Harold Lloyd

The Road to TCMFF 2017: My Wish List

Since only a portion of the TCM Classic Film Festival offerings has been revealed, I’m going to fantasize about what else the festival programmers could schedule. In making my ideal list, I’ll pretend rights or physical print restrictions don’t exist, and I’ll stick to this year’s theme of MAKE ‘EM LAUGH: COMEDY IN THE MOVIES. I’m sure some of the programs and films I’d like to see at the festival will surprise you!

SPEEDY showing Harold Llloyd and Ann Christy at Coney Island

Harold Lloyd and Ann Christy in SPEEDY (1928)

Long-term readers and Twitter followers know I’m a silent film buff, and I know the perfect gateway to introduce others to the medium is comedy. I have multiple suggestions in this category. Harold Lloyd will be shown, but due to his granddaughter Suzanne Lloyd‘s activism in preserving and promoting his work, his work screening at the fest is usually likely. I’m a fan, so I don’t object. I’d like more silents at the festival!

Alice Howell in Cinderella Cinders

Alice Howell in CINDERELLA CINDERS (1920)

I’d love TCM to put together a program of silent film comediennes’ shorts. That way the audience could get exposure to or reacquaint themselves with multiple women stars from that era. There have been recent restorations, including some recently screened on the network, that could help fill the bill. Gloria Swanson, Louise Fazenda, Mabel Normand, Bebe Daniels, Flora Finch, Carole Lombard, Alice Howell, Marie Dressler, and Elsa Lanchester are all comediennes with existing silent shorts. If looking for a longer bill, shorts could be paired with Constance Talmadge‘s hour-long, recently found and restored comedy GOOD REFERENCES (1920).

Clara Bow and Buddy Rogers in GET YOUR MAN

Clara Bow and Buddy Rogers in GET YOUR MAN (1927)

Clara Bow‘s GET YOUR MAN (1927) provides the perfect excuse for a spotlight on the jazziest silent film comedienne. More exposure for Bow, especially with an introduction by her biographer David Stenn, will spotlight why America’s former favorite redhead deserves to be remembered as a talented comedienne whose onscreen naturalism belied self-aware technique. Discussion of how an incomplete film was reconstructed by the Library of Congress using “still photographs and inter-titles from the Academy of Motion Picture Arts and Sciences to fill in the narrative gaps” would be a mini-course in film preservation. If the program needs filling out because GET YOUR MAN is fifty-seven minutes long, short materials like the fragment of RED HAIR (1928) can be screened.

ZaSu Pitts and Thelma Todd Laughing in Bed

ZaSu Pitts and Thelma Todd

I’m divided whether I want a program of comedy duo shorts or one featuring duos whatever the length of their films. Shorts duos I’d be delighted to watch at TCMFF included Thelma Todd and ZaSu Pitts, Todd and Patsy Kelly, Buster Keaton and Fatty Arbuckle, and Laurel and Hardy. If the fest highlights comedic duos’ best moments even from longer fare, I’d want to see added Marie Dressler and Polly Moran, Abbott and Costello, and Wheeler and Woolsey. I’m sure including Bob Hope and Bing Crosby along with Dean Martin and Jerry Lewis would make even more fans happy!

Moonstruck Moon over Bridge Shot

MOONSTRUCK (1987)

With Norman Jewison already in attendance for the fiftieth anniversary of IN THE HEAT OF THE NIGHT (1967), I hope another one of his films celebrating its thirtieth anniversary gets snuck onto the schedule–MOONSTRUCK (1987). It’s laugh out loud funny in an idiosyncratic way, and it celebrates life and the mistakes that make it interesting with no cynicism. It, also, captures an old New York City that’s been disappearing via gentrification, displacement, and the passing of the older generations.

Now that you’ve read my picks, what films or programs would you like to see at TCMFF?

Leave or Read Comments.

 

Guest Appearance on First Time Watchers

Harold Lloyd Hanging from the Clock in Safety Last

I’d been keeping a secret for a little while, in case it fell through, but it happened! I made a guest appearance on First Time Watchers this week. It’s a movie podcast hosted by Tim Costa, Hermano DaSilva, and Walter Vinci. I want to disclose the last host is one of my cousins! Movie madness runs in my family.

The guys discuss films classic and new, and they have their own unique format. They decided to expand their coverage to include a three-part series on silent film. Dan from Geek Cast Radio started it off by reviewing The Phantom Carriage, and Fritzi Kramer from Movies, Silently talked about The Cabinet of Dr. Caligari.

concluded the series with Harold Lloyd‘s Safety Last (1923). In addition, I got to speak about how I got into movies and silents in particular, my recent trip to the TCM Classic Film Festival, some of the other film festivals I’ve been lucky enough to attend (like The San Francisco Silent Film Festival and Rome, New York’s Capitolfest), and a trailer that’s got me very excited to see its movie.

I’ve not been on the air in any form in a while, excluding my holiday wishes cameo on Attaboy Clarence‘s 2015 Christmas special, but I had a lot of fun. If you listen, let me know what you think of the show in the comments below!

Leave or Read Comments.

San Francisco Silent Film Festival Preview, Part 2

SPEEDY (Paramount, 1928) Harold Lloyd, Ann Christie

Speedy (1928) Photo Courtesy of the Harold Lloyd Trust

Saturday morning’s program starts with the family-friendly Speedy (1928), and some parents likely will bring their tots for an outing to this screening. I love seeing kids getting their introduction to silents or enjoying a return trip to the festival. Comedies are a great gateway into silent film for all ages. In this slapstick feature, Harold Lloyd plays baseball obsessed Harold “Speedy” Swift, who can’t keep a job as well as he can keep up with his team. His being able to find a job every Monday after he’s lost one the previous week keeps dashing the marriage hopes of his honey, Jane Dillon (Ann Christy). While the younger generation discovers life’s tribulations anew, Speedy’s dad Pop Dillon (Bert Woodruff) moves more slowly. He’s the last horse-drawn streetcar driver in New York City, and a wheeler and dealer wants Pop’s track. Will big business push or buy him out? A son’s love for his father becomes an indefatigable force in a battle for a family’s future. The Mont Alto Motion Picture Orchestra accompanies the film.

Visages d'enfants Table Scene with Mother

Visages d’enfants (1925)

Visages d’enfants (1925), or Faces of Children, is another film that focuses on a family. It covers a theme that often appears at this festival–what makes a family. Son Jean Amsler (Jean Forest) is only a child, and he’s having a hard time coping with his mother’s passing. His father Pierre (Victor Vina) temporarily sends Jean away, and Pierre remarries during his son’s absence. Jean returns to a household changed once again. Not only does he get a Step-Mother (Jeanne Dutois played by Rachel Devirys), but also he gains a Step-Sister (Arlette portrayed by Arlette Peyran). He takes his resentment of Jeanne out on Arlette, and his actions escalate until they could cause a tragedy. Director Jacques Feyder‘s exploration of psychological family drama and childhood grief earned him critical acclaim, and it’s been called his best workStephen Horne accompanies the film.

Capra's The Donovan Affair (1929)

The Donovan Affair (1929)

Silent film purists might object to the The Donovan Affair (1929) being placed on the schedule. Technically it’s only a silent through circumstance. Director Frank Capra filmed the dark house mystery as a talkie. It was “his first ‘100% all-Dialogue Picture.’” “Its original soundtrack, recorded on transcription discs,” was lost. Ignore the pedants! The solutions to the challenges this screening presents are fun. Bruce Goldstein, director of programming at New York’s Film Forum, made it his mission to make screening the film possible. The original script was lost, but he found “half the dialogue in the archives of the now-defunct New York State Censorship Board.” He searched for actors with a feel for the era who could convincingly sound of it and become the voices of Capra’s onscreen cast. Goldstein’s actors became the Gower Gulch Players, and they helped him recreate the script further. They pieced together more of the movie’s dialogue through lipreading its actors. Pianist Steve Sterner created the film’s “new score.” This will be the troupe’s fourth public performance of The Donovan Affair. Frank Buxton is a guest performer.

Flesh and the Devil (1926)  Directed by Clarence Brown Shown: Greta Garbo, John Gilbert

Flesh and the Devil (1926)

Flesh and the Devil (1926) starring John Gilbert and Greta Garbo likely will be a sold-out screening, so you should get the the Castro Theatre early for this film! A crowd will turn-out to see Garbo and Gilbert sizzle on the screen. Their character’s onscreen romance was paralleled by the actors’ offscreen one, and because Gilbert fell hard for his leading lady, he made sure she would shine in what was only her third American picture. Gilbert was the bigger, more established star of the two, and Irving Thalberg, “banked on his highest paid player to help define an unknown entity.” Gilbert’s help went much further than agreeing to stare with the mysterious new discovery and share equal billing. He was an experienced actor, and he was a screenwriter and an assistant director. While she had “It,” he had the knowledge of what worked in front of the camera. He asked for retakes of any scenes where Garbo could have shone better,  and he didn’t object to camera angles designed or requested to show off her beauty. Garbo was grateful for his help. “If he had not come into my life at this time, I should probably have come home to Sweden at once, my American career over.” While the behind-the-scenes history of the movie overshadows its conventional romantic melodramatic plot of a friendship torn apart by a woman’s love, its luminous stars and their multi-layered romances show the power silent film icons had to seem more than us watching them on the screen. They were bigger in size, the most beautiful, grander in lifestyle, fuller of feeling, and capable of great love.

From the silent film community’s murmurings after 2014’s Le Giornate del Cinema Muto, Pan (1922) will be the sleeper hit of the San Francisco festival. Descriptions of Knut Hamsun‘s book make it seem a straightforward tale. Two disparate strangers are pulled together by an “overwhelming attraction“. She is a wealthy, educated townswoman, and he is an ex-soldier turned hunter living in a forest with his dog. Despite their love, they don’t understand each other’s ways, and they seem fated not to be together. It’s the rendering of this story that makes it outstanding. Silent London wrote, “Lush, detailed photography, delicately tinted, with epigrammatic intertitles, and many a layer of mystery to uncover, this was a film of great beauty and unique oddity.” Pan was a success, but it was Harald Schwenzen‘s only directing credit. He’s like the debut novelist who retires after writing a masterpiece. See why the Film Noir Foundation said Pan “secured Schwenzen’s reputation in cinema history.” Guenter Buchwald accompanies the film.

There it is (1928), a Charley Bowers Silent Comedy

There It Is (1928)

More all ages comedy kicks off Sunday’s screenings! There’s an entire program devoted to the shorts of The Amazing Charley Bowers.  He was almost forgotten in his home country the United States until “Serge Bromberg of Lobster Films revived his oeuvre in 2010.” The shorts he restored are thought to be a portion of Bowers’ existing work. More may exist in archives. What a shame it would be for Bowers’ works to be lost by lack of interest! His films are surrealistic slapstick outings mixing live action with animation and often featuring “complex Rube Goldberg gadgets.” The best comedians make us look at the world or life in a new way while we laugh, and Bowers had that talent and a singular vision. Who else would make a film starring a kilt mad laddie investigating a mystery with a cockroach detective also clad in a kilt? No wonder Bowers was beloved by André Breton and the Surrealists. Featured shorts include A Wild Roomer (1926, 24 minutes), Now You Tell One (1926, 22 minutes), Many a Slip (1927, 12 minutes), and There It Is (1928, 17 minutes). Serge Bromberg accompanies the films.

Ménilmontant directed by Dimitri Kirsanoff, 1926

Ménilmontant (1926)

Avant-Garde Paris showcases two films from 1920s Paris that illustrate the creative experimentation of the city, making it a beacon for artists.

Emak-Bakia (1927, 16 minutes) is a cinépoème by visual artist Man Ray. The title is “Basque for Leave me alone.How that relates to the film is up to individual interpretation. After the title and credits, the first image seen is a man with his camera with human eye on its side, so everything that follows could be a film dreamed up by a crazed cinematographer. Light, image, double exposure, speed, rhythm, angle, extreme close-ups, and a sometimes unsteady camera are played with. Images range from the abstract to the identifiable. Fans of vintage personalities should know Kiki of Montparnasse (Alice Prin) makes an appearance. Earplay accompanies the film with a score created by Nicolas Tzortzis.

Ménilmontant (1926, 44 minutes) may look more conventional in comparison to Emak-Bakia, since the former film is a narrative, but Ménilmontant’s director Dimitri Kirsanoff experimented with techniques and images in telling a comprehendible story, and he didn’t use intertitles. His leads (Nadia Sibirskaïa and Yolande Beaulieu) portray two sisters. When the film starts, they look like innocent D.W. Griffith heroines. The girls are wearing big bows, running about, and playing with each other and their cats. An axe murderer kills their parents, and their lives are disrupted. When we next see them, they’re chaperoneless young women of the flapper era, and their bond is threatened by a man with no intent of joining the family.  Stephen Horne accompanies the film.

My San Francisco Silent Film Festival preview continues with Part 3 tomorrow. If you missed Part 1 of my preview, you can read it here.

Leave or Read Comments.

 

Road Trip to Cinefest 35!

Cinefest 35 Ad

Spellbound By Movies is going on a road trip this month! I’ll be flying out to Syracuse for my first and last Cinefest. I’ve always wanted to attend this film festival. Some fellow film fanatic friends have raved about the rarities and camaraderie they’ve enjoyed at Cinefest year after year. I could not miss its last year.

Cinefest was a formerly annual film festival run by Syracuse Cinephile Society. The group traces its origins back to a 1967 screening organized by a Phil Serling and a Sam Goldsman. The film festival grew out of the organization’s Monday night screening series when members decided to start a film convention. The first was held about 1980. That makes this year’s Cinefest the 35th edition.

The festival is ending for more than one reason. Attendance has been diminishing. The event needs to generate a certain amount of revenue from a paying audience and table vendors in order to pay operating expenses, like shipping films to and from archives. The Society and the festival’s audience have been aging. Organizers haven’t found younger members to take over running the festival, while former attendees became more comfortable watching once hard to find features and shorts on Turner Classic Movies and DVDs. The loss of the event’s former venue must have been a hard hit. The movie theatre where Cinefest used to be held converted to digital projectors.

I suspect due to this being the last Cinefest, its organizers will be surprised by how many will be in attendance, especially in the under sixty set. Social media has allowed so many of us film buffs to connect and share what we’re passionate about. That includes news of regional film festivals like Cinefest, that used to be spread word-of-mouth. I’ve seen tweets and Facebook and blog posts lamenting the festival’s loss or exulting over this year’s schedule. Let’s see if some angels come forward belatedly to carry on the Cinefest tradition.

In the meantime, I’ve been pouring over the festival’s schedule. Jam-packed is an understatement. Attending will be the equivalent of binge-watching. The schedule is stuffed with back-to-back screenings of films from the teens to mostly the thirties. This is the kind of schedule that hardcore early film fanatics crave, except for its breakneck pace. I’m very relieved to see there will be time for decent meal breaks! Check out the schedule in its entirety below. A special thanks goes to Patrick J. Picking for helpfully adding these notes and links to the schedule.

 

Thursday, March 19th

9:00 am – OUT ALL NIGHT – (1933) with Zazu Pitts, Slim Summerville, and Shirley Temple
10:15 am – BEST OF MOSTLY LOST III From the Library of Congress (1)
11:05 am – YELLOW FINGERS – (1926) – starring Olive Borden and Ralph Ince. This rarely seen silent film will be screened courtesy of The Museum Of Modern Art

LUNCH BREAK

1:15 pm – TOWER OF TREASURES, RKO TRAILERS Hosted by Ray Faiola
2:15 pm – LIFE IN THE RAW – (1933) UCLA Film And Television Archives will again be loaning Cinefest several rarely seen films made by Fox from the period between 1930 and 1933. Life In The Raw (1933) stars George O’Brien and Claire Trevor (3)
3:20 pm – THE LAST MAN ON EARTH – (1924) Fox film directed by John Blystone. Starring Earle Foxe. Print is courtesy of The Museum of Modern Art. (4)
4:30 pm – THE ROAD BACK – (1937) with John “Dusty” King, Richard Cromwell, Slim Summerville

DINNER BREAK

8:00 pm – IT PAYS TO BE IGNORANT (1948) with Tom Howard
8:10 pm – KING OF THE KONGO, CHAPTER 10 (1929) With Boris Karloff
8:35 pm – LUCKY BEGINNERS (1935) Hal Roach All Stars
9:00 pm – THE RETURN OF PETER GRIMM – (1926) The Museum Of Modern Art will provide a print of the rarely revived silent version of “The Return Of Peter Grimm” (1926) produced by Fox Films and starring Alec B. Francis and Janet Gaynor. (4)
10:10 pm – CAPTAIN FLY-BY-NIGHT (1922) with Johnnie Walker, Shannon Day
11:15 pm – THE THIRD ALARM (1922) w/Johnnie Walker, Ralph Lewis, Ella Hall

Friday, March 20th

9:00 am – SERVICE STRIPES (1930) Vitaphone short with Joe Penner
9:10 am – MEN ON CALL – (1930) – stars Edmund Lowe, Mae Clarke and Warren Hymer. (courtesy of UCLA Film and Television Archives)
10:20 am – ME AND THE BOYS
10:30 am – DICK BANN’S HAL ROACH SHOW #1 – Hosted by Dick Bann. Read the notes HERE!

LUNCH BREAK

1:00 pm – STORY OF COLOR IN THE MOVIES Hosted by Eric Grayson
2:30 pm – PAINTED WOMAN (1932) with Spencer Tracy, Peggy Shannon (3)
3:40 pm – VITAGRAPH VARIETIES From the Library of Congress (1)
4:45 pm – SECOND FLOOR MYSTERY (1930) with Grant Withers, Loretta Young (3)

DINNER BREAK

8:00 pm – BRIDE OF FINKLESTEIN (2015) Hosted by Michael Schlesinger
8:20 pm – A SONG IN THE DARK, More Dangerous Rhythms by Richard Barrios
9:35 pm – HEART TO HEART (1928) with Mary Astor, Lloyd Hughes (1)
10:40 pm – LUCRETIA LOMBARD (1923) with Irene Rich, Monte Blue
11:45 pm – RISKY BUSINESS (1939) – Remember “Okay America” the 1932 Universal film starring Lew Ayres that we screened at Cinefest back in 1991? Guess what? It was remade in 1939 with George Murphy, Dorthea Kent and everybody’s favorite, El Brendel. The rarely seen remake, Risky Business (1939, Universal) will be screened at Cinefest 35 next March

Saturday, March 21st

9:00 am – SMOKING GUNS (1934) – Smoking Guns (1934, Universal) was the last film made by Ken Maynard on his contract with Universal.
10:00 am – WELCOME DANGER! (1929) – the long unseen SILENT version of Harold Lloyd’s first talkie! With Harold Lloyd, Barbara Kent
12 Noon – THE DAWN OF TECHNICOLOR Early Technicolor Musicals

LUNCH BREAK

1:10 pm – FLORIDA STUDIO FILMS From the Library of Congress (1) Rob Stone and Steve Massa will present two programs of short comedies from the archives of The Library Of Congress at Cinefest 35. One show will spotlight the FLORIDA FUN FACTORIES and highlight the comedies shot down there in the teens. The program will include:

  • AN EXPENSIVE VISIT – (1915) – Lubin starring Babe Hardy
  • A BATH TUB ELOPEMENT – (1916) – Eagle Film starring Marcel Perez, with Louise Carver & Tom Murray
  • A Vim made Pokes and Jabbs short, and others

2:15 pm – THE NEW KLONDIKE (1926) – Based on a short story by Ring Lardner and partially filmed in Florida, “The New Klondike” (1926, Paramount) was directed by Lewis Milestone and stars Thomas Meighan as a minor league ballplayer who gets mixed up with crooked land speculators in Florida. Our friends at Library of Congress will be providing the title to Cinefest 35 for screening next March. Note: the film is missing a bit of footage but those who have seen it, say that it will not effect your enjoyment of this rare title (1)
3:25 pm – SEA SORE (1933) with Arthur Tracy, Baby Rose Marie
3:45 pm – MY LIPS BETRAY (1933) – starring Lillian Harvey and John Boles.
4:50 pm – TESS OF THE STORM COUNTRY – (1914) with Mary Pickford, Harold Lockwood. New restoration.

DINNER BREAK

8:00 pm – WE! WE! MARIE! (1930) with Slim Summerville, Eddie Gribbon
8:20 pm – GERRY ORLANDO COMMENTS
8:30 pm – TEA MAKING TIPS (1941)
8:45 pm – COLLEEN MOORE HOME MOVIES (1)
8:50 pm – SYNTHETIC SIN – (1929) The recently restored Colleen Moore film. Cinefest is grateful to so many people and archives who have made this screening possible and they will all be mentioned and thanked in the program book but we would like to mention here special thanks to Ned Price, Ron Hutchinson and Joe Yranski. This screening will be a highlight of the Syracuse Cinephile Society. If you have not seen the film at one of the recent screenings around the world, you will want to be at Cinefest for this special screening!
10:05 pm – THE DANGER GAME – (1918) Film Historian Richard Koszarski will introduce a new restoration of the long unseen Goldwyn romantic comedy filmed in Ft. Lee N.J. from 1918 “The Danger Game”. The film was directed by Harry Pollard and stars Madge Kennedy and Tom Moore.
11:10 pm – BABIES, THEY’RE WONDERFUL (1947) with Patsy Kelly
11:20 pm – THREE KISSES (1955) Paramount Topper
11:35 pm – THE BACK PAGE (1933) with Peggy Shannon, Russell Hopkin

Sunday, March 22nd

9:00 am – THE BIG BROADCAST – (1932) with Bing Crosby, Burns & Allen, Stu Erwin, Sharon Lynn
10:35 am – THE AUCTION (2015) Hosted by Leonard Maltin and George Read
12:00 pm – HISTORY & DEVELOPMENT OF THE 35MM PROJECTOR
12:30 pm – ONCE A SINNER – (1931) – starring Dorothy McKaill is on the schedule courtesy of UCLA Film And Television Archives
1:40 pm – CALGARY STAMPEDE (1925) with Hoot Gibson, Virginia Brown
2:35 pm – DICK BANN’S HAL ROACH SHOW #2 – Hosted by Dick Bann. Read the notes HERE!
3:40 pm – CODE OF THE SEA (1924) with Rod LaRocque, Jacqueline Logan
4:40 pm – THE SEA LION – (1921) “The Sea Lion” might not be as rare as it was when it was the first silent feature ever screened at the first Cinefest in 1981. It was loaned to Cinefest by legendary film collector and historian Gordon Berkow who always made available any film in his collection to Cinefest. To honor the memory of Gordon, we will be presenting several films from his collection at Cinefest 35. We thought it was apt to screen the exact same print of “The Sea Lion” thirty five years later at Cinefest 35.

(1) Print Courtesy of the Library of Congress
(2) Print Courtesy of Warner Bros. Pictures
(3) Print Courtesy of UCLA Film Archives
(4) Print Courtesy of the Museum of Modern Art
(5) Print Courtesy of the Mary Pickford Foundation and Paramount Pictures

(Films and starting times may be subject to change.)

Leave or Read Comments.

San Francisco Silent Film Festival Preview

In one week, the San Francisco Silent Film Festival kicks off with a return of everyone’s favorite former showgirl, Louise Brooks. She stars in the recently restored Prix de Beauté. Thirteen other feature-length films follow as do two programs of shorts. Amazing Tales from the Archives returns to highlight film preservation. Since silent film crossed international boundaries easily, so do the festival’s featured movies and musicians. The major programs represent the creative production of nine countries, and as there are always shorts before each feature, the count may go up by the festival’s end.

All screenings occur in the Castro Theatre. Details from the program follow below!

Louise Brooks in Prix de Beauté

Thursday, July 18 at 7:00 PM
Prix de Beauté (France, 1930)
Musical Accompaniment by Stephen Horne
Director: Augusto Genina
Cast: Louise Brooks, Georges Charlia, H. Bandini, A. Nicolle, M. Ziboulsky, Yves Glad, Alex Bernard

“Prix de Beauté marks Louise Brooks’s last starring role in a feature. Less known than her work with G.W. Pabst (Pandora’s Box, Diary of a Lost Girl), Prix de Beauté was marred by its foray into early sound (Brooks’s voice was dubbed). Our presentation is the superior silent version recently restored by the Cineteca di Bologna. Brooks is stunning as Lucienne, the ‘everygirl’ typist who enters a beauty contest and is introduced to a shiny world of fame and modernity. But Prix’s script, a collaboration between René Clair and G.W. Pabst, doesn’t leave Lucienne in a fairy tale bubble but leads to a powerful, moving denouement. Cinematographers Rudolph Maté and Louis Née make beautiful use of Brooks’s glorious face. Approximately 108 minutes. 2012 Restoration courtesy of Cineteca Bologna, screening in DCP.”

San Francisco Silent Film Party 2012

Thursday, July 18 at 9:00 PM
Opening Night Party
Location: McRoskey Mattress Company

“Celebrate the start of SFSFF 2013 with drinks, hors d’oeuvres, dancing to the Frisky Frolics, and the first-ever SF Silent Film Festival Beauty Contest, all on the amazing top floor loft of the historic McRoskey Mattress Company!”

SF Silent Film Archive Photo

Friday, July 19 at 11:00 AM
Amazing Tales from the Archives (Free!)
Musical accompaniment by Stephen Horne

“Céline Ruivo, Director of Film Collections at the Cinémathèque française, will present on the Cinémathèque’s restoration of films from the Paris Exposition of 1900, Phono-Cinéma-Théâtre. Rob Byrne, film preservationist, will present on his restoration of Allan Dwan’s The Half-Breed starring Douglas Fairbanks (and premiering on July 20).”

The First Born

Friday, July 19 at 2:00 PM
The First Born (UK, 1928)
Musical accompaniment by Stephen Horne
Director: Miles Mander
Cast: Miles Mander, Madeleine Carroll, John Loder, Margot Armand, Ellat Atherton, Ivo Dawson Scenario Miles Mander, Alma Reville

“The directorial debut of actor, writer, and producer Miles Mander, The First Born was adapted from his own novel and play, set in a British upper-class milieu and touching on morality, politics, and the disintegration of a marriage. Sir Hugh Boycott (Mander) and his young bride Madeleine (Madeleine Carroll) have a passionate marriage that is rocked when she fails to produce an heir. Mander’s gem rises above standard melodrama with its deft observance of character, perhaps helped by its co-writer Alma Reville, a well-known advisor to her husband Alfred Hitchcock. The First Born was recently restored by the BFI National Archive. Approximately 88 minutes. 35mm restored print from the BFI National Archive.”

Tokyo Chorus 1

Friday, July 19 at 4:30 PM
Tokyo Chorus (Japan, 1931)
Musical accompaniment by Günter Buchwald
Director: Yasujiro Ozu
Cast: Tokihiko Okada, Emiko Yagumo, Hideo Sugawara, Hideko Takamine, Tatsuo Saito, Chouko Iida

“Yasujiro Ozu’s Tokyo Chorus is a delicately composed tale of parental love, middle-class dreams, and suburban and urban realities. A young insurance salesman finds his life turned upside-down when he defends a fired co-worker. His family’s response, particularly his young son who wants a bicycle, is the heart of this film which shows the emergence of Ozu’s mature style—and a wonderful blend of comedy and drama. Approximately 90 minutes. 35mm print from Janus Films.”

The Patsy (1928)directed by King Vidorshown: Marion Davies

Friday, July 19 at 7:00 PM
The Patsy (USA, 1928)
Musical accompaniment by Mont Alto Motion Picture Orchestra
Director: King Vidor
Cast: Marion Davies, Orville Caldwell, Marie Dressler, Dell Henderson, Lawrence Gray, Jane Winton

“Before William Randolph Hearst decided that comedic roles were beneath her, Marion Davies had already established herself as a madcap comedienne on the musical stage. Director King Vidor had enough Hollywood clout to defy Hearst and play to Davies’ true strengths and the result is demonstrated in her incandescent performance in The Patsy. J.B. Kaufman writes, “Energetic, irrepressible, bubbling over with good humor yet capable of quiet sensitivity, she proves herself once and for all a genuine star. In her most celebrated scene she demonstrates her talent for mimicry by offering devastatingly accurate impressions of Mae Murray, Lillian Gish, and Pola Negri. (Mae Murray and Lillian Gish were, like Davies, MGM stars at the time, and Pola Negri’s Three Sinners was released almost simultaneously with The Patsy.)” Approximately 84 minutes. 35mm print from the Library of Congress.”

Klovnen (A.W. Sandberg, DK, 1926)

Friday, July 19 at 9:30 PM
The Golden Clown/Klovnen (Denmark, 1926)
Musical Accompaniment by Matti Bye Ensemble
Director: A.W. Sandberg
Cast: Gösta Ekman, Maurice de Féraudy, Kate Fabian, Karina Bell, Robert Schmidt, Erik Bertner

“Gösta Ekman is the eponymous clown in this tale of rural ways confronting the glamour and danger of the big city. The small town Joe (Ekman) and his circus princess Daisy (Karina Bell) find success in Paris, but become embroiled in a love triangle with a Parisian bon vivant. This beautiful restoration by the Danish Film Institute highlights the exquisite cinematography of Chresten Jørgensen and Einar Olsen. Approximately 128 minutes. 35mm restored print courtesy of the Danish Film Institute.”

Gertie The Dinosaur

Saturday, July 20 at 10:00 AM
Winsor McCay: His Life and Art
Musical accompaniment by Stephen Horne

“John Canemaker acclaimed biography Winsor McCay: His Life and Art celebrates the early-twentieth-century genius who gave the world Little Nemo and Gertie the Dinosaur. This special presentation is illustrated with stunning images from Canemaker’s book, as well as screenings of four of McCay’s greatest films: Little Nemo (1911, 3 mins), the first adaptation of a comic strip to a film format; the indelibly disturbing How a Mosquito Operates (1912, 6 mins); Gertie the Dinosaur (1914, 18 mins), the charming and infinitely influential animation McCay designed as part of a Vaudeville act; and The Sinking of the Lusitania (1918, 12 mins), a somber animated counterpart to McCay’s editorial cartoons. Approximately 70 minutes.”

The Half-Breed

Saturday, July 20 at 12:00 PM
The Half-Breed (USA, 1916)
Musical accompaniment by Günter Buchwald
Director: Allan Dwan
Cast: Douglas Fairbanks, Alma Rubens, Sam De Grasse, Tom Wilson, Frank Brownlee, Jewel Carmen, George Beranger

“The great Allan Dwan directed this western drama set amongst the redwoods and filmed in part near Boulder Creek (with Victor Fleming behind the camera!). Based on a story by Bret Harte and adapted by Anita Loos, The Half-Breed stars Douglas Fairbanks as Lo Dorman, a half-Indian outcast from society who lives in the forest and makes his home in a hollow tree. The coquettish pastor’s daughter (Jewel Carmen) toys with his affections, but it is Teresa (Alma Reuben) on the run from the law, who shares Lo’s status as an outsider. This brand new restoration is the result of a partnership between Cinémathèque Française and the San Francisco Silent Film Festival. World Premiere! Approximately 70 minutes. 2013 Restoration 35mm print.”

Legong

Saturday, July 20 at 2:15 PM
Legong: Dance of the Virgins (Bali, 1935)
Musical accompaniment by Clubfoot Orchestra & Gamelan Sekar Jaya
Director: Henri de la Falaise
Cast: Poetoe Aloes Goesti, Bagus Mara Goesti, Saplak Njoman, Njong Njong Njoman

“One of the last features shot in two-strip Technicolor, Legong was filmed entirely on location in Bali in 1935 by the Marquis Henry de la Falaise (a WWI hero, the ex-husband of Gloria Swanson, and the current spouse of Constance Bennett). The film is a tragic tale of love denied—Poutou, a respected Legong dancer, falls in love with young musician, Nyoung. Her father is delighted with Poutou’s choice and wants to help her to conquer Nyoung’s heart. But Poutou’s half-sister Saplak pines for the musician. When Nyoung chooses Saplak, Poutou drowns herself. Legong’s real theme is much more than mere melodrama—it is the delineation of Balinese culture. De la Falaise captured religious rituals including frenetic dances and mystical parades, and everyday dealings at the local marketplace. Small details chronicling the life of the villagers make the film an absorbing and mesmerizing quasi-documentary in gorgeous Two-Color Technicolor! Approximately 65 minutes. 35mm restored print courtesy of the UCLA Film & Television Archive.”

Gribiche

Saturday, July 20 at 4:00 PM
Gribiche (France, 1926)
Musical accompaniment by Mont Alto Motion Picture Orchestra
Director: Jacques Feyder
Cast: Jean Forest, Françoise Rosay, Cécile Guyon, Rolla Norman, Charles Barrois, Andrée Canti, Armand Dufour, Serge Otto, Alice Tissot, Major Heitner, Georges Pionnier, Soufflot, Mme. Surgères

“Jacques Feyder’s first film for Films Albatros is the story of a young boy (Jean Forest) who lives with his widowed mother (Cécile Guyon) in a lower-middle-class Paris neighborhood when he is ‘discovered’ by a rich American widow, Mrs. Maranet (Françoise Rosay in her first important role), who decides to adopt the boy and give him a ‘proper education.’ This charming film was recently restored by the Cinémathèque Française with the collaboration of the Franco-American Cultural Fund—DGA, MPA, SACEM, WGA. Approximately 112 minutes. Restored 35mm print from the Cinémathèque Française.”

Parasha from House on Trubnaya Square

Saturday, July 20 at 6:30 PM
The House on Trubnaya Square (USSR, 1928)
Musical accompaniment by Stephen Horne
Director: Boris Barnet
Cast: Vera Maretskaya, Vladimir Fogel, Yelena Tyapkina, Sergei Komarov, Anel Duakevich, Ada Vojtsik

“Our vote for Best Soviet Silent Comedy ever, Trubnaya is a brilliant look at class distinctions in the newly urbanized Soviet Union. ‘Set in a Moscow housing project, where a young scrubwoman discovers a new sense of self after she sees a film about Joan of Arc, this silent 1928 comedy displays a superb technique, a grace with actors, and a talent for eccentric characterizations that suggest Leo McCarey more than Karl Marx.’-—Dave Kehr, Chicago Reader. Approximately 64 minutes. 35mm print courtesy of the Pacific Film Archive.”

Joyless Street Scene 2

Saturday, July 20 at 8:30 PM
The Joyless Street/Die freudlose Gasse (Germany, 1925)
Musical accompaniment by Matti Bye Ensemble
Director: G.W. Pabst
Cast: Asta Nielsen, Greta Garbo, Gräfin, Agnes Esterhazy, Werner Krauß, Henry Stuart, Einar Hanson, Grigori Chmara

“Not only one of the most important films of Weimar-era Germany, The Joyless Street is also one of the most spectacular censorship cases of the era. The story from the inflationary period in Vienna in the years immediately after World War I was considered too much of a provocation with its juxtaposition of haves and have nots—that and its frank sexuality. Pabst’s film was twice shortened by the German censors and other countries made cuts or outright banned the film. This painstaking restoration supervised by Stefan Drössler has reconstructed the film as close as possible to Pabst’s intention. It is a magnificent achievement. Approximately 150 minutes. Restored 35mm print from Filmmuseum München.”

Love Nest

Sunday, July 21 at 10:00 AM
Kings of (Silent) Comedy
Musical accompaniment by Günter Buchwald

“Preservationist and showman Serge Bromberg has selected some of his favorite silent era shorts to make gorgeous new transfers using the best materials possible. The films in our program feature titans of silent comedy—Charley Chase, Charles Chaplin, Buster Keaton, and of course, Felix the Cat. The Silent Film Festival starts Sunday morning right–with a program fit for the entire family. Titles include: Felix Goes West (USA, d. Otto Messmer, 1924), Mighty Like a Moose (USA, d. Leo McCarey, 1926), The Love Nest (USA, d. Buster Keaton, 1923), The Immigrant (USA, d. Charles Chaplin, 1917). Approximately 71 minutes. DCP presentation.”

Outlaw and His Wife

Sunday, July 21 at 1:00 PM
The Outlaw and His Wife/Berg-Ejvind och hans hustru (Sweden, 1918)
Musical accompaniment by Matti Bye Ensemble
Director: Victor Sjöström
Cast: Victor Sjöström, Edith Erastoff, John Ekman, Jenny Tschernichin-Larsson, Artur Rolén, Nils Aréhn

“Produced during a renaissance in the Swedish film industry, The Outlaw and His Wife confirmed the promise of director Victor Sjöström, whose previous film, Terje Vigen, had been a big success for Svenska Biograf. Like a western with a romanticized renegade hero, The Outlaw and His Wife is the ballad of an accused thief on the run (played by Sjöström) who finds work on the farm of a generous, self-sufficient widow, and their growing attraction turns to love. When a jealous rival alerts the authorities to the thief’s real identity, the couple take off together into the wilds of Iceland. Approximately 105 minutes. 2013 35mm restoration courtesy of the Swedish Film Institute.”

Last Edition.3

Sunday, July 21 at 3:30 PM
The Last Edition (USA)
Musical accompaniment by Stephen Horne

“In 2011, film preservationist and SFSFF Board President Rob Byrne learned that an original nitrate print—the only known surviving copy—of The Last Edition existed in the vaults of the Dutch national archive. One of the few surviving films created by Emory Johnson in the mid-1920s, The Last Edition stars veteran actor Ralph Lewis as a pressman at the San Francisco Chronicle. Shot in and around the Chronicle building, the action-packed drama features thrilling chases throughout San Francisco, newspaper production from press to print, and a (literally) ‘stop the presses’ climax that includes a dramatic fire and rescue. This brand new restoration is the result of a partnership between EYE Film Institute Netherlands and the San Francisco Silent Film Festival. World Premiere! Approximately 105 minutes. 2013 35mm restoration.”

The Weavers

Sunday, July 21 at 6:00 PM
The Weavers/Die Weber (Germany, 1927)
Musical accompaniment by Günter Buchwald
Director: Friedrich Zelnik
Cast: Paul Wegener, Valeska Stock, Georg Burhahrdt, Emil Lind, Wilhelm Dieterle, Hermann Picha, Herta von Walther, Camilla von Hollay, Theodor Loos, Dagny Servaes

“Based on the 1892 play by Gerhart Hauptman dramatizing a Silesian cotton weavers uprising of 1844, The Weavers was once known as the German Potemkin. Its makers downplayed its radical message, but The Weavers resonated with viewers in 1927 whose social reality reflected a chasm between rich and poor. George Grosz’s sardonic, beautifully drawn intertitle art has been restored to this riveting film. Approximately 97 minutes. 2012 restoration courtesy of F. W. Murnau Stiftung and Transit Film GmbH. Screening in DCP.”

Safety Last Clock Scene

Sunday, July 21 at 8:30 PM
Safety Last! (USA, 1923)
Musical accompaniment by Mont Alto Motion Picture Orchestra
Directors: Sam Taylor, Fred Newmeyer
Cast: Harold Lloyd, Mildred Davis, Bill Strother, Noah Young, Westcott B. Clarke

“A bespectacled man hanging off the hands of a collapsing clock on the side of a skyscraper high above teeming city streets is one of the most indelible images of cinema. The thrilling climax of Safety Last! is made all the more exciting because Harold Lloyd, one of the masters of silent-era comedy, didn’t need CGI to make it happen. But why he is up there in the first place? A girl of course! Safety Last! takes a familiar story of a boy meets girl and turns it into high-art comedy. Layered with expert gags, the 1923 film inspired Pulitzer Prize-winning author James Agee to write of the climb: ‘Each new floor is like a stanza in a poem.’ Approximately 70 minutes. 2013 restoration courtesy of Janus Films, screening in DCP.”

Leave or read comments.