silent

Happy Valentine’s Day!


The holiday is over, and I’m off to slumber, but this redhead hopes your holiday was as least as good as hers!

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Why I created a Patreon account.

Carole Lombard Pencil Typing

I’ve been getting ambitious about Spellbound by Movies. There’s so much I want to do with my blog, I want to invest more time in it to promote classic and silent films. While I say Spellbound is sometimes irregularly, but always lovingly updated, I’d like to get on a regular schedule.

I have expansion ideas. There are more post types I’m itching to get to like more interviews, lists, or my usual obsessive reviews. The last can take my eight hours or more. I watch every film more than once if I can; I start with a rough draft I craft into final form; and I fact check every line I can, including describing action in the movie.

But my expansion ideas go beyond what’s on a page. Eventually I’d like my interviews not just to be conducted via email, but also done over Skype or in person. I want to record those conversations and take their recordings and turn them in a companion podcast called SIT A SPELL.

Even without adding on the cost of podcasting, there are costs associated with my blog. There are the annual hosting, URL, and WordPress redirect fees. While I’m comped some festival passes and books, I pay to attend other screenings and festivals, and I buy books to review and to build my film reference collection. Some of the festivals I attend require travel and/or hotels. All of these costs add up.

Here’s what pushed me over the edge into creating a Patreon account. In the last six months or so, I’ve been hit with two major and unexpected expenses–a large vet bill for a beloved and now passed away cat and losing my apartment to my landlords, who resumed personal occupancy. Having to incur moving costs and suddenly paying current San Francisco Bay area market rent was a double whammy.

I don’t want either to detract from my blogging or from me being able to travel to film festivals and bring you coverage. Between my blog, my Twitter account, and my Instagram, I try to share generously my movie experiences and love. There are two film festivals I’d like to attend in April. Schedule-wise I’d have to choose one or the other. Because of recent expenses, I think I should choose neither.

I blog because I love the process, love sharing my point of view, love lifting some of the movies out of obscurity, and love the community writing connects me to. I blog without pay, but isn’t it better to pay writers than not? Is it egocentric to consider if someone else values my work, then maybe they’d like to be a Patron to help it to continue? I’ve gotten some very nice unpaid opportunities, which I’m extremely grateful for. Maybe some day my blog will lead to a paying gig.

Whatever happens my blog will continue to freely accessible to all, but for the few who become Patrons, you have my sincerest thanks and gratitude. I am the sort who will pay it forward when she can. My most immediate way will be writing more regularly.

To check out my Patreon page, please click the banner below!

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An Unbreakable Bond of Sisterhood in CHILDREN OF DIVORCE (1927)

In honor of National Flapper Day, I’ve reposted my essay on CHILDREN OF DIVORCE (1927), which was originally published on Flicker Alley‘s blog.

Children of Divorce Cropped Poster

Before they were jazz babies, they were jazz orphans. Their parents’ marriages dissolved under the influence of new post-war mores, and childhoods became a belated war casualty. Lacking role models, another generation seems doomed to repeat their elders’ mistakes. That’s the world CHILDREN OF DIVORCE portrays, and at its center are two women who share an unbreakable bond of sisterhood forged by the shared trauma of neglect.

If the movie sounds like a weepie, be warned, it is! Heartstrings are pulled starting when cherubic Kitty Flanders (Joyce Coad) is left at a Parisian convent by her mother (Hedda Hopper). Only one girl, Jean Waddington (Yvonne Pelletier), befriends Kitty. When she’s terrified her first night, Jean shelters Kitty in her bed, and a precedent is set for their relationship. Jean becomes an adoptive and protective big sister.

Children of Divorce Kitty and Jean First Night

Joyce Coad & Yvonne Pelletier in CHILDREN OF DIVORCE

A second precedent is sent when the girls meet Teddy Larrabee (Don Marion). He climbs over the grounds’ wall one day. He’s escaping bickering grown-ups and a woman mockingly flirting with him. He’s, also, a child of divorce. When the close-in-age Teddy and Jean meet, they are smitten. Sad and envious, Kitty laments she has no one. Kitty will continue to see others’ happiness and want it.

Kitty’s a classic little sister. Since Jean was slightly older than Kitty when her parents divorced, Kitty doesn’t have the background of family stability, albeit brief, Jean had. Jean easily slips into the caretaker role, and Kitty assumes the one of needing help and understanding. Jean loves Kitty, but that can’t cure her hurt.

Since Jean’s rich after her parents’ divorce, and Kitty isn’t, she must find a way to afford remaining in elite social circles. As she grows up, Kitty’s taught by her mother that money comes before love. There’s an implication that her mother isn’t simply concerned for Kitty’s well-being, but also that Kitty’s mother will use her daughter to achieve security. Jean can marry at her leisure.

Under such circumstances, it’s easy to see why Kitty ages into a partying, gold-digging flapper (Clara Bow) and Jean grows into a noble patrician (Esther Ralston). Despite their differences, the women are delighted when life reunites them. Their bond has lasted. Their relationship becomes complicated because of Teddy, now going by Ted (Gary Cooper).

Children of Divorce Ted Kitty Jean Reunited

Gary Cooper, Clara Bow, & Esther Ralston in CHILDREN OF DIVORCE

When Jean bumps into him at a party of Kitty’s, old attractions resurface, but Jean disapproves of his hedonistic lifestyle. She encourages him to get a job in order to become worthy of being her husband. Love reforms Ted, but it can’t save him from Kitty’s machinations. He’s wealthy, and he’s wanted by someone Kitty admires. Once she gets Ted drunk at a party, he doesn’t stand a chance. He wakes up tousled and marriedto Kitty!

This is the biggest test of Jean and Kitty’s love. Of course, Jean is angry about Kitty’s betrayal and Ted’s haplessness and unfaithfulness. Perhaps Jean sees this as an indicator she and Ted weren’t meant to be, but Kitty comes first when Jean makes her decision of what to do.

As the movie’s moral voice, Jean doesn’t believe in divorce, and she can’t deny Kitty a shot at happiness. Jean naively believes her friend and sweetheart can make a marriage work despite their incompatibility and lack of love. When Kitty insists that she will be a good wife, Jean relents and gives Ted to Kitty by not fighting for him—a decision that will lead to misery and tragedy.

children-of-divorce-jean-listens-to-kitty
Despite the love triangle, the movie’s central relationship is clearly Kitty and Jean’s. They get the most screen time. For one, Bow and Ralston were the experienced performers. Ted was Cooper’s first major role, one he was cast in at his lover Bow’s insistence. While in the final product he’s handsome and charismatic, on the set he was unsure and afraid, and he blew many takes. Panicked, he even fled filming and had to be brought back. He couldn’t be trusted to help carry the picture.

The result was the actresses were given the opportunity to explore their characters’ dualities. Ralston’s role is not as flashy as Bow’s. Ralston has to be the perfectly good friend. She has to be beautiful yet believably tossed over for Bow. She manages to be a strong, sympathetic presence. It would’ve been easy for Bow’s character to simply be the manipulative vamp, but she makes sure the audience knows every bad, later-regretted act comes from Kitty’s place of pain.

There’s symmetry in imagery emphasizing the women’s relationship. A powerful, early shot shows young Jean comforting young Kitty in bed at the convent. A second, equally affecting shot reminiscent of the first occurs near the film’s end. A grown-up Jean comforts a grown-up Kitty in bed. We never see either woman in bed with a man. For the women, the bed isn’t a sexual place, but a shared place of refuge. Whether escaping adult-caused problems or their own adult problems, it’s a place they return to together. Whatever happens, each has a sister to love her no matter what.

Children of Divorce Kitty and Jean Last Time

Interested in seeing this movie? Flicker Alley releases it to dual edition disc on December 6, 2016. The Mont Alto Motion Picture Orchestra provides the score.

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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!

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Celebrating National Classic Movie Day with the 5 Movies on an Island Blogathon

Monday, May 16 is National Classic Movie Day. As part of its festivities, I’ve joined other classic film bloggers in promoting the holiday with the 5 Movies on an Island Blogathon. I’ve selected five classic movies that would entertain and sustain me on this miraculous deserted island having screening capabilities. I explain my choices below!

Les Vampires Irma Vep Poster in Le Cryptogramme Rouge

Les Vampires (1915-1916)

My first choice is Louis Feuillade‘s silent crime serial Les Vampires. I had been grabbed by its imagery when seeing stills in write-ups of Water Bearer Films‘ VHS release. It looked like Edward Gorey’s drawings come to life, but really the film was an influence on him as I previously wrote. When I finally saw it, the beginning episodes offered a lot of eye candy in costuming and sets, which feature multiple prints and textures. Artists, designers, and other creatives could be endlessly influenced by the movie. Then Musidora playing Irma Vep appeared in its third episode. I like to say she’s one of my two spirit actresses. She’s a modern, charismatic, and feminist presence. While her Irma is number two to the Grand Vampire, the head of her criminal organization, she survives a sequence of Grand Vampires to become the main, almost everlasting villain of the serial. She’s a contrast to the rather dull hero, reporter Philipe Guérande (Édouard Mathé). Les Vampires isn’t supernatural in the slightest. There’s nothing paranormal about the movie, but its action scenes offer plenty of the unusual like secret passageways, a poison ring, and a decapitated head. In its best moments, the film serves up memorable, surreal imagery. Whenever someone asks me if I like action movies, I have to say yes because of Les Vampires. It runs for about 7 hours, and I’ve watched it multiple times in multiple releases. It’s a movie that would continuously entertain me on an island.

Bell Book and Candle Gillian Holroyd Kim Novak and Pyewacket Spell Casting

Bell, Book and Candle (1958)

This movie has been a favorite of mine since my girlhood. When I first saw it, I wanted Gillian Holroyd’s (Kim Novak) pre-pastel life. She had a fabulous wardrobe, a devoted and talkative cat, and an unusual life far from the middle class suburbia I was growing up in. I was fascinated by superstition and the supernatural, too. It’s very easy to be influenced the innate gothicism of New England. I’ve worn a lot of black and velvet in my life; I’ve had cats since I was four or five, and they’ve been loving and talkative companions; and I’ve lived in multiple places sometimes participating in and other times promoting the arts that fascinate me. Not a bad early influence then! As an adult, I can’t ignore the unintended warning message for women in the movie. There’s nothing wrong with being a less self-absorbed, selfish person, but a woman needs to know the difference between being matured by love and losing her sight of her core self. Also, Jimmy Stewart‘s love interest portrayal too often slips into doddering instead of simply square making Kim Novak have to simmer overtime to distract from that fact. I would have loved for Cary Grant to have landed the male lead role like he wanted. Moving beyond my casting quibble, Bell, Book and Candle has become a Christmas movie for me. I’m sure the association started because the film’s action starts on Christmas Eve. Gillian’s celebrating the holiday with her odd, sometimes infuriating, but in the end loving family. That actually sounds like a normal holiday for a lot of us! I watch the film at least annually, and with it on for background sound, I’ve trimmed my tree. I’d take this movie to the island to remind me of the girl I was and to help me celebrate Christmas.

Ginger Rogers We're in the Money Gold Diggers of 1933 Number

Gold Diggers of 1933 (1933)

I knew one of my desert island movies had to be a Busby Berkeley! I looked through all my discs, and I picked Gold Diggers of 1933. Mervyn LeRoy is credited with directing the film, and Busby directed, staged, and choreographed its musical numbers. As an overall movie, from plot to musical scenes to performances, it’s one of the strongest in his filmography, and it’s one hell of a fun pre-code. It features some of my favorite performers like Warren WilliamJoan Blondell, Ginger Rogers, and Guy Kibbee. It has saucy and snappy dialogue as expected in a backstage movie focusing on four struggling showgirls in the 1930s. Take this line Aline MacMahon‘s character Trixie says,  “Excuse me while I fix up the old sex appeal. The way I feel this morning I’ll need a steam shovel.” It’s funny, yet acknowledges what work it is to be a woman and have to be appealing to men. The movie straddles the same line. It’s entertaining and offers amazing musical sequences like The Shadow Waltz with its neon-tubed violins, and at the same time the reality of the Depression is allowed moments of expression, like the literal show-stopping number starring Blondell, Remember My Forgotten Man. Gold Diggers of 1933 entertains, provides momentary distraction, and then addresses its contemporary audience’s troubles. It’s a paean to the scrappy American spirit. Despite our troubles, we can take the time to be flippant and clever and sing a song’s verse in Pig Latin. A great movie to help me endure my island time!

My Man Godfrey Carole Lombard William Powell Dishwashing Scene

My Man Godfrey (1936)

My other spirit actress is Carole Lombard, and she helped tip My Man Godfrey making my list over The Thin Man. When I used to have a LiveJournal, its slogan was “When things get tough, she envisions herself as Carole Lombard.” That’s because no matter what pratfall she took or what tricky moment she found herself in, her modernism, verve for life, and zaniness showed her character would overcome her troubles, at least in the comedies. Take a look at My Man Godfrey. She and her co-star William Powell had once been married, but their marriage didn’t work out, yet they remained adult about things and stayed friends. So much so that he insisted Carole be cast instead of Constance Bennett in this film. Their comfortability with each other lets them tap into their natural chemistry for their parts. She’s ditzy, good-hearted, nouveau riche heiress Irene Bullock, and he’s a blue blood living like a tramp while recovering from a broken heart. Of course, these two fall in love, while her nutty family (complete with parasitic gigolo) and her off-kilter approach to romance complicate matters. I can guarantee this screwball comedy will make me laugh, so into the deserted island kit it goes!
Regain Harvest Marcel Pagnol 1937 The Couple Surrounded by the Land

Regain / Harvest (1937)

There are so many romances depicted in Regain–the love of a place, the love of honest labor, the love of family, the love of friendship, and the love of a husband and wife. It’s the last of those loves that provides the catalyst for a dying village to be reborn. Gabriel Gabrio plays Panturle, whose village has only three inhabitants left, and not for long because the others are aged. All the younger people have left for the city seeking work divorced from their agricultural roots. Panturle needs to find a wife. He knows his home can be renewed by having a new founding family, and he is lonely. One night Orane Demazis‘ Arsule camps on his grounds with Fernandel‘s Urbain Gédémus. Arsule is the sort of woman who has given up hope, and she lets men use her in order to physically survive. Urbain, while better than some of the men she meets in the film, isn’t really much better. This is the rare film where comedian Fernandel plays an unlikable creep. Arsule wanders off from a sleeping Urbain and meets Panturle. The raggedy man cannot believe his good fortune at meeting this beautiful angel and begins to woo her. He sees her as everything he has ever wanted in life, and together they will become the best people they could be. The past doesn’t matter. What matters is who they are and what they do now. Regain is a film in which love and goodness transform and triumph. It’s a film that would sustain me spiritually if stranded on an island.

Five Movies on an Island Blogathon

To read more blogathon entries, click on its banner. Be surprised and entertained by other bloggers’ choices. Perhaps you’ll even find flicks to add to your to watch list!

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Happy International Women’s Day 2016!

Anita Louise Autographed Picture

For International Women’s Day, let’s take a moment to remember a woman of words, Anita Loos.

She started screenwriting in the silent era, and she’s credited for elevating the intertitle beyond the functional into an art form. A wordsmith, wit, and satirist, her intertitles had zing. Yes, they had “It.” It’s likely her exposure to the family tabloid and her own newspaper writing made her value succinctness. Would it be even more of a stretch to suppose that this early education schooled her in the art of equivocal, particularly innuendo? She could write a line explaining a scene and poking fun at a star’s persona. When describing yet another one of Douglas Fairbanks‘ characters designed to show off his athletic prowess, she wrote he had “a vaulting ambition which is likely to o’erleap itself and fall on the other side.” She was getting meta before that became a thing!

She had an aversion to societal hypocrisy and the pitfalls of her sex, threads that run through her work, like in this line from Intolerance (1916): “When women cease to attract men they often turn to Reform as a second choice.” Instead she had a fondness for hustlers, loose women, and other characters usually viewed as disreputable undesirables. Exposure to San Francisco’s Barbary Coast and piers, when accompanying her father on drunken wanderings and fishing trips, gave her a glimpse of those types at a young age, and she never lost her fascination for them, and they populate her work.

The most famous example is Gentlemen Prefer Blondes‘ Lorelei Lee, a ditzy, gold digging flapper. Loos wrote the comic novel as an act of revenge. She was tired of seeing her male intellectual friends (and crushes like H.L. Mencken) fall for women with more “downstairs” than upstairs. Despite Loos’ upset over the inspirational situation, there’s an admiration for Lorelei’s wiles and ambition. Loos was a hard worker, and so was her creation, who through her kooky logic and machinations ultimately wins.

Despite a disastrous love life that included marriage to a controlling, abusive, narcissistic, spendthrift schizophrenic, she kept working and didn’t turn to drink or idleness unlike other contemporaries. She survived film’s transition into sound writing more screenplays and expanded her oeuvre to include additional novels, (likely fictionalized, but so much fun to read) memoirs, Hollywood biographies, and Broadway.

She even became a script doctor. My favorite example of this was her being called in to work on a property other male writers, like F. Scott Fitzgerald, couldn’t get right. They couldn’t relate to the source material. Fitzgerald thought it “a spiteful portrayal of femininity.” Loos loved the Clare Boothe Luce play. Loos was very familiar with its subject matter, an exposé of the cattiness, gossip, men-stealing, and gold digging of Park Avenues socialites and the wannabees. She delighted in dishing on what occurs behind the scenes in women’s spaces. She turned out a script in three weeks that remains a classic beloved for its zingers to this day–The Women (1937).

When she died in August of 1981, her drive resulted in a body of work spanning about 65 years. She remained a celebrity. The gamine, 4’11’ girl with the pixie cut had aged into a grande dame of the New York social scene, active and vibrant close to her end. She frequented the party, fashion, and arts circuits. She enjoyed being among the surviving few of the silent era able to share what ever stories she remembered or fabricated. Film historian and preservationist Kevin Brownlow interviewed her for his television documentary series Hollywood: A Celebration of the American Silent Film (1980), and he must have had a fun time sorting fact from embellishment. “At the memorial service, friends Helen Hayes, Ruth Gordon, and Lillian Gish, regaled the mourners with humorous anecdotes and Jule Styne played songs from Loos’ musicals, including “Diamonds Are a Girl’s Best Friend.” The storyteller would live on in others’ tales and through her work.

Anita Loos Reading

References

Anita Loos.” IMDb. IMDb.com, n.d. Web. 08 Mar. 2016.
Anita Loos.” Wikipedia. Wikimedia Foundation, n.d. Web. 08 Mar. 2016.
Anita Loos.” Women Film Pioneers Project. Women Film Pioneers Project, n.d. Web. 8 Mar. 2016.
Hutchinson, Pamela. “Anita Loos – Sharp, Shameless Humour of the ‘world’s Most Brilliant Woman‘” The Guardian. Guardian News and Media, 11 Jan. 2016. Web. 08 Mar. 2016.
Somerville, Kris, and Speer Morgan. “Anita Loos: The Soubrette of Satire.” TMR Content Archives. The Missouri Review, n.d. Web. 08 Mar. 2016.

San Francisco Silent Film Festival Preview, Why Be Good? (1929)

My San Francisco Silent Film Festival preview was interrupted due to being felled by a bug, but I want to mention a surefire hit of the fest screening today–Colleen Moore in Why Be Good? (1929).

Bodil Rosing & Colleen Moore in Why Be Good?

Bodil Rosing & Colleen Moore in Why Be Good? (1929)

Thanks to Ron Hutchinson and The Vitaphone Project, Colleen Moore returns to the festival in Why Be Good (1929)! Her Wild Oat Screened in 2008. Colleen may be eclipsed in current collective memory by another helmet bobbed honey Louise Brooks, but Colleen was the bigger star in her era. The loss of so many of her films, her lack of comparative screenings, a less dangerous, more girl next door sensuality than the troubled Louise, and those Pabst films helped history get revised to reflect contemporary popularity. Why Be Good? along with another new preservation effort, Synthetic Sin, will help Colleen get the attention and the acclaim she deserves today. Both films focus on the ideas of her being a good girl and what makes any woman good. They play around with Colleen’s good girl flapper comedienne image. Why Be Good? lays out how confusing being a modern maiden is for the woman and society. How game does she have to be to be considered fun and one of the gang before fellas, parents, and society misconstrue her character? There are plenty of gags, dancing, fashions, and Colleen to keep this upbeat. The Mont Alto Motion Picture Orchestra accompany this film.

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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.

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San Francisco Silent Film Festival Official Press Accreditation

San Francisco Silent Film Festival Poster 2015

Saturday’s post was the start of my San Francisco Silent Film Festival coverage. I’m happy to announce Spellbound by Movies has received official press accreditation to the festival! In the coming days, look to this blog for an in-depth preview to the festival, an interview or two, and onsite write-ups. I’ll be live-tweeting the event here as well.

If you’re attending the event, please comment and let me know! If you cannot attend, I hope my posts will give you a sense of what the festival and this years’ films are like.

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Supporting the San Francisco Silent Film Festival

San Francisco Silent Film Festival Membership Card

As part of my preparation for the San Francisco Silent Film Festival, I renewed my membership to it. As a film fanatic with a particular passion for silents, I recognize that many of the specialty screenings I frequent only occur because of the efforts of non-profit groups. Attending their events and buying tickets or passes are two ways to help.  There’s nothing more emotionally rewarding for organizers than to get their audience into seats. Every sold-out screening I’ve attended has been proudly announced as such.

While paid attendance must help defray programming costs, there are expenses to running their organizations year-round. That’s why they fundraise and apply for cultural grants, and that’s I renewed my basic membership. Besides providing coverage to the festival, I wanted to give back to them financially even if it’s in a small way.

For my donation, I got this swell membership card featuring Louise Brooks, mention in their collectible festival book, advance access to purchase passes and tickets, discounted attendance, and reciprocal discounts at other cultural institutions. I, also, got the satisfaction of giving back to a place that has given so much to me.

If you love the San Francisco Silent Film Festival, too, consider becoming a member if you’re not. If you’re a reader who lives more distantly, I heartily encourage you to support your local groups and screenings!

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