s expression of passion was luminous. The plot was rather ordinary; spies, deceits, revelations and a final resolution at the border.
Mid-week we had a European star, Ivan Mosjoukine. He was one of the ‘white’ Russian émigrés who ended up in Paris after the Revolution and Civil War. Kean ou Désordre et Génie (Edmund Kean, Prince Among Lovers Films Albatros 1924) was an adaptation of a play by Alexandre Dumas [père] about the great C19th English actor. The play and film concentrated on Kean’s later career and a relationship with a married and aristocratic lady, Countess Elena de Koefeld (Nathalie Lissenko). Mosjoukine’s representation of Kean was impressive and the film was well staged and had some fine stylistic sequences. The film has been restored by the Cinémathèque française on a 35mm print. The print also had quality tinting, the work of the Jan Ledecky Laboratory. This was one of the finest visual treats of the week.
The final night presented the iconic star Douglas Fairbanks in The Thief of Bagdad (United Artists 1924). The film had been transferred to DCP, though this was well done. The accompaniment was a reconstruction of the original score commissioned by Fairbanks from Mortimer Wilson and arranged and synchronised for the present version by Mark Fitz-Gerald. This was typical and splendid Fairbanks. He was as graceful as ever though the plot was at time silly and did little justice to the original source. The film had stunning settings and designs, the work of William Cameron Menzies, who went on to many other fine productions and was the first recipient of the first Academy Award for Art Direction in 1928. There were a number of silent features during the week featuring his work in the 1920s.
One of these was Tempest (United Artists 1928). This featured a relationship between John Barrymore (Sergeant Ivan Markov) and Camilla Horn (Princess Tamara). This was set against the background of World War I and the eruption of the great revolution in 1917. Not surprisingly the characterisations bore little relationship to the historical reality. The film fitted into what seemed an unofficial programme of pre-revolutionary stories, possibly a prequel to revolutionary films in 1917. They mainly offered a fairly reactionary stance on the Revolution but, fortunately, we also had a bona fide Soviet history: Esfir Shub’s seminal compilation documentary, The Fall of the Romanov Dynasty / Padenie Dinastii Romanovykh (Sovkino 1927).
One of the films set in pre-revolutionary Russia was The Cossack Whip (Edison 1916). The film was directed by John Collins, a little known filmmaker who was the subject of a mini-retrospective. The Cossack Whip had fine mise en scène and exceptional editing for the period. The film also painted a picture of the brutality of the Tsarist regime with relatively sympathetic revolutionaries, though the conventional ending had the heroine arriving in the USA. The films tended to have Viola Dana, to whom Collins was married, in the lead role. There were two fine dramas set in the rural world, The Girl Without a Soul (Metro Picture Corp. 1917) and Blue Jeans (Metro Picture Corp. 1917), with excellent use of country settings.
We also had a teen serial from Pathé Exchange (USA). This was Who’s Guilty?, produced and released in 1916 in 14 episodes. The basic premise was a melodrama developed around an issue of crime and morality. The endings tended to be downbeat and appropriately the surviving reels were discovered in the Gosfilmofond archives. Pre-war Russian audiences were keen on ‘doom and gloom’. Overall the serial was well done and the moral questions intriguing: there was one fine episode which dramatised the violent industrial relations of the period. A recurring sequence was a scene where the male protagonist was involved in a fight with the nominal villain. Such physical conflicts seemed to be another unofficial theme of the week.
The most gripping fight was in Behind the Door (Famous Players Lasky 1919). Oscar Krug (Hobart Bosworth) seemed to be the only German-American in a small town when the USA declared war on Germany. He proved he was ‘American’ by fighting Jim MacTavish (Jim Gordon) when the townspeople grow riotous in front of his taxidermy store. He then enrolled in the navy. This was an anti-German melodrama personified by Wallace Beery’s submarine commander.
Fortunately there were also features where Europeans were not the main villains. The Guns of Loos (Stoll Picture Productions 1928) pictured the British front in World War I. The film drama was built round a shell shortage that occurred in 1915. The drama moved from a munitions factory in England to the Western Front. What stood out was the élan of the front line conflict. The film ably inter-cut models and recreated settings with dynamic camerawork.
After the fine Les Misérables last year we had the same director, Henri Fescourt, adapting Alexandre Dumas [père] classic novel [The Count of] Monte-Christo (Louis Malpas 1929). This novel lacks the substance of Victor Hugo’s classic but it is full of splendid action sequences. The film version enjoyed fine production values and there were many memorable sequences, especially in Marseilles harbour and with the escape by Edmond Dantès from the Chateau d’If. The film was screened from a DCP, but enjoyed a good transfer.
The Canon Revisited included Maurice Stiller’s fine Erotikon (AB Svensk Filmindustri 1920). The film was a risqué comedy for the period. It included some happily satirical sequence in the Professor’s laboratory and a meaningful sequence with a ballet performance at the Royal Opera House. And we enjoyed the familiar but very fine Yasujiro Ozu film I was born, but … / Otona no miru ehon (Shochiku 1932).
‘Rediscoveries and Restorations’ included Algol. Tragödie der Macht (Deutsche Lichtbild-Gesellschaft 1920). The film, screened at an earlier Giornate, had been restored and was presented on a DCP. This was a combination of drama, science fiction and fantasy. The film had early use of what became the expressionist style on film.
A substantial and fresh programme was ‘Polish Silents: National Identity meets International Inspiration’. There were newsreels, documentaries including a ‘City Symphony’, animation and feature dramas. Pan Tadeusz (Star-Film 1928) was a film version of an epic poem central to Polish identity. The existing film [screened from a DCP] is incomplete, so it was tricky to follow. The film that struck me most in this programmer was Mocny Człowiek (A Strong Man, Gloria 1929). In the film an ill-fated writer stole the manuscript of a friend and colleague. The style of the film embraced fast and at points discontinuous editing and a powerful expressionist feel.
The programme also included a substantial number of short films. I particularly enjoyed three early Shakespearean adaptations from Film d’Arte Italiana and featuring the diva Francesca Bertini. There were the one-reel Re Lear (1910) and Il Mercante di Venezia (1910). These used open-air locations, in the case of the latter Venice itself. The third film was a two-reel versions Romeo e Giulietta (1912).
There was early British film with a programme of ‘The Magic Films of Robert W. Paul’. What stood out about Paul was his technical inventiveness at a very early stage in the development of cinema. Another programme of early short films was ‘U.S. Presidential Election Films 1896 – 1924’. These included William McKinley up to Woodrow Wilson. with a number featuring Teddy Roosevelt.
There were three programmes of ‘Beginnings of the Westerns’ continuing a presentation started in 2015. We had ‘Cowboy Films’ from 1912 and 1913, a second programme ‘Cowgirl Films’ and a third programme with ‘Indian Pictures’ or Native-Americans.
We had animation with Africa Before Dark (Universal Pictures 1928), an early Disney cartoon with animal characters and several examples of ‘Early Japanese Animation’ featuring Momotaro, an early and popular super-hero accompanied by three faithful assistants, a monkey, a dog and a pheasant.
As ever at the Giornate much of the pleasure was due to the excellent musical accompaniment. There were some stand-out performances both by visiting orchestras and by the team of regular pianists. The organisation, as in previous years, was very good: both in the Verdi Theatre and in the Festival provision. David Robinson, who retired last year, received a presentation for his contribution to so many Giornate. The new Director Jay Weissberg made a positive start. This was a full and enjoyable programme.
One minor flaw in the week was the use by some in the audiences of electronic gizmos, which I reckoned were slightly up on last year. The Theatre staff identified and stopped some miscreants but the main auditorium has large blocks of seats and the offenders were often seated in the middle or a row. A friend suggested that the top balcony be turned into a ‘sin bin’ and offenders banished up there with the gods. One possible response would be for the Festival to replace the printed title projected on the bottom of the screen before programmes with a full-screen warnings about this. Another would be for the audience members to be more pro-active and to tell people to turn off the offending machine. To assist in the latter here are the seven deadly vices of mobile phones/tablet users and their corresponding virtues.
Taking pictures and even moving images of the films during screenings as opposed to turning the gadget off and buying the DVD or looking on the Web.
Making or receiving calls instead of placing the cell phone in silent mode or switching it off.
Using phones or tablets to send and/or receive messages instead of doing this later outside the Theatre.
Using cell phones or tablets to check matters on the Web or similar instead of reading the excellent notes in the Festival Catalogue.
Using tablets or computers to take notes during films instead of following the guidelines on taking notes in the dark.
Using a tablet or cell phone as a torch and waving the beam round instead of keeping it below knee height and changing the white light for a coloured bulb.
Checking the time on a cell phone or tablet instead of reading the programme beforehand and noting the running time.
This is a new study of Louis Le Prince, who in 1888 shot three short sequences of film in Leeds in West Yorkshire. Two were filmed in a garden in the Roundhay suburb and one on the Leeds Bridge in the City Centre. Le Prince designed and constructed his own camera. He used a paper strip combined with cellulose. At the time he was also working to use the new celluloid material and it seems he had also solved the problem of projecting his film. These films precede the far more famous Thomas Edison in New York and the Lumière Brothers in Paris. Yet Le Prince is far less well known than the other pioneers of cinema.
The director, David Nicolas Wilkinson, wants to change this and give Le Prince [and Leeds} their proper place in the early history of film and cinema. His film provides a biography of Le Prince and a study of the technology and techniques he developed and the short films that he made. The film also addresses the fact that he only made these three films – a mystery surrounds the failure to follow on his pioneering work. The mystery is also investigated in the new study.
The area does offer memorabilia to Le Prince: there are blue plaques on Leeds Bridge and alongside the old BBC building where Le Prince had a workshop. Both the Armley Industrial Museum and the National Media Museum have displays about Le Prince and the Museum has a series on on-line pages.
The film itself has a Charity première at the Hyde Park Picture House, another historical film site, on Wednesday July 1st at 8 p.m. The event will include a presentation on Le Prince, examples of early film technology on display: and the added bonus of a DVD and the seminal book on Made In Yorkshire [by Tony Earnshaw and Jim Moran]. I suspect the event will sell out quickly, recognition that seems to have eluded Le Prince in his own lifetime. There is another screening at the National Media Museum on July 2nd at 6.30 p.m.
I don’t know if I’ve seen Colleen Moore in a movie before, but I’m certainly going to look out for her now. Why Be Good? directed by William A. Seiter is a recently restored First National picture in which a surviving Italian print has been ‘married’ to a Vitaphone disc recording. The restoration looked very good to me but I would need Keith to tell me if the speed was correct. In some of the dancing scenes the swift movements seemed just too quick to me. The soundtrack of music and ‘effects’ works well with a standout when two drunks sing and it is represented by muted brass instruments.
The story is very familiar, especially for the late 1920s early 1930s before the Hays Code came into force and the possibility of representing sexuality directly disappeared. Colleen Moore plays the shopgirl by day who is a ‘hot dancer’ by night and unwittingly becomes involved with the son of the department store’s owner. The young man’s father disapproves and fears she is a gold-digger – but she will prove him wrong. ‘Pert’ Kelly is a decent Irish girl from the Bronx. I looked up the unusual first name and discovered a reference to a Celtic name given to a baby boy – perhaps naming was different in 1900? The important element in the story is that Pert is a ‘good girl’ who has to pretend to be sexually aware to be accepted. She loves to dance (and the music and dance sequences are excellent) but recognises that her dancing in skimpy dresses with flashing legs is construed as a come-on. This portrayal works because Colleen Moore is such a lively actress with real personality. She was already 29 but could be younger the way she plays the role. The character is the genuine ‘modern’ young woman of the jazz age – smart and intelligent but also sensible.
I realise that my lack of knowledge about the stars of this period is a handicap. I think I read that the bob worn by Colleen Moore was copied by Louise Brooks whereas I had assumed that Brooks was the originator. Can any scholar confirm either way? What’s important is that while both women had the same hairstyle, Brooks became a femme fatale but Moore, in this picture at least, is the fun-loving ‘jazz baby’.
A second restoration of another Moore picture from 1929, Synthetic Sin, also directed by Seiter has also been seen in the US so I’lll look out for it appearing over here. Unfortunately some of her other successful films seem still to be lost.
This is a presentation on video of films made during World War I. The films are from the archives of the Imperial War Museum. It runs at the Royal Armouries Museum for the duration of the Leeds International Film Festival. The screenings opened on November 8th with a presentation by Doctor Claudia Sternberg, a specialist on the First World War. And the films runs continuously daily from 10 a.m. to 5 p.m.
There are five films ranging a 100 foot short to a two reel film.
The longest film is Exploits of a German Submarine (U-35).Operating in the Mediterranean (UK, 1918 – 36 minutes. This has an interesting pedigree. The film footage was originally a German propaganda film The Enchanted Circle, showing the exploits of one of the most successful examples of submarine warfare at the time. The British took the footage, changed the titling and possibly re-edited the material. Thus is became an example of what is called ‘counter-propaganda’. This version is quite clearly decrying the enemy. Title cards suggest that the Germans are lax about war ethics and about veracity, implying that the British are not. There is some interesting footage of the vessel and a large number of ships sunk.
Liveliness on the British Front (UK, 1916 – 8 minutes). This was produced by the same people who made the famous and extremely influential The Battle of the Somme (UK, 1915): Geoffrey H. Malins and Edward G. Long of the British Topical Committee for War Films. It was only at this stage of the war that the British Government realised and implemented using film for the war effort. We see British troops relaxing behind them lines, but also going into action. The latter are fairly clearly staged. However there is footage that gives a sense of the state of the trench system and the living conditions that troops endured.
Home on leave (UK, 1916, – 7 minutes). The film follows soldiers leaving the Western Front and retuning home for leave: something that soldiers generally had to wait a considerable time for. There is a light-hearted feel to the antics of the soldiers as they journey by road and then by ship.
The Destruction of a Fokker: Our Mobile Ant-aircraft Guns in Action (UK, 1916 – 6 minutes). The Fokker was one of the very effective German fighter planes. Most of the film shows the mobile gun crews, moving, manoeuvring and firing their 13 pound weapon. For much of the film the enemy plane is in extreme long shot. For the climax there is a special effect – the use of a model: and then shots of the burning wreckage of seemingly two downed aircraft.
Fighting U-Boats in a London Back Garden (UK, 1918 – 1 minute). This very brief film is a ‘digging for victory’ feature. Civilians demonstrate the cheerful resilience that is expected from the British as they dig and plant in their tiny garden.
As you might expect the condition of the old prints varies considerably. Moreover, video transfer is not that kind to the contrast and definition of old film. Quite a lot of the footage is reasonably sharp and clear. However, within the films there are passages [especially in the U-35 footage] which is fairly washed out and poorly defined]. It is still an interesting an informative 58 minutes. There is a musical accompaniment by the Ithaca Trio. This is a quiet and appropriately sombre piece: it avoids more rousing music even during the action sequences.
A word of caution. The Royal Armouries is not the best signposted museum I have visited. And there are not specific signs or indicators for this event – it was not listed in the Daily Events Calendar that I saw. Moreover the Museum has a large number of video installations in the permanent exhibition, and I was at first misdirected to one of those.
So Film on the Front Line is in the Cinema on the second floor, the first floor of the War exhibits. Coming in the main entrance take the right hand lift at the far end: turn left out of the lift on floor 2 and the first entrance has the cinema, also on the left. When I went the auditorium doors had been wedged open so there was extraneous noise from the other exhibits: but the wedges are easily removable.
One last note – if you find this interesting, after the Festival you could check out the Mediatheque at the National Media Museum in Bradford which has large collection of archive film, including from the World War I period.
This anniversary fell on November 7th: presumably on November 8th the friendly, hardworking staff of the cinema were all recovering from their exertions. For the Friday saw six separate screenings during the day and the evening. The key event though was the evening presentation of A Night at the Cinema in 1914. This was preceded by drinks and excellent cakes whilst the ‘After Hours Quintet’ played appropriately varied syncopations. Meanwhile the screen was filled by a selection of World War I stills and film extracts.
By the time the film time rolled round there was a fairly full house and an expectant audience. There were Welcomes by Wendy Cook, the General Manager, and by Counsellor Councillor Lucinda Yeadon, Chair of the Leeds Grand Theatre Trust, which now controls the cinema. Wendy offered many thanks, but especially to the Friends of the Hyde Park, now in their thirtieth year, and to the co-founder and current Chairperson Peter Chandley. Counsellor Yeadon complemented the staff of the cinema on their work over the years and the audiences whose support has meant that the Hyde Park is still a thriving venue for film and related events. She also managed a reference to Louis Le Prince: the centenary of his pioneer film was the centre piece the 1988 Leeds International Film Festival. Then two local poets, James Nash and Matthew Hedley Stoppard, read us works written in or at least about the cinema.
The feature was a compilation of films produced in 1914, both in the UK and the USA. One wonders if any of them were in the original or early programmes of the cinema. There were a number of Actualities, Travelogues, Newsreel extracts and War Shorts (including Christmas at the Front but not any fraternisation or football). There was an entertaining animation by Lancelot Speed. His name referred to his style of animation, in which drawings were applied on-screen at high speed and then animated into short scenes.
One of the pleasures of early cinema is the frequent appearance of canine performers. We had a whole pack of Dogs for the Antarctic being trained up for an expedition by Ernest Shackleton. There was also an early example of product placement: by a firm named Spratt who appeared to specialise in dog treats.
There was an example of an early attempt at accompanying sound, The Rollicking Rajah. In 1914 the film was accompanied by a recorded song on synchronised disc. In this transfer it had been recreated with a piano accompaniment.
There was an extract from a US series featuring the Intrepid Pauline (The Perils of), one of the feisty heroines who were popular in the period. Since it was only an extract some of the plot developments had to be guessed at. But we had a flight in a balloon, a dangerous descent to and fight in a steep quarry, and a frantic chase followed by a last minute rescue from a burning house. Thrills and spills.
And there were three one-reel comedies. The first featured Florence Turner, a very popular actress from the USA. Daisy Doodad’s Dial was filmed by Turner’s own Production company at the Hepworth Studio on the Thames. The ‘dial’ referred to her facial contortions for a competition, but which frightened unsuspecting passersby. There were some witty moments and a couple of clever superimpositions.
Lieutenant Pimple and the Stolen Submarine featured the comic persona of Fred Evans, a popular music hall star turned kinema star. This film was comic pastiche of one reel naval heroics. The film made witty use of simple sets and had some imaginative sequences ‘underwater’. There was one splendid visual joke with a fish!
The third comedy was an early Charlie Chaplin vehicle, from Keystone A Film Johnny. One could see that Chaplin was still developing his persona of The Tramp. And the direction lacked the flair that he himself would bring to filmmaking. Even so there were delightful moments and sequences that suggested later routines in embryo, The film was set first in a nickelodeon, then in a film studio and then on location: so there was pleasure in seeing the working of early cinema. I did think that the transfer had the film running a shade too fast.
The whole feature had piano accompaniment by Stephen Horne, who has a fine sense of the rhythms of early film and a great knowledge of the musical forms of the time.
The event was clearly enjoyed by the audience. We came out to see a queue for the last screening of the day, Final Cut, a popular film which also featured in last year’s Film Festival.
So felicitations to the staff for a delightful and successful evening, which I am sure involved much hard work. There are a lot of promising screenings to follow during the rest of the Festival and more special events to come throughout the centenary year. Next in line will be a commission by the Pavilion and the Hyde Park – To the Editor of Amateur Photography.
Thanks to Stephen Brown for the photograph.
This is one of the films from the Silent Era noted in the earlier preview of Leeds International Film Festival. Now the Festival Catalogue is available and it notes the film will be screened from a DCP. This means we will get a theatrical standard presentation together with a live accompaniment on the Town Hall Organ. This will be the sort of event for which the Concert Auditorium provides a perfect setting.
The film was directed and partly scripted by Abel Gance for the Pathé Company: he is the French filmmaker who is most famous for his epic Napoléon, a film restored with loving care by Kevin Brownlow. This version of J’accuse was restored by the Nederland Filmmuseum and Lobster Films. The latter are one of the most skilled companies involved in researching, restoring and presenting early film. One of their earlier projects was the restoration in 2011 of a long-lost colour version of the Méliès masterpiece Le voyage dans la lune (A Trip to the Moon, 1902).
Gance and his team started on the film in the latter stages of the World War I. Large-scale scenes of the war used French soldiers on leave from the front: some of them were to return and die in the bloody battles at Verdun. Another view of this is the recently re-released Paths of Glory (USA, 1957) by Stanley Kubrick: one of the many films influenced by the earlier masterwork. Strictly speaking both films are anti-military rather than anti-war: World War I was a text-book example of a military leadership lagging well behind technology and strategy.
Especially notable is the cinematography by L. H. Burel. There is striking use of low-key lighting. The film was a pioneer in the use of superimposition and it has some remarkable [for the period] tracking shots. Moreover, Gance and the editor Marguerite Beaugé produced striking uses of montage in the climactic battle scene.
The central plot of the film is familiar melodrama; romance and rivalry in love, but descending into chaos, loss and death. The film ends with a still powerful set of images that dramatise the devastation that resulted from the conflict.
The film was originally released in four parts over four weeks. As with many early films it suffered cuts and depredations. Gance actually produced a sound version in the 1930s. Now the epic drama can be seen in one sitting, though this is nearly three hours in length. It remains one of the great achievements of French cinema. It was also the first in a series of silent epics that dramatised what has become known as the First World War. And as in 1919 the audience will find the drama and emotion of the film heightened by the live musical accompaniment.
Early films made in the decades before the advent of sound on film are a regular feature at the Festival. Most have title cards, which are easier to read than subtitles as they occur between shots and sequences. They were not really ‘silent’, and the Festival regularly provides musicians who accompany the films: a technique that can bring out the drama, emotion and pathos.
This year there is a bumper selection. The one caveat is that all of them are screened from digital formats – either a DCP or DVD/Blu-Ray. The quality of these transfers can be very good, though I personally feel that the 2K DCP does not match the quality of a good 35mm print. The other drawback can be the running speed – in the Silent Era this gradually progressed from 16 fps to 24 fps. So far the UK has not caught up with FIAF, who have produced specifications for silent running speeds on digital. Depending on the frame rate this requires step-printing, adding additional frames copied from the existing ones. This can upset rhythm of films and can produce ‘ghosting’, when an image ‘hangs over’. At least all of these films will be shown on a large theatrical screen.
War and Cinema
There are two classic silents and two associated events focusing on World War I. J’accuse is a famous anti-military film directed by Abel Gance in 1919. The film has been restored in recent years and now runs for just over two and half hours, [the version shown at Le Giornate del Cinema Muto in 2009 ran for over three hours, this version may have been transferred at a faster frame rate]. This is a key film in the development of two important film techniques in the silent era – superimpositions and montage [fast editing]. The film has a traditional dramatic plot, focussing on two participants in the war. But at the end in a justly famous sequence the film develops into a moving and impressive cry against the violence and destruction of the conflict.
A rather different and typically Hollywood approach is found in Seventh Heaven (1927). The director, Frank Borsage, who won one of the first ever Oscars for this film, had a facility for intense romantic dramas. The lovers in this film are played by Janet Gaynor and Charles Farrell. Gaynor also won in the first Oscar Ceremony, for this film along with Street Angel and Sunrise,
Both films will have a live organ accompaniment in the Town Halls spacious concert auditorium – this is always a splendid film experience.
In addition there is How I filmed the War (Canada 2010), a documentary about the making of The Battle of the Somme. That film, released in 1916, had an immense impact on the British public who flocked to see this film of actual and restaged conflict in droves. There is also a video installation at he Royal Armouries Museum, Film on the Front Line: British propaganda from WWI. This presents a selection from the Imperial War Museum archives with a musical accompaniment. There will be an introduction at the launch at the Museum on Saturday November 8th.
Buster Keaton’s The General (1926) is probably his finest film and one of the great comedies of that era. Perversely the hero is a Confederate volunteer, so the Union forces fill the role of ‘villains’. The film offers Keaton’s mastery of timing and his ability to stage complex gags – the final train disaster is epic. The film is screening at the City Varieties with live musical accompaniment.
The Festival also features Jacques Tati’s Jour de Fete (12949), which is a sort of hybrid between silent and sound films. There are beautiful evocations of French rural life and superb comic sequences. I assume this will the colour version that was restored a few years ago.
And Charlie Chaplin will feature in the Night at the Cinema event below.
This is a programme of films that show the European Origins of noted Hollywood filmmakers. The Last Laugh (Der Letze Mann, 1924) is screening at the Hyde Park Picture House with a live Piano accompaniment. This is the key example of the contribution of 1920s German film to cinematic style. In particular the film pioneered what became known as ‘the unchained camera’, moving the camera on the ground and through the air. Hollywood was so impressed with the film that they recruited the director F. W. Murnau and the cinematographer Karl Freund to the Fox Studio. The film also makes splendid use of chiaroscuro, models and special effects. It relies almost entirely on visual plotting rather than the conventional title cards. And there is a splendid performance by Emil Jannings as a hotel doorman who falls from grace.
[Excuse the plug – but this film is featured in the newly published Studying Early and Silent Cinema – http://autuer.co.uk].
The Hyde Park is also hosting People on Sunday (Menschen am Sontag, 1930). This film employed the talents, not only of Billy Welder, but also Curt and Robert Siodmak, Edgar G. Ulmer, and Fred Zinnemann – all to become important filmmakers in Hollywood in the 1940s and 50s. The film has a simple story line as a group of young Berliners enjoy their day of leisure at the nearby Wannsee Lake. The film achieves a sense of realism that was to be influential in the realist movements in Europe in the 1930s and 1940s. The musical accompaniment is played by Neil Brand, a noted silent accompanist who is a regular at events in the UK and at International Festivals like Le Giornate. [See a longer review on the Early & Silent Cinema Blog].
The Hyde Park Picture House Centenary
This will be one hundred years on from November 7th 1914. So [along with other programmes] the cinema is screening a new compilation from the British Film Institute, A Night at the Cinema in 1914. The film is a selection of films produced in the UK and the USA in 1914: there are ‘actualities’ [documentaries], newsreel, an episode from a serial and comedies. This digital transfer comes with a pre-recorded musical accompaniment played by Stephen Horne, a talented musician who performs regularly at the National Film Theatre and the prestigious Le Giornate. The programme of the film offers:
A Night at the Cinema in 1914 85 minutes
Looping the Loop at Hendon (March 1914)
Pioneering British aviators Gustav Hamel and Bentfield Hucks perform stunts at the legendary Hendon airfield. Although not hard news, this was a topical story.
Palace Pandemonium (May 1914)
The leading campaigner for votes for women, Emmeline Pankhurst, goes to petition the King in person at Buckingham Palace. The campaign for votes for women was very high-profile and often featured in the news. The suffragettes would stage appearances at events for maximum impact.
Austrian Tragedy (July 1914)
Following the assassination of Archduke Franz Ferdinand in Sarajevo, this newsreel shows footage of the Austro-Hungarian royal family, including the wedding of Archduke Karl who succeeded Franz Ferdinand as heir to the imperial throne.
Dogs for the Antarctic (August 1914)
Following the death of Captain Scott, Sir Ernest Shackleton plans another expedition to Antarctica, taking plenty of dogs. This is typical of the ‘magazine’ style film shorts of the time.
Daisy Doodad’s Dial
American Vitagraph studio star Florence Turner ran her own film company at the Hepworth studios on the Thames. In this comedy ‘dial’ means ‘face’. The ebullient Daisy Doodad practises for a face-pulling competition and ends up getting herself arrested.
Egypt and her Defenders
This travelogue of the famous sights of Egypt shows Lord Kitchener as British Consul General before he was made Secretary of State for War. In this film with colour tinting, he is seen reviewing the troops.
Lieutenant Pimple and the Stolen Submarine
Fred Evans was the most popular British comedian of the age, turning out hundreds of ‘Pimple’ films which made a virtue of their low budgets. Here Pimple foils the plans of dastardly foreign spies. If Monty Python had made comedies in 1914 they would look like this.
Scouts’ Valuable Aid (August 1914)
As the nation gears up for war even the young are mobilised to help the war effort … Here a pair of Sea Scouts are on the look-out on the cliff tops for an invading fleet.
German Occupation of Historic Louvain (September 1914)
When Germany invades neutral Belgium, the destruction of the historic town of Louvain and its ancient university library provokes worldwide outrage. This newsreel was presumably filmed by a cameraman from a neutral country.
General French’s Contemptible Little Army
General French, commander of the British army in France, gets the better of the Germans in this lightning sketch by pioneering animator Lancelot Speed. Animation was popular and commonly distributed as part of the newsreels. Cartoons allowed Speed to be splendidly irreverent.
Christmas at the Front (December 1914)
Troops celebrate Christmas at the Front. We’re not told where for reasons of national security. But it’s good to see the boys being well fed before they return to the trenches.
The Perils of Pauline
American imports were always popular and serials were the latest sensation in 1914. In this excerpt, Pearl White stars as Pauline, a feisty heroine pursued by villains eager to get their hands on her fortune and features both an accidental hot air balloon trip and a spectacularly daring rescue from a burning building.
The Rollicking Rajah
Years before the arrival of the ‘talkies’, this Vitaphone song film (which wonderfully shows the ladies fashions and dance moves of the day) would have been accompanied by a synchronised sound disc, which is now lost. The song is recreated here from the surviving sheet music. The Vitaphone was a British sound on disc system pioneered by Cecil Hepworth.
A Film Johnnie
In 1914, Hollywood is born and British comedian Charles Chaplin is its greatest star. He explodes onto British screens in summer of that year. This is one of his very first films and is, appropriately, set in a cinema.