8 August

Dawson City – Frozen Time (Dir. Bill Morrison, US, 2016) This documentary pieces together the bizarre true story of a collection of some 500 films dating from 1910s – 1920s, which were lost for over 50 years until discovered buried in a sub-arctic swimming pool deep in the Yukon Territory, in Dawson City, located about 350 miles south of the Arctic Circle. Using these permafrost protected, rare silent films and newsreels, archival footage, interviews and historical photographs to tell the story, and accompanied by an enigmatic score by Sigur Rós collaborator and composer Alex Somers (Captain Fantastic), Dawson City: Frozen Time depicts a unique history of a Canadian gold rush town by chronicling the life cycle of a singular film collection through its exile, burial, rediscovery, and salvation – and through that collection, how a First Nation hunting camp was transformed and displaced. Find out more at picturepalacepictures.com  .  Prince Charles Cinema, London   Link

 

9 August

The Navigator (Dir. Donald Crisp/Buster Keaton, US, 1924) (Screening format – not known, 59mins)  When  the wealthy and impulsive Rollo Treadway (Buster Keaton) decides to propose to his beautiful socialite neighbour, Betsy O’Brien (Kathryn McGuire), things don’t go as planned. Although Betsy turns Rollo down, he still opts go on the cruise that he intended as their honeymoon. When circumstances find both Rollo and Betsy on the wrong ship, with no one else on board, they end up with some hilarious high adventures on the high seas, which allows Keaton plenty of opportunities to display his trademark agility. Find out more at busterkeaton.com  With live piano accompaniment by Meg Morley.  Pound Arts, Corsham Link

 

18 August

Underground (Dir. Anthony Asquith, GB, 1928) (Screening format – not known, 84 mins) In 1920s London, during a normal hectic day on the Underground, mild mannered Northern Line porter Bill (Brian Aherne) falls for shop worker Nell (Elissa Landi). But their relationship is threatened by power station worker Burt (Cyril McLaglan) who also has eyes for Nell.  Consumed by jealousy, Burt plots to discredit Bill with a plan that results in a daring chase through London’s underground and across rooftops of the city.  Although Underground was only Asquith‘s second film  he handles the melodramatic story with confidence and great sophistication.  Underground is a rare study of 1920s working-class London, and offers a fascinating and historically interesting glimpse of its public transport system.  Find out more atscreenonline.org.uk.   With live musical accompaniment by Harmonieband.  St John’s Chapel, Chichester  Link

 

Love ’Em and Leave ’Em  (Dir. Frank Tuttle, US, 1926) (Screening format – 16mm, 78 mins)  Young vamp Louise Brooks causes mayhem in a NY department store in this snappy comedy starring Evelyn Brent.  Brooks proves she is more than just a proficient at the Charleston in this snappy comedy of sibling rivalry. She almost out-acts the film’s star, Evelyn Brent, who plays the elder sister who has promised her mother to keep the vampish youngster out of trouble. It was Brooks’ best performance to date – ably directed by Frank Tuttle – and heralded her transfer to Hollywood and true stardom.  Find out more at   www.pandorasbox.com.  With introduction and live musical introduction.  BFI Southbank, London   Link

Piccadilly (Dir E A Dupont, UK, 1929) (Screening format – not known, 92 mins)  A film noir before the term was in use, uncredited German director E.A. Dupont’s Piccadilly ith introduction and live musicas one of the true greats of British silent films, on a par with the best of Anthony Asquith or Alfred Hitchcock during this period. Valentine Wilmot (Jameson Thomas) owns a nightclub featuring dancers Mabel (Gilda Gray) and Vic (Cyril Ritchard). After a confrontation with Wilmot, Vic quits performing at the club. When the joint starts losing business, a desperate Wilmot hires former dishwasher Shosho (Anna May Wong) as a dancer. She is an instant hit and forms a rapport with Wilmot, which makes both Mabel and Shosho’s friend (King Ho Chang) jealous, leading to a mysterious murder.  A stylish evocation of Jazz Age London, with dazzlingly fluid cinematography and scenes ranging from the opulent West End to the seediness of Limehouse. One of the pinnacles of British silent cinema, Piccadilly is a sumptuous show business melodrama seething with sexual and racial tension – with an original screenplay by Arnold Bennett.  Find out more at screenonline.org.uk .  With live organ accompaniment by Donald Mackenzie.  Musical Museum, Brentford  Link

 

21 August

Sherlock Jnr (Dir. Buster Keaton, 1924) (Screening format – not known, 45 mins) In Sherlock Jr, a kindly movie projectionist (Buster Keaton) longs to be a detective. When his fiancée (Kathryn McGuire) is robbed by a local thief (Ward Crane), the poor projectionist is framed for the crime. Using his amateur detective skills, the projectionist follows the thief to the train station – only to find himself locked in a train car.  Disheartened, he returns to his movie theatre, where he falls asleep and dreams that he is the great Sherlock Holmes.   Although not a popular success on its initial release, the film has come to be recognised as a Keaton classic with its special effects and elaborate stunts making it a landmark in motion picture history.  Find out more at silentfilm.org.   With live musical accompaniment from the Buster Plays Buster jazz quartet.  Chichester Cinema   Link

 

28 August

Nosferatu (Dir. F W Murnau, 1922) (Screening format – not known, 96mins) A German Expressionist 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 master work 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 musical accompaniment by Hugo Max.  Prince Charles Cinema, London Link