Live Screenings – February 2024 – Silentfilmcalendar.org

2 February

Sherlock Jnr (Dir. Buster Keaton, 1924) (Screening format – digital, 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 recorded score. Picture House, Arts Link

Blood And Sand (Dir. Dorothy Arzner (uncredited), US, 1922) (Screening format – 35mm, 90mins) Starring Rudolph Valentino, Lila Lee and Nita Naldi, Blood And Sand was based on the 1909 Spanish novel Sangre y arena by Vicente Blasco Ibáñez and the play version of the book by Thomas Cushing. Rudolph Valentino is Juan Gallardo, a poor boy who becomes a famous bull fighter. Although he is married to his childhood sweetheart, he starts a passionate affair with a wealthy widow. When Juan wants to terminate this relationship, his mistress tells his wife about the affair. Juan gets more and more depressed and becomes increasingly reckless in the arena. The film was a massive box office hit, becoming one of the top-grossing films of that yer. Along with The Sheik and Four Horsemen of the Apocalypse (both 1921), the film made Valentino an international superstar. “In my judgement it is the best thing he has done,” said Mary Pickford of Valentino’s performance, “and one of Mr. Niblo’s finest pictures. It is one of the few pictures I have been able to sit through twice and enjoy the second time more than the first.” But it was not just Valentino’s performance that stood out in Blood And Sand. Pioneering film editor (and later director) Dorothy Arzner shot additional bull-fight scenes and intercut this with stock footage and close-ups of Valentino to heighten the film’s dramatic scenes. Her work on the film, although uncredited, resulted in her gaining a full-time directorial role at Paramount. Find out more at altfg.com With live musical accompaniment. BFI Southbank, London Link

4 February

Get Your Man (Dir. Dorothy Arzner, US, 1927) (Screening format – 35mm, 53mins) Variety (12 Oct., 1927) referred to this picture as an ‘all-woman production’ directed by Arzner, scripted by Hope Loring and Alice Brand Leahy, with choreographer Marion Morgan and business manager Henrietta Cohn. In this rare survivor from Arzner’s silent work, Bow charms as Nancy, an American in Paris who falls for engaged nobleman Robert and hatches an elaborate plan to get her man. Its success led to Arzner being entrusted with Bow’s first talkie. Find out more at silentfilm.org With live musical accompaniment by Meg Morley. Followed by panel discussion with season curator Caroline Cassin, film historian Pamela Hutchinson and Bryony Dixon, BFI National Archive curator. BFI Southbank, London Link

Get Your Man (Dir. Dorothy Arzner, US, 1927) (Screening format – 35mm, 53mins) Variety (12 Oct., 1927) referred to this picture as an ‘all-woman production’ directed by Arzner, scripted by Hope Loring and Alice Brand Leahy, with choreographer Marion Morgan and business manager Henrietta Cohn. This lightweight comedy, one of six Clara Bow made in 1927, displays the essence of the silent screen star. Bow was a natural for the camera, dazzling the viewer with her high-spirits, flirtatiousness, and sensuality. Her pantomime is dynamic, and, although she mugs constantly, the effect is alluring, amusing and always appropriate. In this rare survivor from Arzner’s silent work, Clara Bow stars as Nancy, an American in Paris who falls for engaged nobleman Robert and hatches an elaborate plan to get her man. Its success led to Arzner being entrusted with Bow’s first talkie, The Wild Party. Find out more at clarabow.net Followed by live panel discussion. With live musical accompaniment. BFI Southbank, London Link

Neil Brand Presents Laurel And Hardy After the national success of his long-running show ‘Neil Brand Presents Buster Keaton’, the composer/writer/broadcaster/musician returns with an all-new show about the immortal comedy duo recently portrayed in the hit film ‘Stan and Ollie’. Fully illustrated with stills, clips (both silent and sound) and Neil’s superlative piano accompaniment and culminating in two of the Boys’ best silent short films, Big Business and Liberty, this is a show that promises gales of laughter throughout, as well as getting under the skin of two warm, funny men who continue to make the world laugh when it needs it most. With live piano accompaniment by Neil Brand. Tivoli Theatre, Wimborne Link

7 February

8 February

Women of Surrealism An event addressing the legacy of women in surrealism, critically examining the politics surrounding the historical under-representation of their work. Includes The Seashell and the Clergyman ( aka La Coquille et le clergyman) (Dir. Germaine Dulac, Fr, 1928) (Screening format – not known, 40mins) Adapted from a story by Antonin Artaud, The Seashell and the Clergyman is now generally regarded by most critics as the first true Surrealist film, although its fame has largely been eclipsed by the later works of Man Ray ( L’Etoile de Mer, 1928) and Luis Buñuel and Salvador Dalí (Un Chien Andalou, 1929). The film tells of a young clergyman and his repressed sexual desire for a beautiful but unattainable aristocratic woman. and represented a critique of patriarchy – state and church – and of male sexuality. Director Dulac was already a successful filmmaker, albeit in a more conventional style, of which perhaps the best known today is The Smiling Madame Beudet (1923) a psychological melodrama. But The Seashell and The Clergyman represented a major departure from her previous work. However, on its initial French release, Artaud and other surrealists denounced the film and a virtual riot ensued at its first Paris screening. Nevertheless, the film was a crucial influence on future Surrealist films with the styles that Dulac employed in the film – superimpositions, montage, displacement shots, hallucinatory, spectral imagery – being reused in later, better-known Surrealist films. Upon coming before the British Board of Film Censors, they famously reported that the film was “so cryptic as to be almost meaningless. If there is a meaning, it is doubtless objectionable” and promptly banned it. Find out more at anothergaze.com. With recorded score. Followed by panel discussion. Garden Cinema, London Link

10 February

11 February

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 a pre-recorded introduction from Yuliia Kovalenko, film critic and program director Docudays UA. With recorded score (?) Garden Cinema, London Link

The General (Dir. Buster Keaton/Clyde Bruckman, 1926) (Screening format – digital, 75mins) Widely considered one of the greatest films ever made and one of the most revered comedies of the silent era, Buster Keaton’s effortless masterpiece sees hapless Southern railroad engineer Johnny Gray (Keaton) facing off against Union soldiers during the American Civil War. When Johnny’s fiancée, Annabelle Lee (Marion Mack), is accidentally taken away while on a train stolen by Northern forces, Gray pursues the soldiers, using various modes of transportation in comic action scenes that highlight Keaton’s boundless, innovative wit and joyful, lighthearted dexterity, to reclaim the train and thereby save the South. Find out more at busterkeaton.com . With live musical accompaniment by Hugo Max. . Picture House, Little Theatre Link

The General (Dir. Buster Keaton/Clyde Bruckman, 1926) (Screening format – digital, 75mins) Widely considered one of the greatest films ever made and one of the most revered comedies of the silent era, Buster Keaton’s effortless masterpiece sees hapless Southern railroad engineer Johnny Gray (Keaton) facing off against Union soldiers during the American Civil War. When Johnny’s fiancée, Annabelle Lee (Marion Mack), is accidentally taken away while on a train stolen by Northern forces, Gray pursues the soldiers, using various modes of transportation in comic action scenes that highlight Keaton’s boundless, innovative wit and joyful, lighthearted dexterity, to reclaim the train and thereby save the South. Find out more at busterkeaton.com . With recorded score. Picture House, Bromley, Clapham, Crouch End, Ealing, East Dulwich, Finsbury Park, Fulham, Greenwich, Central, Ritzy, Stratford, Gate, West Norwood, Ashford, Arts, Cameo, Chester, Cinema City, City Screen, Duke Of York’s, Exeter, Fact, Phoenix Link

The General (Dir. Buster Keaton/Clyde Bruckman, 1926) (Screening format – not known, 75mins) Widely considered one of the greatest films ever made and one of the most revered comedies of the silent era, Buster Keaton’s effortless masterpiece sees hapless Southern railroad engineer Johnny Gray (Keaton) facing off against Union soldiers during the American Civil War. When Johnny’s fiancée, Annabelle Lee (Marion Mack), is accidentally taken away while on a train stolen by Northern forces, Gray pursues the soldiers, using various modes of transportation in comic action scenes that highlight Keaton’s boundless, innovative wit and joyful, lighthearted dexterity, to reclaim the train and thereby save the South. Find out more at busterkeaton.com . Introduced by academic Peter Krämer, De Montfort University. With live piano accompaniment by Andrew Harrison-King. The Medieval Hall, Salisbury Link

12 February

The General (Dir. Buster Keaton/Clyde Bruckman, 1926) (Screening format – digital, 75mins) Widely considered one of the greatest films ever made and one of the most revered comedies of the silent era, Buster Keaton’s effortless masterpiece sees hapless Southern railroad engineer Johnny Gray (Keaton) facing off against Union soldiers during the American Civil War. When Johnny’s fiancée, Annabelle Lee (Marion Mack), is accidentally taken away while on a train stolen by Northern forces, Gray pursues the soldiers, using various modes of transportation in comic action scenes that highlight Keaton’s boundless, innovative wit and joyful, lighthearted dexterity, to reclaim the train and thereby save the South. Find out more at busterkeaton.com . With recorded score. Picture House, Harbour Lights Link

13 February

14 February

Exit Smiling (Dir. Sam Taylor, US, 1926) (Screening format – not known, 77mins) Renowned stage comedienne Beatrice Lillie – a Canadian-born British star whose reputation spanned both continents – made regrettably few films. Fortunately one of these is the 1926 MGM feature Exit Smiling, produced and directed by one of Harold Lloyd’s key associates, Sam Taylor. `Bea’ Lillie plays Violet, the dogsbody for a travelling theatrical troupe who harbours ambitions to act – or, as a title card informs us, has played `Nothing’ in Much Ado About Nothing! A true classic, it is a joyous example of her comedic skills but also highlights a Chaplin-esq talent for pathos. Various reviewers describe her as ‘wonderful, hilarious, mesmerising”. Watch out too for Franklin Pangborn in a laugh-out-loud role which earned this film a place in TCM’s Gay Images in Hollywood series. Find out more at silent-volume.blogspot.co.uk. Presented as part of the Slapstick Festival. Introduced by renowned film historian David Robinson. With live musical accompaniment by Daan van den Hurk. Watershed, Bristol Link

Cat And The Canary (Dir. Paul Leni, US, 1927) (Screening format – not known, 82mins) The Cat and the Canary, originally a stage play, weaves a tale now very familiar to lovers of the horror genre. Cyrus West, a millionaire, died a presumed madman. His will is only to be read 20 years following his death. The heir? A 20-something girl by the name of Annabelle West. However, the will has an odd condition – since the greed of West’s family drove him to madness (like cats surrounding a canary), Annabelle must be deemed psychologically sound, or the money turns over to a secret heir named in an envelope held by Mr. Crosby, the lawyer overseeing the will reading. Mr. Crosby soon goes missing, with Annabelle the only witness to his disappearance. Is Annabelle spiraling into insanity? Or is the mystery heir pushing her there? The film takes us on a twisty whodunit, one of the very first of the genre, and indubitably one of the few that withstands the test of time. Directed by German expressionist film-maker Paul Leni, his first Hollywood film after having been recruited by producer Carl Laemmle for Universal, and remade three times in the sound era, this silent version is considered the definitive rendering. Find out more at silentfilm.org. Presented as part of the Slapstick Festival. Introduced by author/comedian Robin Ince and YouTuber/comedian Alasdair Beckett-King. With live musical accompaniment by Guenter A. Buchwald. Bristol Beacon: Lantern Hall, Bristol Link

15 February

Keaton Speaks Not really a silent but, hey, any Keaton is better than no Keaton. Silent comedy superstar Buster Keaton continued working long after sound was added to pictures. Here Keaton researcher Polly Rose focuses on three films exemplifying the best of Keaton’s speaking roles – two in acclaimed comedy shorts from the 1930s, the third as the lead in a British television drama from 1954. The choices include Grand Slam Opera (1936), featuring Buster’s dance homage to Fred Astaire, described by Film Daily on its release as “a laugh riot – easily the best comedy Keaton has ever delivered!” Presented as part of the Slapstick Festival. Watershed, Bristol Link

Up In Mabel’s Room (Dir. E. Mason Hopper US, 1926) (Screening format – not known, 76mins) In this romantic farce, Mabel (Marie Prevost) meets, falls for and marries Garry (Harrison Ford, Hollywood’s first of that name) only to divorce him after she discovers he’s secretly bought some daring female underwear which she believes is for another woman. She is mistaken, of course, but is it too late to win him back? Garry of course has his pride and “won’t let the same woman divorce me twice!” He tries proposing to another girl who is crazy about him, in an attempt to throw Mabel off track, but it does quite the opposite. We know all along Garry is fighting a losing battle but it is fun to watch the games that are played until differences are resolved. Marie Prevost shines as the scatty, change-of-mind flapper heroine. Find out more at imdb.com Presented as part of the Slapstick Festival. Introduced by actor/comedian Lucy Porter. With live musical accompaniment by Daan van den Hurk. Watershed, Bristol Link

Live From New York – Halloween In February Spooktacular Halloween is past, but Ben Model and Steve Massa bring it back with a live performance of three surreal and scary shorts. First on the bill is A Fraternity Mixup (1926) where Alice Ardell and Gale Henry spend the night in a spooky girl’s school where they are visited by an escaped gorilla. In Local Showers (1916) poor Musty Suffer has a toothache and gets an appointment with the dentist from hell (saying “dentist” is scary enough for most people). Finally, The Haunted House (1921) sees Buster Keaton investigating the strange going-ons in the titular abode. This creepy trio is curated and hosted live from New York by Ben Model, accompanying live on piano, and Steve Massa. Presented as part of the Slapstick Festival. Watershed, Bristol Link

Laurel and Hardy – Last Dance of the Cuckoos Comedian, actor, broadcaster and writer Marcus Brigstocke introduces the South-West premiere of a truly charming film in which photographer Andy Hollingworth takes Stan Laurel’s touring hat from Stan’s birthplace in Cumbria to the County Cork harbour town which gave Laurel & Hardy such a joyous welcome in September 1953 both always recalled it as the greatest day of their lives. Plus a screening of their favourite Stan & Ollie short and all followed by an ‘in conversation’ with Andy and Matt the film’s director/ cinematographer. Presented as part of the Slapstick Festival. Lantern Hall at Bristol Beacon, Bristol Link

16 February

Laurel and Hardy – Year One Slapstick patron Marcus Brigstocke joins an enthusiastic panel of Stan & Ollie admirers hosted by Robin Ince as they revel in the global effort which has gone into finding and restoring the films made by Stan and Ollie in 1927 – the first full year of a comedy partnership that would go on to enjoy enduring popularity. This event will include screenings of Duck Soup (directed by Fred Guoil) in which Oliver impersonates a country gent while Stan impersonates the maid and Battle of the Century (Clyde Brookman/ Leo McCarey) which features the greatest custard pie fight ever put on film. Presented as part of the Slapstick Festival. With live musical accompaniment by Daan van den Hurk. Watershed, Bristol Link

Lloyd Hamilton – The Comedians’ Comedian – Charlie Chaplin once confessed Lloyd Hamilton was the comedy film actor he most envied; Charley Chase confessed to handling difficult scenes by asking himself “How would Lloyd have done it?”; according to Buster Keaton, Hamilton was “one of the funniest men in pictures.” So why is someone so admired by his peers virtually forgotten now, and is it time for a appraisal? Presented as part of the Slapstick Festival. Introduced by Graeme Garden. With live musical accompaniment by Daan van den Hurk. Watershed, Bristol Link

Kiki (Dir. Clarence Brown, US, 1926) (Screening format – not known, 108mins) Although Kiki‘s star Norma Talmadge was an accomplished comedienne, and had played in numerous comedies in the early years of her career, by the early 1920s she had been pretty much type cast as the long suffering heroine of numerous melodramas (sister Constance Talmadge had become known as the comedienne of the family). But this Paris-set romcom proved that she retained her comedic talent and timing. In it, she plays a street waif angling for a singing and dancing job in a theatre and for the heart of its handsome manager (Ronald Colman). Her ruses involve sparky battles with his fiancée (Gertrude Astor), barricading herself into his bedroom and terrorising his valet (George K. Arthur). Find out more at moviessilently.com Presented as part of the Slapstick Festival. Introduced by actor/comedian Lucy Porter. With live musical accompaniment by Daan van den Hurk. Watershed, Bristol Link

Live From New York – Buster Keaton: Cameraman Keaton researcher Polly Rose hosts a live conversation direct from New York with Dana Stevens, author of the best-selling, rave reviewed, book Camera Man: Buster Keaton, the Dawn of Cinema and the Invention of the Twentieth Century’ about the dazzling new insights it offers into Keaton’s life and work by viewing his story alongside what was happening at the same time in entertainment, journalism, law, technology, social change, attitudes to addiction and more. Presented as part of the Slapstick Festival. Watershed, Bristol Link

Silent Comedy Gala Actor and film star Hugh Bonneville introduces a triple bill of laugh-out-loud silent comedy classics, back in the auditorium where Slapstick began and with each showing on a giant screen with live musical accompaniment. Topping the film bill at the Slapstick’s 20th gala will be the double Oscar-nominated The Gold Rush (1925), written and directed by and starring Charlie Chaplin as a lone Klondike prospector who discovers it is easier to find trouble than gold, and featuring a real bear and dancing bread rolls. Joining it in the line-up will be the 1922 short Cops which finds an impressively acrobatic Buster Keaton being chased by a city’s entire police force, and Big Business (1929), starring Laurel & Hardy as hilariously incompetent Christmas tree salesmen. Presented as part of the Slapstick Festival. With live musical accompaniment from the 16-piece Bristol Ensemble, conducted by Günter A. Buchwald, pianist John Sweeney and percussionist Frank Bockius. Beacon Hall Bristol Beacon, Bristol Link

17 February

The Timeless Genius of Buster Keaton Join us for a laugh-out loud afternoon as Mike McCartney hand picks his favourite Keaton short films, reminiscing from childhood. In conversation with a special guest host (TBC), Mike shares stories of his own comedy mischief from his time in chart topping band The Scaffold and reveals why he so admires the great stone face performer. A rare chance to celebrate this master of onscreen silent comedy. Presented as part of the Slapstick Festival. With live musical accompaniment from pianist John Sweeney . The Lantern at Bristol Beacon, Bristol Link

20 February

21 February

22 February

Earth (Dir. Oleksandr Dovzhenko, USSR 1930) (Screening format – 16mm, 75 mins) Earth, the final part of Dovzhenko’s silent trilogy, is undoubtedly the most famous and controversial movie of the Ukrainian Soviet silent film heritage. Full of lyrical pantheism and utopian exaltation, it demonstrated the ambiguity of Ukrainian geopolitical choice in the late 1920s. The simple plot tells the story of a small Ukrainian village on the eve of collectivisation. Vasyl, the leader of the activist youth, is trying to engage villagers into the collective farm movement while waiting for a technical miracle: a tractor, the forerunner of the new era. Finally, he ploughs a boundary separating the private plots from the collective ones. This enthusiasm costs Vasyl his life, but makes him a martyr – a necessary sacrifice for the new social order. Although Earth fits the tradition of Soviet propaganda films, Dovzhenko’s interest in the human condition and its bond with nature takes the film beyond the propaganda realm. As told by Dovzhenko, an ordinary tale of a class struggle becomes a universal philosophical parable about life and death. Criticised severely for its naturalism, the film was banned nine days after its release in the Soviet Union and was given a credit in Ukraine only after Dovzhenko’s death. Earth hit the headlines only in 1958, when the International Referendum in Brussels praised the film as one of the best 12 films in the history of cinema. It has been voted one of the top ten silent films by The Guardian and The Observer. Find out more at sensesofcinema.com With live musical accompaniment. ICA London Link

27 February

The Hunchback of Notre Dame (Dir.Wallace Worsley, US, 1923) (Screening format – not known, 117mins) A classic silent film, full of drama, frights, romance, and excitement – Quasimodo’s story is told with the thrilling addition of a live score – bringing this extraordinary movie to life like never before. Quasimodo is ordered to kidnap a gypsy girl, Esmerelda, by his wicked master, and an unlikely friendship forms between them. However, the reclusive hunchback is tested to his limits when Esmerelda is framed for attempted murder, and must fight back against the powers that have subjugated him. Victor Hugo’s tragic tale of the deformed bellringer and his love for Esmeralda, a doomed gypsy girl, has been filmed so many times and it’s not hard to see the film’s ageless appeal. While some movie lovers who cite the 1939 Charles Laughton version as their favorite interpretation, the general consensus is that Chaney remains the definitive Quasimodo. Find out more at wikipedia.org. With live orchestral accompaniment. St George’s , Bristol Link

28 February

Days Of Chivalry (Dir. Hazel ffennel, UK, 1928) (Screening format – not known, ??mins) A romantic medieval fantasy, Days of Chivalry was filmed in the area around Wytham in 1928. It has been shown to small groups before, but this is the first cinema screening. The British Film Institute called it ‘one of the best examples of amateur film-making’ from the UK in this period, a remarkably complex and ambitious for a project led by a single individual. Find out more at estates.admin.ox.ac.uk With a new live score by Sebastian Reynolds. After the screening, there will be an audience Q&A session with Reynolds and local historian Mervyn Hughes Phoenix Cinema, Oxford Link

Madame Dubarry (Dir Ernst Lubitsch, Ger, 1919) (Screening format – digital, 114mins) Written by Norbert Falk and Hanns Kräly and based on the Memoirs d’un Médecin by Alexandre Dumas, Madame Dubarry stars Pola Negri, Emil Jannings, Harry Liedtke and Eduard von Winterstein. In the film, Louis XV (Emil Jannings) is smitten by a Parisian shopgirl (Pola Negri) with an insatiable appetite for sex, food, fashion and fun. But as she schemes to become the most powerful woman in France, the spectre of revolution looms. Combining breathtaking spectacle with a sharp eye for telling detail, this tragicomic epic was a passport to Hollywood for both Lubitsch and Negri. The film premiered in Berlin on 18 September 1919, inaugurating Ufa’s largest movie palace, Palast am Zoo. After the screening, former mentor Max Reinhardt reportedly told Lubitsch, “The student has surpassed the master”. The film was a box office smash. It stayed in the all-time Top 10 films by ticket sales until 1930 in the US, where it was released by First National under the title Passion. Find out more at sensesofcinema.com Presented by the Kennington Bioscope. With live musical accompaniment. Cinema Museum, Lambeth. Link

29 February

Die Nibelungen – Part 1 : Siegfried (Dir. Fritz Lange, Ger, 1924) (Screening format – not known, 143mins) To celebrate the centenary of Fritz Lang’s Die Nibelungen, the Austrian Cultural Forum is screening of both parts of Lang’s epic film: Siegfried and Kriemhild’s Revenge, in a beautifully restored version from the Friedrich Wilhelm Murnau Stiftug. Shot between 1922 and 1924 Die Nibelungen is truly epic in scale and ambition. Cutting edge technical innovation contributed enormously to the style and sweep of the story. Thea von Harbou’s script sought inspiration from the nordic saga (believed to be dated around 1200AD) rather than from the popular Wagner opera of the same title. Set designs and costumes are magnificent and unwaveringly modern. Find out more at wikipedia.org. With new recording of Gottfried Huppertz original score. Austrian Cultural Forum, London. Link

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