That was the year that was… 2018's most silent nights

Once again the early 1900’s absolutely wiped the floor with the early 21st Century which is turning out less of a Fox than a Dog. Reality in the UK took something of a beating in 2018 but at least I had Berlin, Bologna and Pordenone with this being the year when I took to flying after a break of more than a decade to seek out more silent experiences in Europe. So, apologies if my list is more jet-set than train-set but most of these films will make it to the UK (provided we can sort out the customs arrangements…).

This blog was once described as picaresque and whilst I’ve learned so much from my “travel” I continue to find new surprises from the first 35 years of cinema and to build on impressions already made. I’ve only been a watcher of “live” silent film since April 2011 when Neil Brand and the Dodge Brothers played rip-roaring accompaniment for Brooksie in Beggars of Life, and it remains a joy to watch the archives emptied of their secrets and to see films projected and played for that have been hidden for decades.

And so, in no particular order and with apologies for all those I’ve missed off, here’s a snapshot of my favourite moments this year.

1. Sunrise (1927), Elizabeth Jane Baldry, Early Music Centre, York

I’ve waited years to see Sunrise with live accompaniment and Jonathan Best’s fantastic Yorkshire Silent Film Festival provided the perfect opportunity as I nipped over to York after a wonderful day at Sheffield’s Abbeydale Picture House. The Early Music Centre is a converted church and provided great atmosphere as well as acoustics for Ms Baldy’s gorgeous accompaniment. Murnau’s classic is the great fairy tale of the silent era and this was a special combination of sight and sound

2. Nelson (1918), Stephen Horne and Martin Pyne, Cinema No. 6, Portsmouth

Talking of the importance of place… South West Silents had the quite brilliant idea of screening Maurice Elvey’s ground-breaking biopic of Horatio Nelson in Portsmouth and all within a cannonball shot of HMS Victory herself.

Elvey filmed on Victory and this remains the only time this happened as Dr Lucie Dutton explained in her erudite introduction – a celebration of this remarkable British film and its director.  Stephen Horne and Martin Pyne illustrated the narrative with all due diligence and the old port resonated with joy on our greatest admiral’s birthday: perfect timing all round.

3. 7th Heaven (1927), with Timothy Brock, Teatro Comunale di Bologna Orchestra, Teatro Comunale di Bologna, Il Cinema Ritrovato Festival 2018

My first trip to Bologna and a feast of film and culture in one of Italy’s finest cities. We saw the restored Rosita with a full orchestra under the stars in the Piazza Maggiore but, after rain stopped play, 7th Heaven was screened at the Opera House instead and were left as high as Janet Gaynor and Charles Farrell by the combination of screen, eighteenth century architecture and Timothy Brock’s sumptuous score. Wow.

4. The Great Victorian Moving Picture Show, John Sweeney and his Biograph Band, London Film Festival 2018

No other event carried more shock of the old than this year’s LFF gala in which dozens of late Victorian films – many from ultra-high grade 60-70mm negatives – were screened on the BFI’s IMAX. There was no peripheral escape from these huge memorials to our great grandparents’ age and John Sweeney’s perfectly judged score brought out the full flavour as the appropriately costumed Bryony Dixon talked us through this stunning archive.

5.  The Golden Butterfly (1926), Cyrus Gabrysch Kennington Bioscope

The Bioscope programmers leave no stone unturned in their efforts to brings us not only the rare and obscure but also the wonderful and the two Michael Curtiz (nee Manó Kertész Kaminer) films featuring the dazzling Lili Damita were amongst the highlights. This one was my favourite and I loved the combination of high-energy Lil with Cyrus Gabrysch’s quicksilver accompaniment.

6.  Christian Wahnschaffe (1919-21), with Stephen Horne, Berlinale 68

My first trip to Berlin and a chunk of the Festival’s Weimar Retrospective of which this sprawling two-parter starring the außergewöhnlich Conrad Veidt was the highlight. The second film is the best and Stephen Horne whipped up mighty storm for the intense conclusion. Herr Veidt’s fashion sense was also extraordinary; monocles, leather vest and jodhpurs are on my Christmas list.

7. Exit Smiling (1926), Meg Morley, Kennington Bioscope 2nd Silent Laughter Weekend

Thoroughly modern Beatrice Lillie gives one of the most delicious silent performances in this, her only silent film and, on this evidence alone was quite possibly “the funniest woman in the World”. Sadly, she had better things to do with her time than make too many movies but what remains dazzles especially this one when accompanied with jazz-age cool by mighty Meg Morley.

8. Arcadia (2018), Paul Wright with music from Adrian Utley and Will Gregory

Not strictly a silent film this dazzling deep-dive into the BFI archives threw up a compelling narrative about the relationship between of our connection to the land and collective purpose. It was one of the most though provoking films of the year with an excellent score from Utley and Gregory who also featured three songs from the almost mystically-talented Anne Briggs: our identity is not defined by where we are but by how we are. More natural is what we need now not the enclosure of mind, body and soul…

9. The Dumb Girl of Portici (1916), with John Sweeney, Cambridge Film Festival

Lois Weber is Director of the Year starring in Kino Lorber’s massive six-disc compilation: Pioneers – Women Film Makers (box-set must-have of the year!) and with her reputation now elevated back to where it belongs. This film was her first blockbuster and featured legendary ballerina Anna Pavlova in the title role… the film is slightly uneven and Anna’s acting isn’t near the quality of her dancing but, I loved it all especially with maestro Sweeney’s accompaniment. He’s also on the Milestone DVD too with an orchestral score: essential!

10. Captain Salvation (1927) with Philip Carli, Orchestra San Marco, Pordenone, Le Giornate del Cinema Muto

This year’s festival got off to a flier with this powerful tale of redemption and human love on the ocean waves. Philip Carli conducted the Orchestra San Marco playing his own score and they whipped up a storm as did Lars Hanson as the preacher with doubt and the underrated Pauline Starke as the fallen woman who refuses to fall any further. I’d watched the DVD before but nothing prepares you for the combination of light and life when the music is played live.

Plus…

Woman of the Year: Jenny Hasselqvist

This may surprise a lot of people… oh, alright, maybe not. Jenny’s appearance in the restoration of her first film, Mauritz Stiller’s Balettprimadonnan (1916) was properly emotional, especially when she performs on stage at Stockholm’s Royal Opera House. She was Sweden’s leading prima ballerina over the period; a miracle of connected physical and emotional expression. John Sweeney was on hand to accompany the dance.

Man of the Year: Lars Hanson

Also in the above film, Lars, Lars, Lars… was probably my most watched silent star of the year and he never disappoints; handsome and able to fight, lose and regain faith, love, drink, climb and even sail. He’s always grounded and, like so many Swedes, effortlessly convincing.

Jenny, Jenny, Jenny and Lars, Lars, Lars...

Venue of the Year: Cinema Museum

Has to be. The Cinema Museum lives on thanks to unstinting support and the Kennington Bioscope is one of its shining lights. Here’s hoping I’m saying the same thing next December as the fight to save the Museum is not quite over.

Thank you to everyone who programmed, projected, promoted and performed – see you all again in 2019!