2020

 

 

 

 


January

11 January

Cabinet of Dr Caligari (Dir. Robert Wiene, 1920) (Screening format – not known,  77 mins) In the village of Holstenwall, fairground hypnotist Dr Caligari (Werner Krauss) puts on show a somnambulist called Cesare (Conrad Veidt) who has been asleep for twenty three years.  At night, Cesare walks the streets murdering people on the doctor’s orders.  A student (Friedrich Feher) suspects Caligari after a friend is found dead and it transpires that the doctor is the director of a lunatic asylum.  Fueled by the pessimism and gloom of post-war Germany, the sets by Hermann Warm stand unequaled as a shining example of Expressionist design.  Find out more at  wikipedia.org.  With live musical accompaniment by Minima.  Contemporary, Nottingham Link

18 January

The Blinking Buzzards Society The UK Buster Keaton Society. Quarterly meeting of the society dedicated to the appreciation of the silent comedian. After a selection of Keaton shorts  the second half will be a screening of Seven Chances (1925).  With recorded score.  Cinema Museum, Lambeth, London Link

19 January

One A.M. (Dir. Charles Chaplin, US, 1916) + One Week (Dir. Buster Keaton/Eddie Cline, 1920) + Big Business (Dir. James W Horne/Leo McCarey, US, 1928)  (Screening format – DCP, 34/19/19 mins) In One A.M., Charlie Chaplin is the drunken homeowner having a difficult time getting in to his own house after arriving back late at night.  One Week sees Buster and his new bride struggling with a pre-fabricated home unaware that his bride’s former suitor has renumbered all of the boxes.  Find out more at wikipedia.orgBig Business sees Laurel and Hardy as two Christmas tree salesmen (in February!) who get into one of their usual mutual destruction fights with a homeowner.  With live accompaniment by Guildhall School Jazz Musicians.  Barbican, London Link

23 January

Slapstick Divas  An evening of rarely seen silent film comedies starring outstanding female stars from this era  Prepare for a mix of celebration, laughter and discovery with a host of shorts featuring the superb Mabel Normand, Louise Fazenda, Dorothy Devore and Gale Henry among others.  Presented as part of Bristol’s Slapstick Festival.  With live musical accompaniment from the European Silent Screen Virtuosi (Guenter A. Buchwald, Frank Bockius and Romano Todesco).  Curated by Steve Massa, Author of Slapstick Divas: The Women Of Silent Comedy. Hosted by comedian and writer Shappi Khorsandi.  Bristol CathedralLink

Keaton: Restored!  Celebrate the Great Stone Face as you’ve never seen him before in three classic shorts, each newly restored in 4K by Lobster Films of Paris. Titles include Keaton favourites ONE WEEK (1920) and HARD LUCK (1921). Presented as part of Bristol’s Slapstick Festival.   With live piano accompaniment from John Sweeney.  Introduced by film editor and Keaton specialist Polly Rose (Bristol University).  Watershed Cinema, Bristol   Link

European Silent Clowns The US was by no means the only producer of silent comedy film in the 1910s and 20s. Europe was also developing its own, more expansive, form of comedy on screen.  Here film finder, preservationist and pianist Serge Bromberg shares some treasures from the archives,  with works by Georges Méliès, Max Linder and rare discoveries among them. Presented as part of Bristol’s Slapstick Festival.   With live piano accompaniment.  Introduced by Lobster Films’ Serge Bromberg    Watershed Cinema, Bristol   Link

Suffragettes in Silent Comedy A fascinating glimpse at a series of early British silent comedies inspired by the Suffragette movement and exploring how those portrayals look to modern audiences. Presented as part of Bristol’s Slapstick Festival.   With live piano accompaniment from John Sweeney. Hosted by award-winning journalist Samira Ahmed and stand-up comedian Lucy Porter.  Watershed Cinema, Bristol   Link

24 January

Forgotten Clowns: Douglas Maclean  One A Minute  (Dir: Jack Nelson,  US, 1921) (Screening format – not known, 72 mins) Douglas Maclean was one of the biggest stars of light comedies in American silent film but most of his 23 features are now lost, incomplete or inaccessible and so his name, face and work are virtually unknown today.  But One A Minute has been preserved by the US’s Library of Congress and is showing here in a new restoration by Undercrank Productions. In it Maclean plays a young lawyer who returns to his home town determined to save the family drug store. His plan includes marketing what he thinks is a fake cure-all only to discover his secret formula is more effective than expected.   Find out more at wikipedia.org  Presented as part of Bristol’s Slapstick Festival.   With live piano accompaniment from John Sweeney. Introduced by acclaimed film historian Kevin Brownlow.   Watershed Cinema, Bristol   Link

Rediscoveries and Revelations More discoveries by the indefatigable film collector and Slapstick stalwart Anthony Saffrey, including rarities from the brief but brilliant career of America’s first international comedy star, John Bunny and Dane Lau Lauritzen Sr’s 1921 Chicken Chaser plus new insights about the forgotten British star of French theatre and film comedy, Aimée Campton.    Presented as part of Bristol’s Slapstick Festival.   With live piano accompaniment from Daan van den Hurk. Introduced by acclaimed film historian David Robinson.   Watershed Cinema, Bristol   Link   

So This is Paris (Dir: Ernst Lubitsch, US,  1926) (Screening format – not known, 80mins)  A clever American silent comedy from Germany’s master director Ernst Lubitsch starring Monte Blue and Patsy Ruth Miller. Paul is happily married to Suzanna, living together in a quiet suburb.  Then Suzanna discovers their new neighbours are expressive dancers with revealing outfits and demands that Paul complain to them about their lack of morality. But when Paul knocks on their door, he meets an old flame. Four-way complications result and are only resolved finally in an astounding Charleston sequence!  Find out more at sensesofcinema.com.   Presented as part of Bristol’s Slapstick Festival.   With live piano accompaniment from John Sweeney.  Watershed Cinema, Bristol   Link

Stan or Ollie: Restored!   Serge Bromberg and his company Lobster Films have been championing the restoration of rare and lost solo Laurel & Hardy films for the past decade. Here, he shares newly restored shorts from before ‘the boys’ formed their world beloved double act and stories of how these gems were found and brought back to screen life. Presented as part of Bristol’s Slapstick Festival.   With live piano accompaniment.  Watershed Cinema, Bristol Link

 Serge Bromberg’s Retour de Flamme (Saved from the Flames) Lobster Films’ boss Serge Bromberg is a legend among early film fans – a dedicated film historian who scours attics, flea markets, and other serendipitous places searching for lost cinema classics and curiosities; an expert conservator who collaborates worldwide on film restorations; and a born showman who, through his now-famous Retour de Flamme (saved from the flames) presentations makes movie-going a thing of wonder and excitement again.  In this event , Serge introduces some of his network’s most recent and exciting discoveries, including a special Laurel & Hardy surprise!  Presented as part of Bristol’s Slapstick Festival.   With live piano accompaniment.  Watershed Cinema, Bristol Link

Silent Comedy Gala At The Cathedral A gala night of movies and music showcasing the talents of some of the all-time silent comedy greats: Buster Keaton, Laurel & Hardy and Charlie Chaplin. Highlights of the night will include a complete screening of Keaton’s comedy masterpiece OUR HOSPITALITY (1923) in lovingly restored 4K glory plus shorts from Laurel & Hardy and Charlie Chaplin.   Presented as part of Bristol’s Slapstick Festival.  With live musical accompaniment from the European Silent Screen Virtuosi conducted by Guenter A. Buchwald. Introduced by actor and silent film enthusiast Paul McGann.  Bristol Cathedral  Link

Rob Roy (Dir. William Kellino, UK, 1922) (Screening format – not known, 80mins) Rarely screened, this impressive biopic of one of Scotland’s best-known outlaws stars David Hawthorne in full tartan kilt and tammy and tells the story of the MacGregors in the early 18th century.  Shot entirely on location in the Trossachs and nearby Stirling Castle, whilst the 10th Duke of Argyll gave permission to the production to film on his estates, the film makes liberal use of Scots for the intertitles (“dinnae fash yersel”) and includes epic fight scenes, with over 800 men of the Argyll and Sutherland Highlanders enlisted as extras in a dramatic battle.  Find out more at imdb.com With live musical accompaniment by David Allison.  Contemporary Arts, Dundee Link

25 January

Forgotten Clowns:  Marie Prevost   On to Reno (Dir. James Cruze, USA, 1928) (Screening format – not known, 70mins) When Vera and Bud (Marie Prevost and Cullen Landis), a young married couple, become financially hardpressed, Vera accepts an offer from Mrs. Holmes, a rich matron who wishes Vera to impersonate her in Reno to fulfill the residence requirements for her divorce. When Bud finds she has gone to Reno, he immediately suspects that she plans to divorce him. Mr. Holmes goes to Reno, hoping to effect a last-minute reconciliation with his wife and when Bud and Mrs Holmes arrive the comedic chaos is complete.  Find out more at wikipedia.org  Presented as part of Bristol’s Slapstick Festival.   With live musical accompaniment from Guenter A. Buchwald, Romano Todesco and Frank Bockius.. Introduced by the Kennington Bioscope’s own Michelle Facey .   Watershed Cinema, Bristol   Link  

Chaplin at First National   Film historian and Chaplin biographer David Robinson introduces two of the films made by Charlie during the time when he was signed to First National (1918 to 1923) and progressing from two-reelers to films of short feature length, culminating with THE KID.  In THE IDLE CLASS (1921), Chaplin plays both a rich, neglectful and alcoholic husband and the double his wife mistakes him for, the Tramp.  In PAYDAY (1922) after a difficult day at work, Charlie tries to enjoy his pay day but can he do so without his wife knowing?.  Presented as part of Bristol’s Slapstick Festival.   With live musical accompaniment.   Watershed Cinema, Bristol   Link

Stephen Merchant’s Laurel & Hardy Classics   Bristol-born actor, comedian, director and writer Stephen Merchant explains why he ranks Stan Laurel and Oliver Hardy as cinema’s all-time greatest double act and discusses the secrets of the duo’s timeless appeal, with stand-up, broadcaster and fellow fan, Robin Ince, with the aid of their clips.  With an audience Q&A session to follow.   Presented as part of Bristol’s Slapstick Festival.     Redgrave Theatre, Clifton, Bristol    Link

 31 January

Nosferatu (Dir. F W Murnau, 1922) (Screening format –not known, 96mins) A German Expressionis horror masterpiece starring Max Shreck as the vampire Count Orlok.  The film was an unauthorised adaption of Bram Stoker’s ‘Dracula’ with names and other details changed because the studio could not obtain the rights to the novel.  Stoker’s heirs sued over the adaption and a court ruling ordered that all copies of the film be destroyed.  However, a few prints survived and the film came to be regarded as an inspirational masterwork of the cinema. In the film, Count Orlok travels across Europe leaving a trail of death in his wake.  Brilliantly eerie, with imaginative touches which later adaptions never achieved.  Find out more at wikipedia.org   With live piano accompaniment by Forrester Pyke.  Festival Theatre Edinburgh Link

February

9 February

City Girl  (Dir. F W Murnau, US, 1930) (Screening format – not known, 89mins).  Murnau made three silent movies for Fox in Hollywood. The first, Sunrise, is universally acclaimed; the second one, Four Devils, no longer exists; and the third, City Girl, was for years known only through a re-edited, semi-sound version which Murnau disowned. But the restored full silent City Girl is a lyrical masterwork of pastoral realism, in which Lem, a simple farm boy from Minnesota (Charles Farrell), in Chicago to sell the family’s wheat crop, meets and marries Kate (Mary Duncan), a waitress yearning for an idyllic life in the countryside. When they return to Minnesota, however, they’re met with hostility by coarse, lascivious harvesters and Lem’s overbearing father. It is a rural melodrama of great beauty and honesty, and in many ways was the inspiration for Terrence Malick’s Days of Heaven (1978).  Find out more at sensesofcinema.com.    With live musical accompaniment from the Dodge Brothers. Regent Centre, Christchurch Link

13 February

Cabinet of Dr Caligari (Dir. Robert Wiene, 1920) (Screening format – not known,  77 mins) In the village of Holstenwall, fairground hypnotist Dr Caligari (Werner Krauss) puts on show a somnambulist called Cesare (Conrad Veidt) who has been asleep for twenty three years.  At night, Cesare walks the streets murdering people on the doctor’s orders.  A student (Friedrich Feher) suspects Caligari after a friend is found dead and it transpires that the doctor is the director of a lunatic asylum.  Fueled by the pessimism and gloom of post-war Germany, the sets by Hermann Warm stand unequaled as a shining example of Expressionist design.  Find out more at  wikipedia.org.  Presented by South West Silents.  With live organ accompaniment by David Bednall.  Bristol Cathedral Link

14 February

Rob Roy (Dir. William Kellino, UK, 1922) (Screening format – not known, 80mins) Rarely screened, this impressive biopic of one of Scotland’s best-known outlaws stars David Hawthorne in full tartan kilt and tammy and tells the story of the MacGregors in the early 18th century.  Shot entirely on location in the Trossachs and nearby Stirling Castle, whilst the 10th Duke of Argyll gave permission to the production to film on his estates, the film makes liberal use of Scots for the intertitles (“dinnae fash yersel”) and includes epic fight scenes, with over 800 men of the Argyll and Sutherland Highlanders enlisted as extras in a dramatic battle.  Find out more at imdb.com With live musical accompaniment by David Allison.  Queen’s Hall, Edinburgh  Link

Cabinet of Dr Caligari (Dir. Robert Wiene, 1920) (Screening format – not known,  77 mins) In the village of Holstenwall, fairground hypnotist Dr Caligari (Werner Krauss) puts on show a somnambulist called Cesare (Conrad Veidt) who has been asleep for twenty three years.  At night, Cesare walks the streets murdering people on the doctor’s orders.  A student (Friedrich Feher) suspects Caligari after a friend is found dead and it transpires that the doctor is the director of a lunatic asylum.  Fueled by the pessimism and gloom of post-war Germany, the sets by Hermann Warm stand unequaled as a shining example of Expressionist design.  Find out more at  wikipedia.org.  With live musical accompaniment by Minima. Spring Bank Arts Centre, New Mills Derbyshire Link

15 February

Cabinet of Dr Caligari (Dir. Robert Wiene, 1920) (Screening format – not known,  77 mins) In the village of Holstenwall, fairground hypnotist Dr Caligari (Werner Krauss) puts on show a somnambulist called Cesare (Conrad Veidt) who has been asleep for twenty three years.  At night, Cesare walks the streets murdering people on the doctor’s orders.  A student (Friedrich Feher) suspects Caligari after a friend is found dead and it transpires that the doctor is the director of a lunatic asylum.  Fueled by the pessimism and gloom of post-war Germany, the sets by Hermann Warm stand unequaled as a shining example of Expressionist design.  Find out more at  wikipedia.org.  With live musical accompaniment by Minima.  Village Hall, Great Longstone, Derbyshire Link

26 February

Cabinet of Dr Caligari (Dir. Robert Wiene, 1920) (Screening format – not known,  77 mins) In the village of Holstenwall, fairground hypnotist Dr Caligari (Werner Krauss) puts on show a somnambulist called Cesare (Conrad Veidt) who has been asleep for twenty three years.  At night, Cesare walks the streets murdering people on the doctor’s orders.  A student (Friedrich Feher) suspects Caligari after a friend is found dead and it transpires that the doctor is the director of a lunatic asylum.  Fueled by the pessimism and gloom of post-war Germany, the sets by Hermann Warm stand unequaled as a shining example of Expressionist design.  Find out more at  wikipedia.org.  With live musical accompaniment by Minima. Beadles School, Hampshire Link

27 February

Andy Warhol’s Screen-tests – Reel #10  ( Dir Andy Warhol,  US 1964-66) (Screening format – 16mm , 40mins)  Between 1964-66, Warhol would ask some visitors to the Factory to sit in front of his tripod-mounted 16mm Bolex camera, face forward, and hold still. They each sat for three minutes; the films that resulted are known as the Screen Tests.  The sitters’ responses to this ordeal, and their decisions about how to perform themselves for the camera, make these films hugely revealing. Some are reduced to weeping; some are overcome with self-consciousness; some meet the camera with an equal force of personality. The sitters in Reel #10 include Lou Reed and Edie Sedgwick.  Find out more atwikipedia.orgWith live musical accompaniment by DJ and producer Leif.  Barbican, London Link

March

6 March

The Thief of Bagdad (Dir.  Raoul Walsh , US, 1924) (Screening format – not known, 140mins) This swashbuckler, directed by Raoul Walsh and starring Douglas Fairbanks, tells the story of a thief who falls in love with the daughter of the Caliph. He originally means to steal from her, but when he sees this beauty before him, he becomes smitten. But when a group of princely suitors arrive at the palace for her to make her choice, the thief pretends to be a prince himself in order to win her hand. He gets found out and punished, but the princess, who falls for him too, arranges for him to be released. To buy more time, she gives the three suitors a task to bring her the rarest treasure they can find to help her make the important choice. The thief joins the hunt too, hoping to outdo them all to such a degree that he will be able to marry the princess regardless of his current status. Thus begins an epic adventure of magic and peril.  The Thief of Bagdad is now widely considered one of the great silent films and Fairbanks’s greatest work.  The film was a popular success, and Fairbanks made women swoon as one of the screen’s first superstars. Known for his dashing demeanour and incredible stunts, Fairbanks, who would also routinely contribute to the scripts of his films under the pseudonym Elton Thomas, actually created the story for this version of The Thief of Bagdad and included types of special effects and production design never previously seen by audiences. The film also proved a stepping stone for a scantily-clad Anna May Wong, who portrayed a Mongol slave.  Find out more at sensesofcinema.comWith live musical accompaniment by Stephen Horne and Martin Pyne.  Fleapit Cinema Club, Westerham, Kent Link

12 March

Man With a Movie Camera (Dir. Dziga Vertov, USSR, 1929) (Screening format – not known, 68mins) “An experiment in the creative communication of visible events without the aid of inter-titles, a scenario or theatre “aiming at creating a truly international absolute language of cinema,” is how the inter-titles describe what is about to be seen. Bold claims indeed, but in its awesome sophistication The Man with a Movie Camera does live up to them, making it one of the most contemporary of silent movies. The subject, the life of a city from dawn to dusk, was not original even for 1928, but its treatment was–the cameraman as voyeur, social commentator and prankster, exploiting every trick permissible with the technology of the day (slow motion, dissolves, split screens, freeze frames, stop motion animation, etc). A young woman stirs in her bed, apparently fighting a nightmare in which a cameraman is about to be crushed by an oncoming train. She wakes up, and the sequence is revealed to be a simple trick shot. As she blinks her weary eyes, the shutters of her window mimic her viewpoint, and the iris of the camera spins open. Self-reflexive wit like this abounds here–there’s even a delicious counterpoint made between the splicing of film and the painting of a woman’s nails.  Find out more at openculture.com .  With recorded score.  Screened as part of the Explore Film programme and accompanied by a lecture from film academic Ellen Cheshire.  Depot Cinema, Lewes Link

21 March

City Girl  (Dir. F W Murnau, US, 1930) (Screening format – not known, 89mins).  Murnau made three silent movies for Fox in Hollywood. The first, Sunrise, is universally acclaimed; the second one, Four Devils, no longer exists; and the third, City Girl, was for years known only through a re-edited, semi-sound version which Murnau disowned. But the restored full silent City Girl is a lyrical masterwork of pastoral realism, in which Lem, a simple farm boy from Minnesota (Charles Farrell), in Chicago to sell the family’s wheat crop, meets and marries Kate (Mary Duncan), a waitress yearning for an idyllic life in the countryside. When they return to Minnesota, however, they’re met with hostility by coarse, lascivious harvesters and Lem’s overbearing father. It is a rural melodrama of great beauty and honesty, and in many ways was the inspiration for Terrence Malick’s Days of Heaven (1978).  Find out more at sensesofcinema.com.  Presented as part of the Hippodrome Silent Film Festival.  With live musical accompaniment from the Dodge Brothers.  Hippodrome Cinema, Bo’Ness Link

April

30 April

Metropolis (Dir. Fritz Lang, 1927) (Screening format –not known , 149 mins ) Made in Germany during the Weimar period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder (Gustav Frohlich), the wealthy son of the city’s ruler, and Maria (Brigitte Helm), a poor worker, to overcome the vast gulf separating the classes of their city. Filming took place in 1925 at a cost of approximately five million Reichmarks, making it the most expensive film ever released up to that point. It is regarded as a pioneering work of science fiction and is among the most influential films of all time. Following its world premiere in 1927, half an hour was cut from Fritz Lang’s masterpiece and lost to the world. Eighty years later a spectacular discovery was made when the footage was found in a small, dusty museum in Buenos Aires. The film was then painstakingly reconstructed and digitally restored so that at last audiences could see the iconic futuristic fairy tale as Lang had envisioned it. Find out more at silentfilm.org  Presented as part of the Mayfield Festival.  With live piano accompaniment by Darius Battiwalla.  St Dunstans, Mayfield, Sussex Link

May

8 May

Cabinet of Dr Caligari (Dir. Robert Wiene, 1920) (Screening format – not known,  77 mins) In the village of Holstenwall, fairground hypnotist Dr Caligari (Werner Krauss) puts on show a somnambulist called Cesare (Conrad Veidt) who has been asleep for twenty three years.  At night, Cesare walks the streets murdering people on the doctor’s orders.  A student (Friedrich Feher) suspects Caligari after a friend is found dead and it transpires that the doctor is the director of a lunatic asylum.  Fueled by the pessimism and gloom of post-war Germany, the sets by Hermann Warm stand unequaled as a shining example of Expressionist design.  Find out more at  wikipedia.org. With live musical accompaniment by Minima. Ketton Showtime, Rutland Link

9 May

Cabinet of Dr Caligari (Dir. Robert Wiene, 1920) (Screening format – not known,  77 mins) In the village of Holstenwall, fairground hypnotist Dr Caligari (Werner Krauss) puts on show a somnambulist called Cesare (Conrad Veidt) who has been asleep for twenty three years.  At night, Cesare walks the streets murdering people on the doctor’s orders.  A student (Friedrich Feher) suspects Caligari after a friend is found dead and it transpires that the doctor is the director of a lunatic asylum.  Fueled by the pessimism and gloom of post-war Germany, the sets by Hermann Warm stand unequaled as a shining example of Expressionist design.  Find out more at  wikipedia.org. With live musical accompaniment by Minima. Village Hall, Twyford, Leicestershire Link

June

24 June

The Passion of Joan of Arc (Dir. Carl Theodore Dreyer, 1928) (Screening format – not known, 82 mins)  In 1926 Danish film director Dreyer was invited to make a film in France by the Societe Generale des Films and chose to direct a film about Joan of Arc, due to her renewed popularity in France (having been canonised as a saint of the Roman Catholic Church in 1920 and subsequently adopted as one of the patron saints of France).  Apparently discarding a script provided by the Societe, Dreyer spent over a year researching Joan of Arc including study of the actual transcripts of her trial before producing a script of his own.  In the title role Dreyer cast the little-known stage actress Renee Jeanne Falconnetti who had previously acted in just two previous, inconsequential films, both back in 1917.  The film focuses upon the trial and eventual execution of Joan of Arc after she is captured by the English.  Although not a popular success at the time, the film attracted immediate critical praise.  The New York Times critic wrote “…as a film work of art, this takes precedence over anything so far produced.  It makes worthy pictures of the past look like tinsel shams.  It fills one with such intense admiration that other pictures appear but trivial in comparison.” Falconnetti’s performance has been widely lauded with critic Pauline Kael writing in 1982 that her portrayal “…may be the finest performance ever recorded on film.”  The film was subsequently re-edited against Dreyer’s wishes and his original version was long thought lost.  But in 1981 a near perfect copy was found in the attic of a psychiatric hospital in Oslo.  The Passion of Joan of Arc now regularly appears in ‘Top Ten’ lists not just of silent films but best films of all time.  Find out more at rogerebert.com .  Presented by Opera North.  Los Angeles-based singer-songwriter, composer and producer Julia Holter performs her new soundtrack live,  scored for the 36-strong Chorus of Opera North, plus her own band.  Town Hall, Leeds Link

27 June

The Passion of Joan of Arc (Dir. Carl Theodore Dreyer, 1928) (Screening format – not known, 82 mins)  In 1926 Danish film director Dreyer was invited to make a film in France by the Societe Generale des Films and chose to direct a film about Joan of Arc, due to her renewed popularity in France (having been canonised as a saint of the Roman Catholic Church in 1920 and subsequently adopted as one of the patron saints of France).  Apparently discarding a script provided by the Societe, Dreyer spent over a year researching Joan of Arc including study of the actual transcripts of her trial before producing a script of his own.  In the title role Dreyer cast the little-known stage actress Renee Jeanne Falconnetti who had previously acted in just two previous, inconsequential films, both back in 1917.  The film focuses upon the trial and eventual execution of Joan of Arc after she is captured by the English.  Although not a popular success at the time, the film attracted immediate critical praise.  The New York Times critic wrote “…as a film work of art, this takes precedence over anything so far produced.  It makes worthy pictures of the past look like tinsel shams.  It fills one with such intense admiration that other pictures appear but trivial in comparison.” Falconnetti’s performance has been widely lauded with critic Pauline Kael writing in 1982 that her portrayal “…may be the finest performance ever recorded on film.”  The film was subsequently re-edited against Dreyer’s wishes and his original version was long thought lost.  But in 1981 a near perfect copy was found in the attic of a psychiatric hospital in Oslo.  The Passion of Joan of Arc now regularly appears in ‘Top Ten’ lists not just of silent films but best films of all time.  Find out more at rogerebert.com .  Presented by Opera North.  Los Angeles-based singer-songwriter, composer and producer Julia Holter performs her new soundtrack live,  scored for the 36-strong Chorus of Opera North, plus her own band.  Barbican, London  Link