September 2017

2 September

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 . With live live DJ set/soundtrack accompaniment by Vangelis Makriyannakis. Hippodrome Cinema, Bo’Ness Scotland Link

3 September

Berlin: Symphony of a Great City (Berlin: Die Sinfonie der Groβtadt) (Dir. Walter Ruttman, Ger, 1927) (Screening format – not known, mins) This is a visual symphony in five movements celebrating the Berlin of 1927: the people, the place, the everyday details of life on the streets. Director Walter Ruttman, an experimental filmmaker, approached cinema in similar ways to his Russian contemporary Dziga Vertoz, mixing documentary, abstract, and expressionist modes for a nonnarrative style that captured the life of his countrymen. But where Vertov mixed his observations with examples of the communist dream in action, Ruttman re-creates documentary as, in his own words, “a melody of pictures.” Within the loose structure of a day in the life of the city (with a prologue that travels from the country into the city on a barreling train), the film takes us from dawn to dusk, observing the silent city as it awakens with a bustle of activity, then the action builds and calms until the city settles back into sleep. But the city is as much the architecture, the streets, and the machinery of industry as it is people, and Ruttman weaves all these elements together to create a portrait in montage, the poetic document of a great European city captured in action. Held together by rhythm, movement, and theme, Ruttman creates a documentary that is both involving and beautiful to behold. Find out more at sensesofcinema.com . With live piano accompaniment by Darius Battiwalla. Hyde Park Picture House, Leeds Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Presented with the live premiere of James McWilliam‘s accompanying composition, performed by the Covent Garden Sinfonia, conducted by Ben Palmer, and followed by a discussion featuring the filmmakers and London history specialist Mark Rowland, chair of Footprints of London. Barbican, London Link

3-4 September (2 Performances)

South (Dir. Frank Hurley, UK/Aus, 1919) (Screening format – not known, 88mins). Australian filmmaker Frank Hurley’s record of Shackleton’s 1914-17 Antarctic expedition is also a document of life – human and otherwise – striving to survive in the most adverse climatic conditions imaginable. More than a mere chronicle of an epic undertaking, the film is visually magnificent, its images of the vast frozen wilderness composed with a meticulous attention to framing and light. Find out more at moviessilently.com . With live piano accompaniment. BFI Southbank, London Link

5 September

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Accompanied by a recorded original musical composition by James McWilliam. The screening will be followed by a Q&A with the film’s director/editor Alex Barrett. David Lean Picture House, Croydon Link

6 September

One A.M. (Dir. Charles Chaplin, US, 1916) + I Do (Dir. Hal Roach, US, 1921) + The High Sign (Dir. Edward F Cline/Buster Keaton, US, 1921) (Screening format – not known, 34/26/21 mins) In One A.M., Charlie Chaplin is the drunken homeowner having a difficult time getting in to his own home after arriving back late at night. I Do sees a young married couple (Harold Lloyd and Mildred Davis) finding out just how difficult it is to look after a friend’s kids for the day. Find out more at wikipedia.org . In The High Sign, Buster Keaton plays a drifter who gets a job in a amusement park shooting gallery. Believing Buster is an expert marksman, both the murderous gang the Blinking Buzzards and the man they want to kill end up hiring him. The film ends with a wild chase through a house filled with secret passages. Find out more at sensesofcinema.com . With live musical accompaniment by the theatre’s in-house light orchestra, Gladstone’s bag! Britannia Panoptican Music Hall, Glasgow Link

The Goose Woman (Dir. Clarence Brown, US, 1925) (Screening format – not known, 80mins) Louise Dresser plays Marie du Nard, a celebrated opera diva who loses her voice and her reputation after giving birth to an illegitimate son. Reverting to her given name of Mary Holmes, she returns to her hometown, living in a squalid shack and raising geese. Years later, a headline-making murder case is played out in her town. Hoping to capture her past celebrity, Mary claims to be a witness to the murder…Find out more at silentfilm.org . A Kennington Bioscope presentation with live piano accompaniment. The Cinema Museum, Lambeth, London Link

7 September

Celebrating a Bristol Film Pioneer. After the huge success of celebrating one of Bristol’s film heroes, South West Silents and Dawkins Ales are proud to announce another chance to raise a glass to celebrate the great Bristol film pioneer, William Friese-Greene. Born in Bristol on 7th September 1855, William Edward Green (the Friese-Greene was added later) is classed by many as one of the founding fathers of British Cinema and a key figure in the early development of cinematography as a whole. In some circles he is celebrated, while in others he is damned for filing patents on devices he allegedly didn’t invent. On the anniversary of his birth this event will celebrate the inventor’s birthday with the return of the beer named in his honour and with a selection of films inspired by his work. The Victoria Public House, Clifton, Bristol Link

8 September

Laurel & Hardy Afternoon A collection of Laurel & Hardy classics with live accompaniment from pianist Jonny Best. Presented as part of the Leeds International Beer Festival. Leeds Town Hall, Leeds Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Accompanied by a recorded original musical composition by James McWilliam. The screening will be followed by a Q&A with the film’s director/editor Alex Barrett. Chelsea Theatre, London Link

9 September

The Adventures of Prince Achmed (Dir. Lotte Reiniger , Ger, 1926) (Screening format – not known, 65mins) The first feature-length animation in film history, masterminded by Lotte Reiniger and hand-tinted frame by frame. Based on ‘The Arabian Nights’, the film tells the epic tale of Prince Achmed, who is tricked into mounting a magical flying horse by a wicked sorcerer. The horse carries Achmed off on a series of adventures, over the course of which he joins forces with young Aladdin, battles ogres and monsters and romances the beautiful Princess Peri Banu.Find out more at wikipedia.org . With live musical accompaniment by Stephen Horne. Introduced by Jamila Gavin. Barbican, London Link

Silent Film Evening A selection of silent films (titles TBC) with live organ accompaniment by Donald MacKenzie. St Mary & St Giles Church, Stony Stratford. Link

10 September

Setan Jawa (Dir. Garin Nugroho, Indo, 2017) (Screening format – not known) Indonesian film director Garin Nugroho’s latest masterpiece is a silent dance film in black and white. The film is set at the beginning of the 20th century, and is a Javanese take on the classic Faustian legend of a pact made with the devil (setan) in order to gain riches and love. Setan Jawa was premiered at Asia TOPA, Arts Centre Melbourne, in February 2017. Find out more at setanjawamovie.com . Presented as part of the Gamelan Festival. Accompanied live by the gamelan compositions of Rahayu Supanggah. Cadogan Hall, London, SW1 Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Accompanied by a recorded original musical composition by James McWilliam. The screening will be followed by a Q&A with the film’s director/editor Alex Barrett. Rio Cinema, Dalston Link

Napoleon (Dir. Abel Gance, 1927) (Screening format – DCP, 332 mins) Gance’s astounding biopic of Napoleon traces his career from his schooldays (where a snowball fight is staged like a military campaign), his flight from Corsica, through the French Revolution (where a real storm is intercut with a political storm) and the Terror, culminating in his triumphant invasion of Italy in 1797. The film ends here because it was intended to be part one of six, but Gance was unable to raise the money to make further episodes. The film’s legendary reputation is due to the astonishing range of techniques that Gance uses to tell his story (including fast cutting, extensive close-ups, hand-held camera shots, location shooting, point of view shots, multiple camera set-ups, multiple exposure, superimposition and under water shots) culminating in the final twenty-minute triptych sequence, which alternates widescreen panoramas with complex multiple- image montages. This is the most complete version of the film available, compiled by Academy Award-winning film-maker, archivist and historian Kevin Brownlow who spent over 50 years tracking down surviving prints from archives around the world since he first saw a 9.5mm version as a schoolboy in 1954. Find out more at BFI and Wikipedia With recorded Carl Davies orchestral accompaniment. Curzon, Clevedon Link

Strike (Dir. Sergei Eisenstein, USSR, 1925) (Screening format – not known, 82mins) Eisenstein’s landmark first film tells the story of a workers’ revolt in a factory in Czarist Russia. Featuring historic experiments in the art of montage, Eisenstein used editing to juxtapose complementary images to create rapid and dynamic shifts in rhythm. Exploring themes of collectivism versus individualism, with an explicit revolutionary agenda and laden with visual metaphors; indeed, the emotive sequence towards the end in which the violent suppression of the strike is cross-cut with footage of cattle being slaughtered, has been compulsory viewing for film students ever since. An exemplary film of Russian revolutionary cinema. Find out more at classicartfilms.com. With live piano accompaniment by Wendy Hiscocks. Barbican, London. Link

13 September

Mr Gilfil’s Love Story (Dir. A V Bramble, GB, 1920) (Screening format – not known, ??mins) Based upon the George Eliot story Mr Gilfey’s Love Story from her 1858 collection Scenes of Clerical Life, this tells the tale of Reverand Maynard Gilfil (Robert Henderson Bland) and his love for Caterina (Mary Odette) the adopted daughter of an aristocratic family. But when his affections are ignored and she focuses her attentions instead on Captain Wybrow (Peter Upcher), the heir to the family estate, then tragedy looms. Find out more at wikipedia.org . Presented as part of the British Silent Film Festival. With live musical accompaniment. Phoenix Cinema, Leicester. Link

Edgar Allan Poe Evening featuring The Fall of the House of Usher (Dir. James Sibley Watson/Melville Webber, US, 1928) + The Tell Tale Heart (Dir. Charles Klein/Leon Shamroy, US, 1928) + Prelude (Dir. Castleton Knight, UK, 1927) Screening format – not known, 13/24/7 mins) This was an early avant-garde interpretation of Poe’s story of brother and sister living under a family curse, heavily influenced by German Expressionist filmmaking. Focusing more on style than a cogent plot, the film was largely overshadowed by Jean Epstein’s French version of the story, made the same year. Find out more at wikipedia.org . In The Tell Tale Heart A man grows to hate his neighbor, an old man whose penetrating gaze unnerves him. He plans a perfect crime and executes it one night. But when two investigating officers arrive to question him, will his beating heart give him away? Taking its style from the German Expressionism of Caligari, this is a highly stylised adaption of Poe’s story. Find out more at imdb.com . In a whirl of avant-garde imagery, Prelude sees a man (Castleton Knight) hallucinating being buried alive after reading an Edgar Alan Poe story. Find out more at imdb.com Presented as part of the British Silent Film Festival. Introduced by the BFI’s Bryony Dixon. With live musical accompaniment by Stephen Horne. St Mary De Castro Church, Leicester. Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Accompanied by a recorded original musical composition by James McWilliam. The screening will be followed by a Q&A with the film’s director/editor Alex Barrett. Fabrica, Brighton Link

14 September

Rookery Nook (Dir. Tom Walls, UK, 1930) (Screening format – not known, 76mins) An early sound film, highlighting the transition from silent to sound, Rookery Nook was scripted by Ben Travers and based on his original 1926 Aldwych Farce of the same title. When Rhoda Marley (Winifred Shotter) seeks refuge overnight from a tyrannical stepfather in the house of Gerald Popkiss (Ralph Lynn) he seeks to conceal her presence for fear of the scandal as his own wife is away. But that is just the start of his troubles… Find out more at allmovie.com . Presented as part of the British Silent Film Festival. Phoenix Cinema, Leicester. Link

Raise the Roof (Dir. Walter Summers, UK, 1930) (Screening format – not known, 76mins) An early British musical highlighting the transition from silent to sound, Raise The Roof sees an amiable rich boy (Maurice Evans) take charge of a failing musical revue. His father (Sam Livsey) disapproves and hires an actor (Jack Raine) to join the company and sabotage the production. But the plot is discovered by actress Maisey Grey (Betty Balfour) but will she be in time to save the day… Director Walter Summers is probably better known for silent wartime dramas such as A Couple of Down and Outs (1923) and Battles of the Coronel and Falkland Islands (1927) so this film, probably the first British musical, marked quite a change of direction. Find out more at imdb.com . Presented as part of the British Silent Film Festival. Phoenix Cinema, Leicester. Link

Such Is The Law (Dir. Sinclair Hill, UK, 1930) (Screening format – not known, 88mins) An early British sound drama but utilising extensive footage and plot from a never released silent The Price of Divorce (1928), highlighting the transition from silent to sound, Such Is The Law sees a mother (Kate Cutler) attempting to give her troubled daughter (Frances Day, image right) some sage advice in order to save her marriage. Find out more at wikipedia.org . Presented as part of the British Silent Film Festival. Phoenix Cinema, Leicester. Link

Suspense (Dir. Walter Summers, UK, 1930) (Screening format – not known, 75mins) An early sound film, highlighting the transition from silent to sound, Suspense sees a group of WWI British soldiers (including Cyril McLaglen, brother of Victor) sheltering in a trench and gradually becoming aware that the Germans are digging beneath them. Find out more at imdb.com . Presented as part of the British Silent Film Festival. Introduced by Geoff Brown Phoenix Cinema, Leicester. Link

Cocktails (Dir. Monty Banks, UK, 1928) (Screening format not known, 100mins) Carl Schenstrøm and Harald Madsen were a leading pair of ‘Fat and Skinny’ comedians in the movie world long before Laurel and Hardy came along, going by the title “Pat und Patachon”. In Cocktails, the pair are a couple of petty thieves who wind up in England, involved by chance in a cocaine smuggling racket. Find out more at warming.dk . Presented as part of the British Silent Film Festival. Introduced by Laraine Porter. With live musical accompaniment. Phoenix Cinema, Leicester. Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Accompanied by a recorded original musical composition by James McWilliam. The screening will be followed by a Q&A with the film’s director/editor Alex Barrett. Regent Street Cinema, London Link

Phantom Of The Opera (Dir. Rupert Julian, 1925) (Screening format – not known, 103mins) A title that needs no introduction, The Phantom of the Opera has spawned many remakes, remasters and sequels. This original film version, produced with moments of early Technicolour, sees Lon Chaney, the ‘Man of a Thousand Faces’ perform one of his most iconic roles. His ghastly make-up and outrageous performance made this title a benchmark in the American silent film era. The film was a critical and commercial success upon release, and still stands as an important film in cinematic history to this day, with press quotes from the time labelling the film an ‘ultra-fantastic melodrama’ (New York Times), ‘produced on a stupendous scale’ (Moving Picture World) and ‘probably the greatest inducement to nightmare that has yet been screened’ (Variety). The mysterious phantom (Lon Chaney) is a vengeful composer living in the catacombs under the Paris Opera House, determined to promote the career of the singer he loves (Mary Philbin). Famed for the phantom’s shock unmasking, incredible set designs and the masked ball sequence, it still packs a punch. Find out more at wikipedia.org. With live musical accompaniment by acclaimed musicians Minima. The Theatre, Chipping Norton. Link

14-15 September

When You Fall Down – The Buster Keaton Story by James Dangerfield. When You Fall Down is a theatrical production that tells Buster’s story from his first movie-making experience in 1917, to his signing by MGM 11 years later. In 1928 Buster Keaton, star of the silent screen, arrives in Culver City, at the movie studio which is to be his new home. He takes this moment to reflect on his life and career.We join Buster on seven separate days, or one week, from this period, following his personal and professional triumphs and trials. With scripted scenes, slapstick, songs and a soft shoe shuffle, the show is a whole new theatrical tribute to “The Great Stone Face”; a man who always got back on his feet, no matter how many times he fell down. Find out more at jamesdangerfield.com With book, music & lyrics by James Dangerfield and orchestral arrangements and original instrumentals by Martyn Stringer. The Hen & Chickens Theatre, Islington, London N1 Link

15 September

By the Law (Po Zakonu) (Dir . Lev Kuleshov, 1926) (Screening format – not known, 80mins ) Legendary director Lev Kuleshov adapted a short story by Jack London, fashioning a tense, existential study of moral pressure…in effect a pared-back Soviet Western. Three gold prospectors are holed up in a cabin – one driven to murder by greed, the other two wrestling with whether to wait for the snow and ice to thaw and go for the authorities or to take the Law into their own hands. The stage is set for a claustrophobic drama of raw power, combining naturalism and the grotesque, realism and melodrama… Find out more at silentsaregolden.com . With live musical accompaniment by multi-award-winning, post-rock, Scottish composer and song-writer R.M. Hubbert (aka Hubby) performing his brand new guitar score, commissioned by the Hippodrome Silent Film Festival. Eden Court, Inverness Link

Balaclava (Dir. Maurice Elvey/Milton Rosmer, UK, 1928) (Screening format – not known, 72mins) A British officer (Cyril McLaglan) is falsely accused of murder and is dishonorably discharged from the army. He rejoins as an enlisted man and is posted as a cavalryman to the siege of Sebastopol during the Crimean War. He discovers that there is a Russian spy masquerading as a British soldier, and his efforts to unmask the spy results in the famous Charge of the Light Brigade. The film was re-released in 1930 as a talkie while very young David Lean worked on the picture as an assistant/second unit director. Find out more at imdb.com . Presented as part of the British Silent Film Festival. Introduced by Laraine Porter. With live musical accompaniment. Phoenix Cinema, Leicester. Link

Men Like These (Dir. Walter Summers, UK, 1931) (Screening format – not known, 63 mins) An early sound film, highlighting the transition from silent to sound, Men Like These tells of a British submarine on patrol which is accidentally rammed by a merchant ship. The submarine sinks and the men inside are trapped men. Unless they can find a means of escape they are all doomed. Find out more at imdb.com . Presented as part of the British Silent Film Festival. Introduced by Laraine Porter. Phoenix Cinema, Leicester. Link

Dawson City – Frozen Time (Dir. Bill Morrison, US, 2016) (Screening format – not known, 120mins) 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 . Presented as part of the British Silent Film Festival. Phoenix Cinema, Leicester. Link

Different from the Others (Dir. Richard Oswald, Ger, 1919) (Screening format – not known, 50mins) Released in 1919, and banned in 1920, Different From The Others explores a doomed relationship between a master violinist (Conrad Veidt) and his male student (Fritz Schulz) as their relationship is uncovered and they become a target for blackmailers. One of the first gay-themed films in the history of cinema, banned by Weimar and burned by the Nazis, only an incomplete version of the original film survives. Find out more at nytimes.com . Presented as part of the British Silent Film Festival. With an illustrated talk by Dr Matthew Jones. With live musical accompaniment. Phoenix Cinema, Leicester. Link

Hands Up (Dir. Clarence Badger, US, 1926) (Screening format – not known, 70mins) Made in the same year as Keaton’s The General, this is another comedy about the American Civil War but one which has been almost totally forgotten despite it being both critically and financially more successful than Keaton’s film on its initial release. Raymond Griffith plays Jack, a Confederate spy, sent to sabotage Union plans to secure a new source of finance for the war. Facing death at the hands of a firing squad, a hang-man and marauding indians, Jack is helped on his way by a couple of sisters, but how will he choose between them? Find out more at nitratediva.wordpress.com . Presented as part of the British Silent Film Festival. With live musical accompaniment. Phoenix Cinema, Leicester. Link

A Throw Of Dice (Dir. Franz Osten, In/Ger, 1929) (Screening format – not known, 74mins) After the beautiful Sunita nurses Ranjit back to health following dramatic events during a royal tiger hunt, his wicked rival Sohat persuades him to risk his kingdom and his love in a fateful game of dice. A Throw of Dice (Prapancha Pash) is the third film in a pioneering trilogy of silent films made through a unique partnership between German director Franz Osten and Indian actor-producer Himansu Rai, whose films combined documentary techniques with narratives derived from Indian myths and legends. Shot on location in Rajasthan, the film features over 10,000 extras and an impressive array of horses, elephants and tigers. Its star actors all had major careers in Indian cinema and remain legendary and much-loved figures. Find out more at memsaabstory.com .With recorded orchestral score composed by Nitin Sawhney. Edge Hill Railway Station, Liverpool Link

16 September

Speedy (Dir. Ted Wilde, US, 1928) (Screening format – BluRay, 86mins) Harold Lloyd’s final silent film sees him reprise his ‘glasses character’ as a baseball-obsessed New Yorker (the film features a cameo from the legendary Babe Ruth) who becomes determined to save the city’s last horse-drawn streetcar, motivated in no small part by its owner being the grandfather of his love interest. Filled with Lloyd’s trademark rapid-fire visual humour and elaborate set-ups, it’s a fine example of his innovative approach to comedy. Find out more at allmovie.com. Presented as part of the IFI’s 25th anniversary celebrations. With recorded soundtrack. Irish Film Institute, Dublin Link

P.G Wodehouse programme featuring Rodney Fails to Qualify (Dir. Andrew P Wilson, UK, 1924) + Ordeal by Golf (Dir. Andrew P Wilson, UK, ) + The Long Hole (Dir. Andrew P Wilson, UK, 1924) (Screening format – not known). Three short adaptions of the golfing stories of P G Wodehouse made by the Stoll Picture Productions company and all starring Harry Beasley. Presented as part of the British Silent Film Festival. With live musical accompaniment plus reading by Neil Brand and Bryony Dixon Phoenix Cinema, Leicester. Link

Canine Capers featuring Wedding Bells (Dir. Chester Withey, US, 1921) + Limousine Love (Dir. Fred Guiol, US, 1928) + Teddy at the Throttle (Dir. Clarence G Badger, US, 1917) + Rescued by Rover (Dir. Lewis Fitzhamon, Uk, 1905) (Screening format – not known, 60/20/24/7 mins) In Wedding Bells their respective dogs bring Constance Talmadge and Harrison Ford (no, not that one!!) together, but it proves to be a rocky road. Find out more at wikipedia.org . In Limousine Love, Charley Chase’s troubles are just beginning when, on the way to his wedding, he finds a nude, married woman in his car. Find out more at imdb.com. In Teddy at the Throttle can Teddy the dog save the day and protect Gloria Dawn (Gloria Swanson) from her wicked guardian (Wallace Beery). Find out more at centuryfilmproject.org . Rescued by Rover was a very early silent drama, very much ahead of its time in terms of filming techniques, editing, production and story telling, from the Cecil Hepworth Company and featuring Hepworth’s own dog Blair in the title role saving a baby from kidnappers and in the process becoming the cinema’s first movie-star dog. Find out more at screenonline.org.uk Presented as part of the British Silent Film Festival. With live musical accompaniment. Phoenix Cinema, Leicester. Link

The Pleasure Garden (Dir. Alfred Hitchcock, UK, 1925) (Screening format – not known, 75mins) Patsy (Virginia Valli), a chorus girl at the Pleasure Garden music hall helps down on her luck dancer Jill (Carmelita Geraghty) get a job in her show. But when Jill’s fiance Hugh (John Stuart) turns up, he and Patsy are drawn to each other. Meanwhile Jill is living the highlife and being courted by a rich prince. Even though this was Hitchcock’s first film, all the ingredients are in place for a story of high suspense. Find out more at silentlondon.co.uk . Presented as part of the British Silent Film Festival. With live musical accompaniment. Phoenix Cinema, Leicester. Link

A Sister of Six ( aka Die sieben Töchter der Frau Gyurkovics, aka Flickorna Gyurkovics) (Dir. Ragnar Hylten-Cavallius, Ger/Swe/UK. 1926) (Screening format – not known, 102mins) A romantic comedy set in contemporary Hungary, revolving around two of the daughters of the Gyurkovics family, Mizzi (Betty Balfour) and Katinka (Anna-Lisa Ryding), and their various suitors, with a complex plot of mistaken identities, cross-dressing and love triangles. Find out more at cinetecadelfriuli.org (Page 190-191). Presented as part of the British Silent Film Festival. With live musical accompaniment. Phoenix Cinema, Leicester. Link

The End of St. Petersburg (Konets Sankt-Peterburga) (Dir. Vsevolod Pudovkin, USSR, 1927) (Screening format – not known, 87mins) A peasant comes to St. Petersburg to find work. He unwittingly helps in the arrest of an old village friend who is now a labor leader. The unemployed peasant is also arrested and sent to fight in World War I. After three years, he returns ready for revolution…..Commissioned to commemorate the tenth anniversary of the October Revolution, The End of St Petersburg secured Vsevolod Pudovkin’s place as one of the foremost Soviet film directors. His sophisticated analysis of the Revolution sits within a brilliant and dramatic reconstruction of the major events. Find out more at sensesofcinema.com . With live musical accompaniment by Harmonieband. Hyde Park Picture House, Leeds Link

Vampyr (Dir. Carl Theodore Dreyer, 1932) (Screening format – not known, 75mins) Technically, Dryer’s first sound film but with very little dialogue and extensive use made of inter-titles) Staying at a country inn, Allan Grey scoffs at the notion of supernatural death before being forced to believe that there may be things beyond his understanding. The skills of director and cameraman induce a similar confusion on the part of those watching, as we encounter one of cinema’s great nightmares. Dreyer offers few explanations for the phenomena on screen: strange and frightening things may just happen. Vampyr opened to a generally negative reception from audiences and critics. Dreyer edited the film after its German premiere and it opened to more mixed opinions at its French debut. The film was long considered a low point in Dreyer’s career, but modern critical reception to the film has become much more favorable with critics praising the film’s disorienting visual effects and atmosphere. Find out more at wikipedia.org Presented as part of the British Silent Film Festival. With live musical accompaniment by Minima and Stephen Horne. Phoenix Cinema, Leicester Link

17 September

Paradise (Dir. Denison Clift, UK, 1928) (Screening format – not known, 87mins) Kitty Cranston (Betty Balfour) dreams of escape from dreary London. When she wins money in a lottery she plans a holiday in the South of France but neither her clergyman father or her fiance are interested. So she sets off on her own. For a time she is happy, spending time with Spirdoff (Alexander D’arcy) a self-confessed gigolo, but will scandal be her downfall? Find out more at silentfilmcalendar.org . Presented as part of the British Silent Film Festival. With live musical accompaniment. Phoenix Cinema, Leicester Link

The Flying Scotsman (Dir. Castleton Knight, UK, 1929) (Screening format – not known, 50mins) A part-silent, part-talkie thriller set largely on the Flying Scotsman express between London and Edinburgh. A disgruntled railwayman (Alex Hurley) attempts to wreck the train after he is sacked after being caught drinking by the train’s driver Bob White (Moore Marriot), who is working his last day before retirement. White’s daughter Joan (Pauline Johnson) is also on the train, having fallen for White’s new fireman, Jim (Ray Milland). As well as being Milland’s first starring role, the film is also notable for all the stars doing their own stunts, including Pauline Johnson who was doubly challenged by wearing high heels while hanging off the side of the train. Find out more at heyuguys.com . Presented as part of the British Silent Film Festival. Introduced by Steve Foxon. With live musical accompaniment. Phoenix Cinema, Leicester Link

The Rugged Island: a Shetland Lyric (Dir. Jenny Gilbertson, UK, 1933) (Screening format – not known, 56mins) A dramatised documentary story about a young couple torn between the choice of emigration to Australia or remaining to work their croft in Shetland. Documentary film maker Gilbertson ( who also did all her own scriptwriting, filming, sound and lighting as well as direction) was initially encouraged in her work by John Grierson, who had purchased some of her earlier documentary films for the GPO Film Library. While making The Rugged Island, she met and married John Gilbertson who was the star of the film. Find out more at movingimage.nls.uk . Presented as part of the British Silent Film Festival. With live musical accompaniment. Phoenix Cinema, Leicester Link

Hirondelle et la Mésange (aka The Swallow and the Titmouse) (Dir. Andre Antoine, Fr, 1920) (Screening format – not known, 80mins) Shot entirely on location on the waterways of Flanders, the story is set on two canal barges, L’Hirondelle (The Swallow) and La Mesange (The Titmouse). The drama involves the tensions between the barge captain and the pilot whom he has hired to steer the coal-bearing ships to areas in France devastated by the war, but who sullenly lusts after the captain’s wife. Never releaed upon its completion on the grounds that it was not commercially viable, the unedited film lay in the archives of Cinémathèque Française until the early 1980s when the perfectly preserved footage was edited into a completed film using Gustave Grillet’s script and the director’s detailed notes as a guide. Find out more at silentfilm.org . Presented as part of the British Silent Film Festival. With live musical accompaniment. Phoenix Cinema, Leicester Link

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 . With live piano accompaniment by Darius Battiwalla. Square Chapel, Halifax Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com. Presented with the live accompaniment of James McWilliam‘s soundtrack, performed by the Covent Garden Sinfonia, conducted by Ben Palmer, and followed by a discussion featuring director Alex Barrett, composer James McWilliam and speakers from the Alexandra & Ainsworth estate. Alexandra & Ainsworth Estate, London NW8 Link

18 September

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Featuring a recorded original musical composition by James McWilliam. Cube Microplex, Bristol Link

19 September

20 September

A Night of Early Colour Films South West Silents will host a special programme showcasing a variety of rare early colour films from across the silent period. Tinted and toned specialities, some meticulously hand stencilled examples, and maybe even some of the earliest experiments in capture true colours on film. A unique programme with some exclusive films never before seen in Bristol. Introduced and put into their historic context, these fascinating short films are not to be missed! Lansdown Public House, Clifton, Bristol Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Featuring an original musical composition by James McWilliam. Chapel Cinema, Bethnal Green Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Featuring an original musical composition by James McWilliam. Cube Microplex, Bristol Link

Filibus (Dir. Mario Roncoroni, It, 1915) + shorts. (Screening format – not known, 76mins) Filibus (the first of thirty films directed by Roncoroni) featured as a protagonist a roguish female lead character, the Baroness Troixmonde, who is a respectable member of society by day, but by night in the guise of “Filibus” she terrorizes Sicily from her zeppelin, which is full of technologically-advanced equipment and weaponry. The zeppelin is manned by a staff of mask-wearing, black-skin-suit-clad male assistants who obey the Baroness’ commands instantly. The airship is her headquarters and her home, and she descends to land only to rob or to hobnob with the socialites and dance with women as the tuxedo-wearing dandy Count de la Brieve ( a full 15 years before Dietrich’s famous cross-dressing scene in Morocco). But has Filibus met her match with the renowned Detective Hardy on her trail….. Find out more at silentsplease.wordpress.com . Presented by the Kennington Bioscope, with live piano accompaniment. Cinema Museum, Lambeth, London. Link

21 September

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Featuring an original musical composition by James McWilliam. Curzon Cinema, Clevedon Link

22 September

Drifters (Dir. John Griersen, UK, 1929) (Screening format – not known, 61 mins) Drifters, the story of the North Sea herring fleets from Yarmouth and Lowestoft to Shetland, broke new ground in 1929. Filmed mainly at sea in all weathers, but with studio sets for some interior scenes, it established Grierson’s style of “creative interpretation of actuality” which came to characterise the British school of documentary film-making. Directed and edited by Grierson and photographed by Basil Emmott. The film was successful both critically and commercially and helped kick off Grierson’s documentary film movement. Find out more at imdb.com . With atmospheric live vocal score by internationally renowned beatboxer and sound artist Jason Singh. Plus a rare big screen presentation of archive films of Seahouses with live accompaniment from local singer/songwriter Andy Craig. HUB Seahouses, Northumberland Link

23 September

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 live musical accompaniment of a new score performed by Jonny Best (piano), Susie Green (electronics) and Trevor Bartlett (marimba/percussion). Picture House, Hebden Bridge, West Yorks. Link

An Evening of Silent Film With Live Piano The evening will showcase a collection of classic short films with live piano accompaniment: “The Playhouse” (Keaton), “You’re Darn Tootin” (Laurel & Hardy), “There it is” (Bowers), “Easy Street” (Chaplin) and “La Fee Carabosse” (Melies). With live piano accompaniment by Stephen Horne. Gulbenkian, University of Kent, Canterbury Link

24 September

Mother (Dir. Vsevolod Pudovkin, USSR, 1926) (Screening format – 35mm, 85mins) Based on Maxim Gorky’s 1906 novel, Pudovkin’s drama is set against the backdrop of the 1905 Russian Revolution. The film portrays the political awakening of a mother whose son is imprisoned for leading a strike at a local factory. After unwittingly betraying her son to the police, she takes up his cause and joins the workers demonstrating against the Tsarist authorities. Pudovkin, who began his career as an actor, and his wife Anna Zemtsova, make cameo appearances. Find out more at sensesofcinema.com . With recorded soundtrack. Phoenix Cinema, Finchley, London Link

Drifters (Dir. John Griersen, UK, 1929) (Screening format – not known, 61 mins) Drifters, the story of the North Sea herring fleets from Yarmouth and Lowestoft to Shetland, broke new ground in 1929. Filmed mainly at sea in all weathers, but with studio sets for some interior scenes, it established Grierson’s style of “creative interpretation of actuality” which came to characterise the British school of documentary film-making. Directed and edited by Grierson and photographed by Basil Emmott. The film was successful both critically and commercially and helped kick off Grierson’s documentary film movement. Find out more at imdb.com . With atmospheric live vocal score by internationally renowned beatboxer and sound artist Jason Singh. Also being screened are archive films of North and South Shields with live musical accompaniment by Aaron Duff and Eve Simpson. The Customs House, South Shields Link

Not For Sale (Dir. W P Kellino, UK, 1924) (Screening format – not known, 86mins) Ace screenwriter Lydia Hayward’s adorable romance concerns a spoiled young aristocrat cut off by his exasperated father and reduced to living in a Bloomsbury boarding house, run by the impoverished Annie who’s hindered by her dysfunctional family of tenants. Particularly enjoyable is Mickey Brantford, a sprightly 12-year-old, whose take on Lon Chaney’s Hunchback of Notre Dame has to be seen to be believed. Miss this film at your peril! An incredibly rare chance to catch one of the best British silent comedies ever made. Lydia Hayward was also crucial in adapting several of the W W Jacobs stories for the screen, with H Manning Haynes as director, such as The Skipper’s Wooing (1922), Head of the Family (1922) and The Boatswain’s Mate (1924) which are (marginally) better known but equally funny and charming to watch. Find out more at wikipedia.org . With live piano accompaniment. BFI Southbank, London Link

A Page of Madness (aka Kurutta Ippēji) (Dir.Teinosuke Kinugasa, Jap, 1926) (Screening format – 35mm, 60mins) A man (Masao Inoue) takes a job as a janitor at a mental asylum in order to be near his wife (Yoshie Nakagawa). Although his wife suffers genuine mental anguish, the man believes he can rescue her , but all is not quite as it seems….Considered lost for some 45 years, Kinugasa thankfully found the print in his garden shed in the early 1970s. A Page of Madness is a visually stunning, and technically dazzling work of surrealism. The film contained no intertitles as it was intended to be exhibited with live narration delivered by a benshi who would stand to the side of the screen and introduce and relate the story to the audience. Find out more at tcm.com . The film will be introduced on video by Professor Aaron Gerow, the author of the definitive book on A Page of Madness and will be followed by a panel discussion with Silent London’s Pamela Hutchinson along with Japanese cinema expert Jasper Sharp and Tomoko Komura. With live musical accompaniment by musicians Clive Bell, Sylvia Hallett and Keiko Kitamura on piano and traditional Japanese instruments and with a live benshi narration (in English) by Tomoko Komura. Arthur & Paula Lucas Lecture Theatre, King’s College London WC2 Link

26 September

27 September

Silent Cinema – Before the Pictures Got Small A book launch event to mark the publication of Silent Cinema : Before the Pictures Got Small by Lawrence Napper, Senior Lecturer in Film Studies at King’s College, London. The book offers an introduction to the cinema of the 1920s, outlining the development of the form between the end of the First World War and the introduction of synchronized sound at the end of the decade. It covers such themes as the relationship between film aesthetics and the industrial and political contexts of film production; film-going as the most popular leisure activity of the age; the star system; cinema buildings; musical accompaniments; film fashions; and fan cultures. The author will be present to discuss the book and copies will be on sale. Marylebone Library, London W1 Link

28 September

The Fall of the Romanov Dynasty (Dir. Esfir Shub, USSR, 1927) (Screening format – not known, 87mins) The Fall of the Romanov Dynasty is notable for being constructed almost entirely out of stock footage which was compiled by director Esfir Shub, who had worked as an editor on several films before making this film. Whereas other documentary filmmakers, including Dziga Vertov, created films out of their own footage, Shub constructed a documentary narrative out of newsreel footage shot before the Revolution. Using this footage, she created a narrative about the brutality of the First World War and the neglect on the part of the Tsar and his ministers, one of the catalysts for the 1917 Revolution. Find out more atedinburghfilmguild.org.uk . Presented as part of the Bristol Radical Film Festival. With live musical accompaniment by Stereocilia. Trinity Centre, Bristol. Link

Drifters (Dir. John Griersen, UK, 1929) (Screening format – not known, 61 mins) Drifters, the story of the North Sea herring fleets from Yarmouth and Lowestoft to Shetland, broke new ground in 1929. Filmed mainly at sea in all weathers, but with studio sets for some interior scenes, it established Grierson’s style of “creative interpretation of actuality” which came to characterise the British school of documentary film-making. Directed and edited by Grierson and photographed by Basil Emmott. The film was successful both critically and commercially and helped kick off Grierson’s documentary film movement. Find out more at imdb.com . With atmospheric live vocal score by internationally renowned beatboxer and sound artist Jason Singh. Plus a rare big screen presentation of archive films of the Suffolk coast with live musical accompaniment by the Dead Rat Orchestra. Aldeburgh Cinema, Aldeburgh, Suffolk Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Featuring an original musical composition by James McWilliam. Left Bank Cinema, Leeds Link

29 September

October: Ten Days That Shook The World (Dir. Sergei Eisenstein, 1928) (Screening format – 35mm, 104mins) Borrowing its title from a book by American journalist John Reed, Sergei Eisenstein’s Ten Days That Shook the World reenacts the crucial week-and-a-half in October, 1918, when the Russian Kerensky regime was toppled by the Bolsheviks. Eisenstein used the film to further develop his theories of film structure, using a concept he described as “intellectual montage”, the editing together of shots of apparently unconnected objects in order to create and encourage intellectual comparisons between them. A largely non-professional cast was employed, the “actor” playing Lenin, a nonprofessional cement factory worker named Nikandrov, so closely resembles the genuine article that the effect is striking while a University student took on the role of Kerensky and Zinoviev was played by his real brother. The film was not as successful or influential in the Soviet Union as Battleship Potemkin with audiences finding the film stilted and artificial. Eisenstein’s montage experiments met with official disapproval; the authorities complained that October was unintelligible to the masses and he was also required to re-edit the work to expurgate references to Trotsky, who had recently been purged by Stalin. Nevertheless, film historians now consider it to be an important film, a sweeping historical epic of vast scale, and a powerful testament to Eisenstein’s creativity and artistry. Find out more at imdb.com. Iintroduced by Dr Dusan Radunovic (Durham University). With live piano score by pianist and founder and artistic director of the Ives Ensemble John Snijders. Tyneside Cinema, Newcastle Link

A Cottage on Dartmoor (Dir. Anthony Asquith, 1929) (Screening format – not known, 84mins) Joe (Uno Henning) works as a barber in a shop in a Devon town, alongside a manicurist called Sally (Norah Baring). He becomes infatuated with her and asks her out but it is clear that Sally does not reciprocate Joe’s feelings. Joe’s infatuation with her develops into obsession. Meanwhile a young farmer Harry (Hans Schlettow), begins to woo Sally and the couple begin seeing each other which leaves Joe in despair. After a fight with Harry, Joe is jailed but swears revenge on Harry and Sally. A Cottage on Dartmoor is a tale of love and revenge set in the bleak landscape of Dartmoor and a thoughtful distillation of the best of European silent film techniques from a director steeped in the work of the Soviet avant-garde and German expressionism. One of the last films of the silent era and a virtuoso piece of film-making, A Cottage on Dartmoor was a final passionate cry in defence of an art form soon to be obsolete. Find out more at silentfilm.org. With live musical accompaniment composed and performed by pianist Joss Peach. Seaford Little Theatre, Seaford, East Sussex Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Featuring an original musical composition by James McWilliam. The screening will be followed by a Q&A with the film’s director/editor Alex Barrett. Cinema Museum, Lambeth, London. Link

A Cottage on Dartmoor (Dir. Anthony Asquith, 1929) (Screening format – BluRay, 84mins) Joe (Uno Henning) works as a barber in a shop in a Devon town, alongside a manicurist called Sally (Norah Baring). He becomes infatuated with her and asks her out but it is clear that Sally does not reciprocate Joe’s feelings. Joe’s infatuation with her develops into obsession. Meanwhile a young farmer Harry (Hans Schlettow), begins to woo Sally and the couple begin seeing each other which leaves Joe in despair. After a fight with Harry, Joe is jailed but swears revenge on Harry and Sally. A Cottage on Dartmoor is a tale of love and revenge set in the bleak landscape of Dartmoor and a thoughtful distillation of the best of European silent film techniques from a director steeped in the work of the Soviet avant-garde and German expressionism. One of the last films of the silent era and a virtuoso piece of film-making, A Cottage on Dartmoor was a final passionate cry in defence of an art form soon to be obsolete. Find out more at silentfilm.org. Presented as part of the Landulph Festival With live musical accompaniment by Wurlitza. Landulph Village Hall, Landulph, Cornwall Link

30 September

Drifters (Dir. John Griersen, UK, 1929) (Screening format – not known, 61 mins) Drifters, the story of the North Sea herring fleets from Yarmouth and Lowestoft to Shetland, broke new ground in 1929. Filmed mainly at sea in all weathers, but with studio sets for some interior scenes, it established Grierson’s style of “creative interpretation of actuality” which came to characterise the British school of documentary film-making. Directed and edited by Grierson and photographed by Basil Emmott. The film was successful both critically and commercially and helped kick off Grierson’s documentary film movement. Find out more at imdb.com . With atmospheric live vocal score by internationally renowned beatboxer and sound artist Jason Singh. Also being screened are archive films of the Great Yarmouth area with live musical accompaniment. Sea Change Arts, Great Yarmouth Link

London Symphony (Dir. Alex Barrett, UK, 2017) (Screening format – not known) London Symphony is a brand new silent film – a city symphony – which offers a poetic journey through London, a cosmopolitan city facing a challenge to its identity in the current political climate. It is an artistic portrait of the city as it stands today, and a celebration of its culture and diversity. Find out more at londonsymphfilm.com . Featuring an original musical composition by James McWilliam.The screening will be followed by a Q&A with the film’s director/editor Alex Barrett. Christ The Saviour Parish Church, Ealing, London Link

NB. Whilst every effort has been taken to ensure that the information contained in these listings is accurate, silentfilmcalendar.org can take no responsibility for any errors or inaccuracies. You are strongly advised to confirm with the venue that the event remains as detailed, particularly if traveling any distance to attend.

Silentfilmcalendar.org

The silent film listing site

September 2017

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