Monkey business... Kennington Bioscope Silent Laughter Weekend, Day Two

I’d missed the first day of KB’s annual Comedy Weekender having to be dragged around the South Cambridgeshire countryside by a small but determined dog who knew I’d seen Pat and Patachon as well as Syd Chaplin’s legs last year in Pordenone. But nothing was going to keep me away from today’s programme with its mix of the rare, the classic and the impossible-to-see-anywhere-else! Only at the Bioscope my friends, only at the Cinema Museum…

 

Only on 9.5mm with Colin Sell

And, indeed, only on 9.5mm… the day began with live projection as, before our very eyes, films that are listed in many places as “lost” were projected for our delectation on the Bioscope screen. Chris Bird introduced and projected these treasures most of which were on celluloid some 80 to 100 years ago, using a 1950s Spectro projector upgraded to HID lighting – it says here in the notes! The format was intended for home use and, because the sprocket hole are between individual cells, the projected area is not dissimilar from 16mm which had whole at the side. The results look fabulous especially given their rarity and… where else can we see supposedly lost Harold Lloyd, Harry Langdon and Oliver Hardy.

It's sobering as Chris noted that of the 123 American films released on 9.5mm almost half, 56 titles, only survive on 9.5… film preservation comes down to such fine margins, in this case just about 2/5ths of an inch.

 

As Chris went off to the projector, Dave Glass introduced each film starting with Our Gang – one of the most successful film series that went from 1922 well into the late 40s with an ever-changing cast of young tykes. This was the first film to be shot, the third to be released, as Fickle Flora (1922) which came with Big Business under the title Our Gang from Pathescope. Flora features a young girl torn between various suitors – the boy next door and a rich boy with long blonde curls and a bowl full of sweets.

Harold in a barrell

Harry Langdon, the fourth silent comedy giant, who changed the style of comedy by slowing down the action and whose first film doesn’t exist except it does on 9.5… made with Sol Lesser’s Principal Pictures Corporation, called The Capture of Cactus Cal (1925) on 9.5 but has now been identified as part of Horace Greely Jnr. The film was re-released by Mack Sennett in 1925 - but shot two years earlier by Alfred J Goulding for Lesser.

 

Next up an episode from the Hall Room Boys series featuring Neely Edwards and Bert Roach called High Flyers (1922). This was another series based on a comic strip which became a long running film series some 45 made which, again, has few survivors mostly on 9.5. The boys end up climbing up buildings high above San Francisco in pursuit of a baby flying high attached to balloons… and are helped by a monkey. No children were harmed in the making of this film but almost certainly Harold Lloyd was watching and planning his own high-rise act for two years later…

 

Talking of Harold Lloyd, he was next up in Rainbow Island (1917) described by Dave as “of its time” in terms of its attitudes and lo it came to pass after a message in a bottle lead Harry and his pal, Snub Pollard, to a treasure island inhabited by a tribe called the Bozos who soon capture the men and start fattening them for some comedy stewing…

 

The late David Wyatt identified a lot of the films in the 9.5 Catalogue and The Honourable Mr Buggs issued on a French 9.5mm was one of his favourites dedicated to him today by Mr Glass. It’s a Hal Roach featuring Oliver Hardy in black face as the nervy butler of Matt Moore’s Mr Buggs. This also featured Anna May Wong as lady crook, Baroness Stoloff as well as Sojin Kamiyama (recently seen as Billy the Butler in the Bioscope’s screening of The Bat!) as her criminal competitor.

 

Next was Paul (aka James) Parrott, brother of Charley Chase (born Charles Joseph Parrott), who, before he directed 22 of Laurel and Hardy’s best sound shorts, made a number of comedy shorts as the star for Mr Hal Roach. These included Winner Takes All (1923) featuring Jobyna Ralston who was to later team with Harold Lloyd to much success. Paul must compete in the multi-event Clear Valley Country Club tournament for the prize cup and the hand of the president’s daughter (Jobyna). Hilarity ensues… true love wins out!

 

Brother Charlie Chase directed the final film, which stared Snub Pollard in 365 Days (1922) which was a delightfully surreal tale of an extended family offered a large inheritance if only they can live together for a year without falling out. They build a collection of houses piled high on each other and proceed to try and control their tempers… fat chance!

 

Accompaniment was from the fluid fingers of Colin Sell and he contributed trademark good-humoured backing for this typically Kennington Sunday morning treat. Yes we had some big features to follow but this was the essence of the KB and someone needs to spend some time revising IMDB and other online sources.

 

Marion Davies and Lawrence Gray

The Patsy (1928) with Cyrus Gabrysch

 

An episode of Screen Snapshots (1924) was screened showing Marion Davies relaxing with friends including Sessue Hayakawa and his wife, Tsuru Aoki, Pauline Frederick and a number of others I was too slow to catch!

 

1928 was quite the year for King Vidor with The Crowd, generally regarded as one of the very best films of the silent era along with Show People – one of the finest comedies – proceeded by this film his first collaboration with the protean Marion Davies. Vidor had seen Davies’ comic turn at parties and noted her natural instincts as a crowd-pleasing comic, even if the laughs were at her own expense and also as a mimic. Not quite what her beau William Randolph Hearst had in mind for her at all… but The Patsy became her biggest hit to date following on from the more conventional comedy-dramatics such as When Knighthood Was in Flower, The Bride’s Play et al. Not that this was her first time in comedy-led features as Beverley of Graustark and others show, this was always her winning way and I’d be surprised if Hearst wasn’t really aware of this, especially as it was reinforced by her ability as a dramatic actor.

Here Davies is screwball and inventive, staring longingly at her sister’s boyfriend for comic effect and feigning madness in a series of unlikely hats she is funny throughout this film. She plays Pat, the youngest member of the Harrington clan, who is forever being picked on by her Ma (Marie Dressler in a career-rescuing and, as legend has it, life-saving performance) who favours her more elegant sister Grace (Jane Winton). Pa Harrington (Dell Henderson) tries to stand up for Pat but is usually slapped down…outnumbered by Ma and Grace.

Marie Dressler and Jane Winton

The family dynamics are well handled from the opening Sunday lunch in which Pat tries to work out the correct way of eating soup to her getting the scrag end of the chicken and having to fend for her own new clothes that are borrowed by big sis. Pat would like to do some borrowing of her own with Grace’s boyfriend, Tony (Orville Caldwell) who is completely oblivious only having eyes for Grace even after Pat tells him of her secret and unrequited love for a certain fellow (it’s YOU ya big dummy!).

But there’s nothing Pat won’t do for her sister even if it means sacrificing her own love. Davies shows good range with the pathos and comedy especially when attempting to win over wealthy gad-about Billy Caldwell (Lawrence Gray) – who has set his sights on Grace as well – Davies’ Pat impersonates not one but three of Hollywood’s finest. In three absorbing minutes Mae Murray, Lillian Gish and Pola Negri… all come to life in convincing fashion

Marie Dressler is absolutely fabulous; her every action pops out of the screen and she is brilliantly over-bearing. Henderson is good at hen-pecked and his revolt at the end is all the sweeter for it – real craftsmen at work here. And it was good to hear Bioscope founder Cyrus Gabrysch back on the keyboards playing for this comedic wonder with his instinctive and playful accompaniment.

 

Florence Lawrence 

Focus on Vitagraph with Glenn Mitchell and Dave Glass plus Timothy Rumsey

It was time for a live double act and, whilst Mitchell and Glass haven’t the vaudeville experience of say John Bunny and Charlie Murray they know an awful lot about them and the transition to filmic comedy via the Vitagraph company. Based in New York, Vitagraph was formed in 1897 by Albert E Smith, J Stuart Blackman and William “Pop” Rock, three Brits with backgrounds in entertainment from running billiard halls to prestidigitation. It grew into one of the leading comedy studios of the 1910s.

The two showed a bizarre trick film from 1907, The Disintegrated Convict followed by A Tintype Romance (1910) featuring Florence Turner not to mention Jean the Vitagraph Dog who is absolutely central to the plot! There were also films featuring perhaps the biggest comedy star pre-Chaplin, John Bunny, The Golf Game and the Bonnet (1913), Ralph Ince’s The Right Girl? (1915), Sidney Drew and wife in Boobley’s Baby (1915) and the great Larry Semon in Bullies and Bullets (1917).

In between the films Glenn and Dave provided the kind of witty background you’d expect at the epicentre of Silent London and we were royally entertained by the rich accompaniment from Timothy Rumsey!

  

Trade promotion for The Gorilla

The Gorilla (1927) with Costas Fotopolous and filmed introduction from Steve Massa

 

There are two ways of writing a murder mystery, speaking as the son of a crime writer (Cyril Joyce, former policeman turned novelist, who had 23 books published in hardback and paperback, many based on his experiences and forensically plotted) and this film follows what’s known as the Midsomer Murders Formula – the killer can be picked out of a hat and the rationale is invented to unravel in the final five minutes. Most murder mysteries follow this approach… motive, opportunity and means all established post facto.

The Gorilla is strong on animalistic atmosphere and comedy but it doesn’t quite match The Bat and certainly The Cat and the Canary for plotting, character and whodunnit mystery. This film has been missing for some time and was only rediscovered and restored relatively recently by the San Francisco Film Festival. It looks gorgeous, dark spooky mansion well-lit in tinted blue as the shadow of a huge primate is cast on its walls and an interior of yellowy-brown, immaculately highlighting the performers expression and their fear among the murder and mystery.

Based on the play by Ralph Spence, written in 1925, after both Cat (1922) and Bat (1920) it features our man of the day, Charlie Murray, as Garrity a comic detective who could make even Bob Hope seem calm and collected in the gloom of an old dark house. His partner in crime-stopping is Fred Kelsey, and between them, they must establish who the killer was in a house full of suspects all behaving like, well, suspects. Yes, even Alice Townsend, played by Marceline Day’s sweet-faced elder sister Alice, looks like she might have something to hide whilst her paramour Arthur Marsden (Gaston Glass) is immediately selected as the main suspect for her father Cyrus’ killer, being his secretary and all.

Charlie, Fred and friend...

As they gather in the library with their friend Stevens (and impossibly youthful Walter Pidgeon) a note from The Gorilla advises them all to leave as more will be killed if still in the house at midnight… well you know what that means. It’s a game of cat and mouse or, to be more zoologically precise, primate and primate as Garrity and his partner Mulligan (Fred Kelsey, described by Steve Massa in his filmed introduction as the perennial flat foot) stumble around for clues. Tully Marshall is superb as per usual as William Townsend the deceased slightly deranged brother and Syd Crossley adds comic value as the Butler who regardless of whether he did it or not just wants to go home.

Superb atmospherics were provided by Mr Fotopolous on piano as he illustrated the dark corners of the comedy and sprinkled light-hearted flourishes over the comic relief. These comedy horrors must be great fun to play as audience, music and sights on screen combine.

 

Mr Murray and Miss Bow

The Pill Pounder (1923), with Costas Fotopolous

Steve Massa also introduced this other recently discovered film and it is, of course, all the more precious for having a young Clara Bow in it – just 17 - as well as Mr Charlie Murray. The story of its rediscovery in an Omaha parking lot (!?!) has been all over the cineaste socials not to mention mainstream news and it is a big deal especially for Clara. It’s Murray’s film though as he plays a pharmacist/druggist aka the titular pounder of pills whose few pleasures in a stifled home life include a few hands of cards in the back of his store.

The customer is always wrong is his motto as he's cheated out of his winning hand by his pals who swap cards with every ring of the shop bell… His distraction leads to his being convinced that a bottle of “Fomo Seltzer”, labelled toxic by a pesky child, has poisoned Clara’s boyfriend (James Turfler) and the comedy goes into overdrive until the truth is revealed. Clara shows great energy and she was described in the Exhibitors Trade Review as “perhaps the most promising of the youngest actresses…” Got that right!

According to Steve, Murray appeared in over 300 films from 1912 to 1940 and was “the professional Irishman for hire…” with this one of a series he starred in for All-Star films after leaving Keystone. He went on to feature in the 1925 Wizard of Oz, as well as The Gorilla in a busy Twenties before making a series of seven films about The Cohens and the Kellys… guess which one he played?

Clara Bow and James Turfler

 

After seven hours in the dark, I had to move north just as the evening was hotting up. Here’s what I missed…

 

Charley Chase with Cyrus Gabrysch

Some very rare, and newly restored, comedies from one of the Five Greats (for me!) including Us (1927), All Wet (1924), What Women Did for Me (1927) and Derby Day (1923) Presented by author, film historian and Chase expert Richard M Roberts.

 

Then… an evening’s worth of short comedies from other masters:

Harold Lloyd’s Never Weaken (1921)

Buster Keaton’s The Paleface (1922)

Charlie Chaplin’s Behind the Screen (1916)

Charley Chase Assistant Wives (1927)

Laurel & Hardy Leave ‘Em Laughing (1928)

Piano accompaniment was from the tireless Costas Fotopolous!

 

Another silently spectacular Sunday at the Bioscope and thanks to all those who projected, preserved, presented and produced this wonderful weekend. It’s something to celebrate and the opportunities to see so much “presumed lost” is one to treasure.

 

 

Watching the detectives… Louis Feuillade: The Complete Crime Serials (1913-1918), Blu-ray

 

Louis Feuillade not only popularised the dramatic serial as we still know it, he did so during a period when his country was at war with the majority of these four epic series made during the Great War either in and around Paris or in the relative safety of Nice. In truth the form had many parents across the cine-world with America providing The Perils of Pauline starting in 1914 and Edison's – or someone’s - What Happened to Mary in 1912 then Germany, Viggo Larsen's Arsène Lupin contra Sherlock Holmes in 1910 and even earlier, in 1908, the French with Victorin-Hippolyte Jasset launching his series of six Nick Carter films: le roi des detectives! Carter le roi? Je ne pense pas, messieurs... cet homme vit à Baker Street!

Anyway, using the same techniques as these great and not so great detectives, Feuillade evolved the cinematic style across four series, Fantômas, Les Vampires, Judex and Tih Minh all of which left their mark and established motifs that have been used ever since. Some have been available on Blu-ray overseas but for the first time in the UK Eureka’s Masters of Cinema series has now pulled all together in one luxurious and absolutely essential box set celebrating the birth of the box set in many ways!

The films have all been transferred from 4K restorations from original 35mm nitrate originals where possible and the results create such an immediacy and connection with the material, it almost feels like you’re clambering on a roof top with Irma Vep, with the distant sounds of German guns only 70 kilometres away at one point, with the First Battle of the Marne, in September 1914.

 

René Navarre in disguise as Fantômas, the master criminal!

Fantômas (1913)

Adapted from a series of popular novels by Marcel Allain and Pierre Souvestre, Fantômas stars René Navarre as the eponymous criminal mastermind. Across the serial’s five episodes, Fantômas is pursued by Inspector Juve (Edmund Breon) and newspaper reporter Jérôme Fandor (Georges Melchior) as he carries out his nefarious schemes. As Kim Newman says in his video essay on the set, Fantômas is a supervillain, a “fusion of Professor Moriarty and Sherlock Holmes…” He’s certainly a master of disguise with each episode opening with Navarre in the disguise he will use in each story and, as Newman observes, we never really find out exactly who he us. He’s a universal and uncatchable master villain.

Each episode features Detective against Villain… and cliff-hangers are the order of the day. Fantômas is relentless and Juve is always one step behind. The serial was hugely successful and spawned many impersonators in print and on screen with both the public and, Newman again, the intellectuals, the surrealists attracted by the anarchy and the anti-establishment agenda.

 

Feuillade filmed so often on location, here at Avenue Junot...

Les Vampires (1915-1916)

 

Most people’s first introduction to Feuillade and probably the best and most entertaining of this set, the ten-episode Les Vampires tells of a group of vicious criminals who terrorise Paris, stopping at nothing to gain money and to disrupt the powers that be. They are led by the Grand Vampire (Jean Aymé) who adopts different guises and disguises in most episodes and his key operative (possibly even superior?) is the anagrammatical Irma Vep, played with such vibrant menace by Musidora (the rightfully legendary Jeanne Roques*), who helps to infiltrate elegant society, financial institutions and even the hero’s household for the Vampire cause. She is, as Newman says, the first female super villain, years ahead of Cat Woman and in every way transgressive – a challenge to audience and mankind from her first appearance on stage rousing the gathered gang members.

 

The hero in pursut is not a policeman but an intrepid reporter – one of the first of his kind - Philippe Guérande (Édouard Mathé) who is mostly helped (occasionally hindered) by the comic Mazamette, knowingly played by the fourth wall busting Marcel Lévesque who moves from working with the criminals – his family being under threat. It’s not the first example of characters’ mutability in the free-running serial that sees an ever-changing battle between the forces of order and disorder.

 

Les Vampires also had to contend with costumes of silk and wool with elasticated fabric still scarce...

As film scholar Elizabeth Ezra says in her video essay, the serial included a number of references to the ongoing conflict beyond with code breaking, gas attacks and other weapons of war such as the canon in episode seven and the exploding ship in episode eight all to redolent of events so close and yet, cinematically, so far. So many men were mobilised too and the original Vampire leader had to be called off, after the actor playing him, Louis Leubas, was called up.

 

Another fascinating observation from Ezra relates to the multiple personalities each character potentially presents, with this being an extension of paranoid delusion, Capgras Syndrome patients traumatised by the loss of loved ones belived that those around them had been killed and replaced by imposters in their bodies. Les Vampires is therefore full of people who are not quite as they seem, and there is frequent reference to loss, the serial may not specifically mention the conflict but it’s “haunted by the war” in Ezra’s words.

 

René Cresté, Édouard Mathé and Louis Leubas in Judex; secret lair

Judex (1916-17)

 

Judex is probably the first Masked Avenger – essentially a good version of Fantomas/Musidora possibly after an official reaction to the criminality of the first two serials. At this year’s Il Cinema Ritrovato Festival in Bologna, I was able to watch the screening of the entire series – 12 episodes plus prologue - with live accompaniment which really brought out the full flavour of Feuillade’s sense of drama, his eye for dynamic framing, and his team building and his ability to keep the narrative ball rolling even when you think he’s backed himself into a dramatic dead end.

 

It's not quite up there with Les Vampires but it does have the essentiality of Musidora playing Diana Monti aka Marie Verdier, a scheming opportunist who becomes more and more dominant the longer the story unwinds. Judex himself as played by René Cresté, is a goodie version of Fantômas, part Sherlock Holmes, maybe part Eugène-François Vidocq – an actual French criminal turned criminalist - certainly an outlier for The Shadow, Doc Savage and even The Batman. Feuillade had been criticised for glorifying his evil masterminds and so here was one of good intent even if he does kidnap and fake the death of the businessman responsible for his father’s death and many others, Favraux (Louis Leubas) before imprisoning him for life in a remote castle.

 

Judex has worked a very long game, disguised as Favraux’s secretary, to infiltrate his business dealings. His plan is soon complicated when he falls in love with the banker’s daughter, Jacqueline (Yvette Andréyor) who is soon targeted by the evil Monti! There’s great support from Vampires’ alumni Édouard Mathé as brother Roger and Marcel Lévesque as the comedic Cocantin whose swimming-costume clad fiancée Miss Daisy Torp (Lily Deligny) helps save the day. The kids are alright too and Le petit Jean (Olinda Mano) and The Liquorice Kid (Rene Poyen) deserved their own series!

René Cresté and Mary Harald

 

Tih Minh (1918)

Tih Minh is a change of pace - and technically the most polished - with a new cast of characters and a number of Feuillade’s regular cast playing them again. Set in the South of France the focus is on the goodies again with explorer Jacques d'Athys (René Cresté) who has returned from the Orient with a new fiancé from Laos, Tih Minh (Mary Harald) – a half Vietnamese heroine, interesting in itself - to be greeted by his mother (Madame Lacroix), sister Jane (Lugane) and maid Rosette (Jeanne Rollette) who is romancing his faithful, cheeky, manservant Placido (Georges Biscot).

 

The baddies are the mysteriously bearded “Asian” Kistna (Louis Leubas), Doctor Gilson (Gaston Michel) and the La marquise Dolorès (Georgette Faraboni) who has the real dash of stylish super-vixen, biting a rose with menace in the introductory segment. What they’re about is disrupting the old order… undermining the British Empire and controlling minds with chemical concoctions. They also hold a cellarful of chemically controlled young women… for what purpose we can only guess but there is some nudity revealed at this point… and, whilst you’d never see that in a British or American film at this point, it is a reminder that down the same avenue as entertainment is the darkened rue latérale of exploitation.

 

This serial looks stunning and it’s rare to see such detail and to feel the century melt away as you watch the performers inhabit their roles and the familiar spaces of Nice, with such clarity. The Palais de la Jetée and the beautiful Crystal Casino may be long gone but this is very much a travelogue for the jewel of the Riviera, magnificent views, glorious mansions and the warm breeze of a Mediterranean mistral running through the relentless, narrative parkour, pace of the storyline.

 

Without doubt as film historian and author David Kalat says in his commentary, Feuillade’s crime serials had a huge impact on Fritz Lang who responded with Dr Mabuse, Spies and much more not to mention Alfred Hitchcock and everyone that came after. The influence spread also to pulp magazines – The Shadow – as well as comic books, radio, television and one of the most successful Caped Crusaders also known as Bruce Wayne.

 

Musidora in command, hands on hips, sleeves rolled up...

Join me in investigating these suspiciously special features…

 

·         Limited Edition Hardcase Box Set [2000 copies]

·         Set includes all four serials across 9 Blu-ray Discs, all presented in 1080p HD from stunning 4K restorations courtesy of Gaumont Film Company, with uncompressed LPCM 2.0 audio on all serials

·         Fantômas – audio commentaries on In the Shadow of the Guillotine and Juve vs Fantômas by film historian and author David Kalat

·         Les Vampires – new audio commentaries on The Red Cipher and The Spectre by film historian and author David Kalat

·         Judex – new audio commentaries on the prologue, The Mysterious Shadow, Atonement, The Water Sprite and The Forgiveness of Love by genre film expert and Video Watchdog founder Tim Lucas

·         Tih-Minh – Brand new audio commentaries on The Potion of Forgetfulness, The Mysteries of Circé Villa and Justice by genre film expert and Video Watchdog founder Tim Lucas

·         Casting a Long Shadow –  new interview with critic and author Kim Newman

·         Pamela Hutchinson on Musidora –  new interview with critic, film historian and silent cinema expert Pamela Hutchinson on the star of Les Vampires and Judex

·         The Spectre of War in Les Vampires –  new video essay by film scholar Elizabeth Ezra, editor of European Cinema and France in Focus: Film and National Identity

·         Feuillade in Context – a new interview with writer, composer and silent film accompanist Neil Brand

·         A Closer Look at Feuillade – Brand new interview with critic, writer and film commentator Tony Rayns

·         Fold-out poster – yay!!

·         A limited edition 100-page collector’s book featuring new writing by Louis Feuillade experts Jonathan Rosenbaum, Calum Baker, Annette Förster, Wendy Haslem, Robin Walz and Leon Hunt on the filmmaker and his crime serials alongside select archival imagery

 

The set is released on 11^th November and can be ordered direct from Eureka, not home should be without it. As Neil Brand says in his video essay on the director, not only are these lengthy series with their lose plotting – “one damn thing after another” – enthralling and still engaging, they’re also a social document of the Third French Republic, the war years and the development of one of the most enduring genres in cinema. Where would The Avengers be without HYDRA or James Bond without SPECTRE? And just where would Netflix, Apple TV and everyone else be without crime and punishment? Where would any of us be? This is one to binge and relish. But you know that already.

 

*For more information on Musidora visit the Womens Film Pioneers Project pages and follow on from there. Pamela Hutchinson’s video essay on this Eureka set is also thoroughly recommended!

The dark night… The Bat (1926), with John Sweeney, Kennington Bioscope

It was the KB Halloween Edition and MC Michelle Facey was accompanied by a raven and genuinely spooky tales not just about our main feature but also the fate of Roland West’s yacht, Joyita, which, to cut a unsettling mystery short, became known as the Marie Celeste of the Southern Seas after all passengers and crew disappeared leaving only and empty vessel listing and carrying mute evidence of a desperate conflagration. None where ever seen again and the ship’s former owner, director of this film, also vanished from the industry after the mysterious death of his lover Thelma Todd in 1935.

 

Whoever the fool was who directed Babylon (2022), there’s more things in Heaven and Hollywood than dreamt of in your ridiculous screenplay. Anyway, as usual Madame Mystery, sorry, Facey, was on song – unlike her raven – illuminating the stories of cast and crew and West’s seminal film about a costumed anti-hero who dresses like a bat, swoops around like a bat and genuinely terrifies in the manner of a large flying rodent. This is as she says one of the great Old Dark House films along with The Cat and the Canary, The Final Warning and Seven Footprints to Satan. Trilling, comedic and genuinely intriguing, we don’t know who The Bat is until the end and, having been told not to reveal the secret by an intertitle at the start, we must keep our silence as with The Mousetrap.

 

We were watching Ben Model’s recent restoration of The Bat which included a 2k scan from the UCLA Film & Television Archive’s original 35mm materials and it looked splendid on the big screen and with John Sweeney accompanying. I have the Blu-ray to watch having been on of the project funders and this will also be available from Ben’s Undercrank Productions site – link at the bottom. I’ve never seen the film before and whilst it’s not quite as tightly presented as The Cat…, it’s certainly an entertaining romp with plenty a twisted dark turn. Possibly too many but what the heck, it’s Halloween!

 

Directed by Roland West who also adapted from the play by Mary Roberts Rinehart and Avery Hopwood which was first produced in 1920 to much success. Events kick off with a daring robbery by the seemingly superhuman Bat, who is so confident he has written to millionaire jewel-fancier, Gideon Bell announcing his intention of stealing his Favre Emeralds at midnight. Despite the presence of the police, The Bat succeeds by climbing up the outside of the elegant skyscraper and pulling Bell out the window taking his prize.

 

The Bat is audacious and even leaves a note on a kind of Bat-Post-It note announcing his intention to visit the country for his next crime… Bob Kane was influenced by the film in creating The Batman but the template is more like one of the Caped Crusader’s rogues’ gallery, Cat Woman, The Riddler or even The Joker who himself was influenced by The Man Who Laughs (1928). Talking of which, what a great Harley Quinn Olga Baclanova would have made… a proto Gaga!

Before his trip though The Bat drops in on Oakdale Bank to enhance his short-term liquidity only to find that another has got there first to steal $200,000 from the safe. He notes the number plate of the felon and, no honour amongst thieves, sets off in pursuit in his car, a mobile vehicle for the Bat. The subject of his pursuit arrives at a large darkened house and, climbing in through the basement proceeds to climb up the laundry shaft and then a hidden stairway to a secret lair of his own. There's a cat and mouse as well as a bat in this tale.

 

Sojin Kamiyama, Louise Fazenda and Emily Fitzroy

As it happens, this is the mansion of the recently deceased Courtleigh Fleming, the president of the very same Oakdale Bank, where a whole bevvy of suspicious suspects are in place. Chief suspect for this unauthorised withdrawal is Brooks Bailey played by Jack Pickford who frankly always looks guilty of something. Apparently West shot during the night hours which gave his players that extra edge and it certainly has a sleep-deprived mania generated by the cast drowned in the shadows of these huge sets designed by the great  William Cameron Menzies with help from Harvey Meyers.

Brooks is accompanied by Miss Dale Ogden (Jewel Carmen aka Florence Lavina Quick aka Mrs Roland West) who is the niece of Cornelia Van Gorder (the ace Emily Fitzroy) who is renting the property and Dale not only convinced that her Brooks is innocent, she wants to marry him too. She presents him as a new gardener even though he knows less than I do about horticulture as quickly exposed by Cornelia who is generally the smartest person in every room of the house. No competition in this respect is her nervy maid, Lizzie Allen (played by the excellent Louise Fazenda) who provides enough comic relief for two films if I’m honest but she’s such a reliable pivot for the crime and the grime.

 

After breaking contract with Fox in 1921, this was Jewel Carmen's last film

This is an ambitious story, and I’d love to see it on stage for there are still another six characters to introduce, all of whom have their suspicious edges – almost everyone is a suspect apart from Lizzy – especially the men, Dr. H. E. Wells (Robert McKim) and his black bag, the moody Detective Moletti (Tullio Carminati), Billy the Butler (Sojin Kamiyama) and “prevalent at the time” racist tropes… There’s Detective Anderson (Eddie Gribbon) with his two guns, is he as clueless as he seems? And what’s more suspicious than Fleming’s nephew, Richard (Arthur Housman) who wants to frighten Cornelia away so he can lease the mansion?

You’ll just have to watch and find out and ideally with a live audience and as skilled an accompanist as John Sweeney who treated us to some full-blooded flourishes and mystical melodies for this gently fretful but funny silent spooky treat!

 

Some new blood – creatively speaking – was unveiled for the first part of the programme which was accompanied by Le Giornate del Cinema Muto Masterclass alumnus Andra Bacila who is studying at the Royal Academy of Music and who we will hear a lot more from in future. She accompanied The Red Dance (1928) in Pordenone and here sprinkled musical illumination for three wonderful shorts starting with La course aux potirons (1908) concerning runaway pumpkins in Paris, an hilarious film I'd also seen in Italy.

Pete the Pup is petrified!

After this was some wonderful invention from Walter Lantz with the mixed live and animation featuring the director and his cartoon dog, Pete the Pup, in Pete's Haunted House (1926) followed by a stunning The Devilish Tenant (1909) from Georges Méliès which was a trick film honed to perfection. It was hand coloured which as Chris Bird reminded us, meant that every frame on every copy was coloured individually - remarkable and beautiful film to see.

The last film was courtesy of a lucky find on eBay and was a rare surviving copy of a Cecil Hepworth film from 1922, One Too Exciting Night, a spoof on Griffith's One Exciting Night, itself an Old Dark House Mystery. What we saw may well be the only surviving copy anywhere but that's how they roll at the Bioscope - the rare, the extraordinary and the exceptional. We are privileged and all for just a few quid!

Frighteningly good!

Louise Fazenda gives her all!

To buy the Blu-ray of Ben Model's restored The Bat, please follow this link to the Undercrank Productions website - it is a very worthy release including some delightful extras. Blessed are the Kickstarters!

There's more about the mystery of the good ship Joyita here, a fascinating tale from the Bow Creek to Anatahan maritime history site.

This "near-mint" copy of the first appearance of The Batman in March 1939 last sold for $1.7 million in auction, and is now valued at $2.2 million. So, it's not just classic film enthusiasts who should check their lofts for lost treasure... I know where one copy is but I'm not telling. 

More gorgeous screen shots from the Blu-ray!

Gotham, before the Bat Signal

Elementary… Silent Sherlock, London Film Festival, Alexandra Palace

If it’s Wednesday it must be London and the magnificent, arrested decay of the Alexandra Palace Theatre which as the BFI’s Jean Mitri awardee Bryony Dixon said in her introduction was not only contemporary with Sir Arthur Conan Doyle’s Sherlock Holmes series as published in The Strand magazine but also the films based on his work made by the Stoll Picture Company. The Theatre was originally opened in 1875 and was screening films as early as 1906 with the tin projector room installed in the early twenties still remaining. After 80 years of closure, the venue is being restored in much the same way as these three films we saw screened, with just 44 more to go…

 

This was the grandest of archival screenings at the London Film Festival for some time and featured new scores from Neil Brand, Joseph Havlat and Joanna MacGregor who conducted the Royal Academy of Music Soloists Ensemble, leading from the piano. My mother was a huge appreciator of Ms MacGregor’s classical work and she would have loved this evening of exemplary musicality and performance.

 

The Stoll corporation made three series of 15 episodes and two feature films, all featuring Eille Norwood as the great detective a performer that Conan Doyle approved of in the role, both on stage and on screen. A vastly experienced stage actor, Norwood so impressed the author with his obsessive attempts to bring every detail of Holmes to light that he gushed about his “brooding eye” and his “rare quality, which can only be described as glamour, which compels you to watch an actor eagerly even when he is doing nothing.”

 

Screen presence - Eille Norwood  (Photo Yves Salmon BFI) 

That original materials survive for these films is remarkable but as Bryony pointed out, duplicate positives were made in the fifties and sixties and so the BFI was thinking ahead – not for nothing is it one of the leading archives in the world. For two of these films those duplicated formed the basis of photochemical and digital restoration whilst the third, the shattering The Final Problem (1923), was based on a tinted nitrate original and looked stunning.

 

That film left us literally on a cliff-hanger but the future of this series is ensured and I look forward to watching everyone… the French may have had Louis Feuillade but we had Maurice Elvey and then George Ridgwell, who directed the second and third series. The project is in collaboration with Iron Mountain Entertainment and will make this unique collection available on home media as well as on the big screen. Tonight, we had episodes from across the series all of which showed the flavour of the Eile Sherlock and the ways these wonderful stories were adapted for the big screen.

 

Sherlock and the King of Bohemia (Alfred Drayton)

A Scandal in Bohemia (1921), score Joseph Havlat

 

This was the seventh in the series and Norwood crams a lot of character into his screen time ably enabled by Elvey’s economy and focus. So many stock Sherlock moments are concentrated into this film that it underlines Doyle's desciption of “glamour”: one early example is the detective noticing that his companion Dr Watson (the ever-present Hubert Willis) has employed a new housemaid who has been over-rigorous in cleaning his shoes. I noticed that modern Sherlock writer, Stephen Moffat was on hand and probably making notes furiously!

 

Doyle was impressed with Norwood’s “quite unrivalled power of disguise…” and in Scandal we’re treated to a taxicab driver so convincing that The Strand reported he was nearly ejected from the studios as a trespasser! He also plays a non-conformist minister in his attempts to trick Irene Adler (Joan Beverley) into revealing the whereabouts of her incriminating pictures of her affair with the King of Bohemia (Alfred Drayton). Of course, Watson is fooled every time but Miss Adler proves to be altogether as smart as Sherlock… 

 

Miles Mander makes an appearance as Godfrey Norton, Irene’s true love interest and – surprisingly perhaps for those who have seen his later silent work, he’s not a bounder but a thoroughly decent chap!

 

Watson, Prof Coram (Cecil Morton York) and Sherlock

The Golden Prince-Nez (1922), score Neil Brand

The quirkiest of the three, this puzzler was the 14^th of the second series – directed by George Ridgwell who covered series two and three after Elvey moved on – and  involved the death of one Professor Coram’s secretary, who died clutching his killer’s eyeglasses in his hand. Sherlock quickly deduces that the murderer was a short-sighted woman with a broad nose and so it proves just not the one the police grab. There’s always a twist and a logical explanation and this one was a doozy.

 

Norwood has such presence and also a twinkle in his eye – his Sherlock enjoys the challenges and, just like our puppy Mungo, likes showing off how clever he is! Here the mystery is “readable” by the viewers and we can join in matching wits with the detective and the guilty parties.

 

Percy Standing and Eille grappling...

The Final Problem (1923), score Joanna MacGregor

 

To Cheddar Gorge and the culmination of Sherlock’s final battle with his criminal nemesis, Professor Moriarty… This was the last of the series and was directed by George Ridgwell. Here Holmes faces his evil equal, Moriarty (Percy Standing) with both men nearing the end of their tether after a series of bruising score draws in the streets of London. Sherlock makes a number of early signifying references to being willing to stop the man even at the cost of his own life.

 

He thwarts the evil schemer one more time and, leaving instructions with the police of Moriarty’s gang’s secret lair, heads of for some relaxation with Watson at Cheddar Gorge… it’s not quite the Reichenbach Falls but you may guess what’s coming. This featured stunning tints - restored from an original nitrate print – which really brought out the flavours of the locations and the epic battle of wits.

 

The orchestrations were powerful and evocative with each composer taking a slightly different route but delivering compositionally and as scores illustrating these timeless tales. Norwood plus time equals more or less Cumberbatch and I have the spirit of Sir Arthur Conan Doyle on my side. MacGregor tackled her dual role with ease and the players brought out rich textures in each approach creating a seamless whole of pure invention, deduction and delightful problem-solving verve!

 

Neil Brand and Joseph Havlat take their bows (Photo Yves Salmon BFI) 

The Final Problem was written in 1893 and viewers of 1923 would have been fully aware that Sherlock would return as he did originally in 1903’s The Adventure of the Empty House… but, as then, the finale here seems final. But, gentle reader, do not worry about our favourite sleuth for he will return, along with Maurice Elvey, in the feature film The Sign of Four (1923).

 

And now we must await further developments and restorations for the rest of the series; this was a most exciting entrée to the programme and probably the biggest such undertaking since the Hitchcock Nine back in 2012. I can’t wait.

Joanna MacGregor (Photo Yves Salmon BFI) 

Alexandra Palace Theatre

Fourth row back, chap with the beard, looks quite concerned... that's me! (Photo Colby Todisco BFI)