Do Detectives Think (Dir. Fred Guiol, US, 1927) + Habeas Corpus (Dir. Leo McCarey/James Parrott, Us, 1928) + Double Whoopee (Dir. Lewis R Foster, US, 1929) + Leave ‘Em Laughing (Dir. Clyde Bruckman, US, 1928) (Screening format – not known, 19/20/20/21 mins). In Do Detectives Think, when an escaped convict vows revenge on the judge who sentenced him, the judge engages a detective agency which sends its two best men, Laurel and Hardy, to protect him! In Habeus Corpus, the boys are hired by the mad Professor Padilla to steal a body from a local graveyard on which he can carry out his experiments. But the ‘body’ isn’t as dead as they think! Double Whoopee sees the boys as humble employees at a swanky hotel leaving chaos in their wake. Look out for a brief appearance by Jean Harlow. In Leave ‘Em Laughing , when Stan gets toothache Ollie tries to help, but the more he helps, the more things go wrong! Look out for Edgar Kennedy making his first of many appearances in a L&H film. Find out more at laurel-and-hardy.com. With live organ accompaniment by Donald Mackenzie. Regent Street Cinema, London Link
The Adjutant of the Czar (Dir. Vladimir Strizhevsky, Ger, 1929) (Screening format – DCP, 98mins) Half screwball, half melodrama, this vehicle for one of the silent era’s greatest romantic leads, Ivan Mozzhukhin, makes full use of those soulful, penetrating eyes. This little-known film tells of a lighter-than-air romance between a Czarist officer and a passport-less girl who are obliged to share a sleeper compartment on an overnight train. Their burgeoning relationship is tested when revolutionary zeal meets implacable loyalty in the heightened atmosphere of pre-revolutionary Russia. Find out more at wikipedia.org . With live piano accompaniment. Introduced by the BFI’s Bryony Dixon. BFI Southbank, London (No link yet)
A Restoration of Nosferatu (1922) This show-and-tell lecture will illustrate many of the issues encountered and (with varying degrees of success) resolved in a digital restoration of Murnau’s Nosferatu. This talk will begin with a description of the original production and the technology used to make the film. The film’s own troubled history complicated the film’s physical reconstruction, and that impacted the digital restoration. This talk will primarily explore the complex and subjective issues currently floating around in many analog-versus-digital discussions of film and how those opinions can influence the determination of what the restored version should look like if the goal is to replicate the original projected image at the time of first release. Can digital restorations generate valid preservation copies of photo-chemical materials? Presented by The Miskatonic Institute Of Horror Studies. Introduced by Mark Rance. The Horse Hospital, Colonnade, Bloomsbury, London. Link
The Suffragette (Dir. Urban Gad, Ger, 1913) + Make More Noise (Dir. Various) (Screening format – not known, 60/?? mins) In The Suffragette, silent film diva Asta Nielsen, one of the most popular leading female actors of the silent era and one of the first international movie stars, plays a militant British Suffragette, who gets involved in a plot to murder a government official. Including depiction of suffrage protests and imprisonment, the film has gained popularity and wide appeal, while limited in its overall support of the cause. Find out more at allenjohn.over-blog.com(in French). Followed by highlights from Make More Noise! (BFI National Archive) a collection exploring the representation of pioneering women in the first decades of the 20th century. Introduced by Naomi Paxton. With live musical accompaniment by Wendy Hiscocks. Barbican, London Link
Show People (Dir. King Vidor, US, 1928) (Screening format – not known, 79mins) This delightful King Vidor comedy features Marion Davies (also the film’s producer) as Peggy Pepper, an aspiring young actress fascinated by the allure of Hollywood. After meeting Billy Boone, the slapstick comedy actor played by William Haines, Peggy begins her journey through the strange world of the dream factory. Davies is a knockout as the aspiring actress, but will her emerging ego destroy her career or will she realize who her real friends are? Look out for cameo appearances by Charlie Chaplin, Douglas Fairbanks, William S. Hart and King Vidor himself… as well as the real Marion Davies!! Find out more at moviessilently.com . With live organ accompaniment by Donald MacKenzie. St John’s Notting Hill, London Link
Battleship Potemkin (Dir. Sergei Eisenstein, 1925) (Screening format – not known, 75mins) Considered one of the most important films in the history of silent pictures, as well as possibly Eisenstein’s greatest work, Battleship Potemkin brought Eisenstein’s theories of cinema art to the world in a powerful showcase; his emphasis on montage, his stress of intellectual contact, and his treatment of the mass instead of the individual as the protagonist. The film tells the story of the mutiny on the Russian ship Prince Potemkin during the 1905 uprising.Their mutiny was short-lived, however, as during their attempts to get the population of Odessa to join the uprising, soldiers arrived and laid waste to the insurgents. Battleship Potemkin is a work of extraordinary pictorial beauty and great elegance of form. It is symmetrically broken into five movements or acts. In the first of these, “Men and Maggots,” the flagrant mistreatment of the sailors at the hands of their officers is demonstrated, while the second, “Drama on the Quarterdeck,” presents the actual mutiny and the ship’s arrival in Odessa. “Appeal from the Dead” establishes the solidarity of the citizens of Odessa with the mutineers. It is the fourth sequence, “The Odessa Steps,” which depicts the massacre of the citizens, that thrust Eisenstein and his film into the historical eminence that both occupy today. It is unquestionably the most famous sequence of its kind in film history, and Eisenstein displays his legendary ability to convey large-scale action scenes. The shot of the baby carriage tumbling down the long staircase has been re-created in many films. The sequence’s power is such that the film’s conclusion, “Meeting the Squadron,” in which the Potemkin in a show of brotherhood is allowed to pass through the squadron unharmed, is anticlimactic. Find out more at classicartfilms.com. With live musical accompaniment by electro-improvisational group Grok. Genesis Cinema, London Link
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