Showing posts with label Fritzi Kramer. Show all posts
Showing posts with label Fritzi Kramer. Show all posts

Friday, 26 June 2020

Appointment TV… Kidnapped (1917), MS and KBTV with John Sweeney


Back in the days when you couldn’t stream on demand and when even recording on VHS just wasn’t enough, the pull of certain television shows was such that you just had to watch them live. Who shot JR?, Ross and Rachel’s wedding, the fight between Ken Barlow and Mike Baldwin over Diedre in Coronation Street, certain things you were desperate to watch and to share in the knowledge that everyone else was as well.

Throughout lockdown the Kennington Bioscope have been broadcasting shorter films on their YouTube channel but tonight was something else as, in addition to a programme of shorts, there was a full feature film with live accompaniment from John Sweeney and an introduction from Fritzi Kramer, America’s premier silent-blogger with Movies Silently and the woman who crowdfunded the restoration and DVD release of the film in question. 

The face of KBTV
As usual KB MC, Michelle Facey, held the whole programme together, the Kennington Bomb-chelle, surrounded by a magnificent floral display and briefed to the hilt on the treasures we were about to watch. There were times when it was clearly live – the odd glitch that merely added to the collective buzz - yet it’s amazing how quickly the KB has evolved its offering over the five episodes – or webisodes if you will, although I know most of you won’t  - under Cyrus Gabrysch’s technical direction, Michelle’s presentation as well as Tod Higginson’s facilitation of the live chat – he also does the translations. The chatter was enlivened by Fritzi feeding us good-humoured background as the film progressed; if Swanson had access to a keyboard (and was alive), this is exactly her tone of voice.

The audience was again international, from the Wild West to Walthamstow (the Untamed East) via the Highlands of “Scotch” and the lowlands of Holland with a number spreading the word via social media snaps of Michelle on the big screen. In our world this was an event and we were re-connecting with a shared experience unlike almost any other since the middle of March. Marshall McLuhan may have declared TV, cool as opposed to “hot media” radio, but he reckoned without the “lean-forward” engagement of social media immediacy and, indeed, the Piano Cam showing us Cyrus, John and Costa’s accompaniment.

So, to the films…

All white mate?
For a man of so many names, it is surprising that Marcel Peréz is the most successful silent comedian most people have not heard of. Marcel, also known as Robinet, Tweedy, Tweedledum, and Twede-Dan was a very talented filmmaker who devised and directed as well as performed. I especially like his deranged serial The Extraordinary Adventures of Saturnino Farandola (1913) but his shorts are near always great value. Robinet’s White Suit (1911) is typical of his high-energy style, man wears impossibly clean suit which gradually gets filthy with the passing of unfortunate events until, ta-dah!, he bumps into a group of painters and their cans of matt white!

Not rocket but comedy “science” with every element mixed to perfection. Cyrus Gabrysch added to the alchemy hitting all the notes in exactly the right order.

Then off to the Turin for a gorgeous travelogue, The River Pescara (1912), watching boats head through the soothing waters to the coast. Costas Fotopoulos accompanied helping us keep a cool head on this hottest of June days.

As with other KB episodes, both shorts came courtesy of the EYE Filmmuseum and the Jean Desmet Collection.

When the river Pescara meets the sea...

"A film for all the family"… Kidnapped (1917), with John Sweeney

Fritzi’s aim in putting this film out on DVD was to recreate the typical programme of a night at the picture house in 1917 and along with the feature there are various short films including some of the same players all from the Edison Film Company and their series of Conquest programmes. Conquest was designed, as Fritzi quoted, to create “… the open road to entertainment and knowledge…” and to provide “… the first definitive contribution in the propaganda to popularise clean and wholesome films for all right-thinking Americans.”

Directed by Alan Crosland – who would make The Jazz Singer a decade later – this is the first feature-length adaptation of Robert Louis Stevenson’s Kidnapped and as per the positive reviews of the time, is a very decent and highly watchable effort. I have my own special relationship to this story after having been given an illustrated copy of the book for Christmas aged two and, being told I couldn’t read it, them opening it up to discover that no, I couldn’t read. Things have changed on that front but I poured over the pictures as a toddler and was delighted to see how many of the scenes are replicated in this film.

David asks a friendly crone if she's seen a big castle...
Raymond McKee stars as a slightly too old David Balfour (17), who is robbed of his inheritance by his evil Uncle Ebenezer (Joseph Burke) who first tries to arrange his accidental death on a rickety staircase in the tower of his castle and then arranges for him to be abducted by the nefarious crew of the brig, Covenant. Captain Hoseason (Franklyn Hanna) who has plans to sell him into slavery in the Carolinas.

Kidnapped was set against the backdrop of the Jacobite Rebellion and some actual events, in particular the "Appin murder", which occurred in the aftermath and for which the chief suspect was one Alan Breck Stewart. In the film, the Covenant accidentally rams a boat carrying Breck (Robert Cain in fine swashbuckling form), killing all but him. The crew soon realise who their new companion is and attempt to kill him and take his money, together with young david, Breck proves more than a match for them and even outnumbered succeeds in fighting them off.

Robert Cain about to swash...
Beck and David escape to the Highlands trying to dodge the Sassenachs as they resolve their own political differences through honest dialogue (seriously, take a flipping note Trump and Johnson). They witness the killing of the King’s loathed agent, Colin Campbell (Horace Haine) at Appin and are assumed to be the assassins by the English soldiers. They escape to safety with rebel Cluny McPherson (Samuel N. Niblack) before planning how to recover David’s fortune from his Scrooge of an Uncle.

The famous dénouement is a classic case of entrapment and whilst I am fairly sure a smart modern lawyer could get the old man off, here at least, justice is done!

John Sweeney accompanied live with the piano cam allowing us to wonder even more about how he flexes the musical narrative and tone with such apparent ease; the sounds and the sights are bound together instantly in his hands.

David has troubled dreams
You can order copies of Fritzi’s Kidnapped DVD which comes with the main feature and the four shorts that accompanied the Conquest programme: Friends, Romans and Leo, Little Red Riding Hood (also based on a true story?), Quaint Provincetown and Microscopic Pond Life. Ben Model provides excellent accompaniment of his own and there’s a twelve-page booklet from Ms Kramer providing more details. It is an education and a joy! Links to retailers can be found on the Movies Silently site right here. 

Another superb live experience to lighten the locked-down load but if you missed it and or simply want to relive the show, it’s on the Bioscope’s YouTube channel.

Superb! Until the next time… PJ


Supplementary: The full title of the book is essentially a plot summary and a little like a pre-internet collection of key tags:  Kidnapped: Being Memoirs of the Adventures of David Balfour in the Year 1751: How he was Kidnapped and Cast away; his Sufferings in a Desert Isle; his Journey in the Wild Highlands; his acquaintance with Alan Breck Stewart and other notorious Highland Jacobites; with all that he Suffered at the hands of his Uncle, Ebenezer Balfour of Shaws, falsely so-called: Written by Himself and now set forth by Robert Louis Stevenson.

It’s well worth seeking out by boys and girls of all ages and there’s even a sequel, Catriona, published in 1893 and featuring, women, unlike the film which has just one “Old Crone” and, as Fritzi pointed out, was sold on the basis of the “all-male” cast. How times were to change…

All Kidnapped screenshots lifted from the Kidnapped DVD. Buy it, buy it now!


Friday, 10 February 2017

Special relationships… Salt for Svanetia (1930), Kennington Bioscope with Jeff Rapsis

“Our economic plan is stronger than religion and custom…” cheer inappropriately dressed soviet workers – think that first Boyzone TV appearance or In the Navvy… as they sing their way to Svanetia crashing a road through forest, mountain and unproductive agricultural landscapes.

Salt is so scarce in isolated Svanetia that cows gather round urinating farm hands in order to drink the salty outpourings whilst wolves lick the salt from new born babes rather than eating them… This is all to be found in Mikhail Kalatozov’s remarkable docu-drama, which starts off with history and ends up with hysteria as if the makers had suddenly remembered their brief and tried to cram an hour’s worth of propaganda into ten minutes.


Salt for Svanetia is a superbly-crafted film with outstanding cinematography from Shalva Gegelashvili and Mikhail Kalatozov showing the extraordinary lifestyle of the rural communities of the Svan people in remote mountain village of Ushguli in Svanetia – somewhere to the far North-East of Josef Stalin’s home state of Georgia. The Svan live off the land in huge towers that have traditionally been a defence against incursions and now they stand as a monument to their splendid isolation from the rapid industrialisation and social engineering of Stalin’s Republic.

Whilst the state was starving the land to feed growing cities, the Svan are shown making their own clothes, painfully cutting wool from goats, spinning it and making felt hats. They work the land using archaic tools and initially their life seems peaceful and calm. And yet… there is no salt and the men have to risk their lives clambering over mountains to bring salt to the people…


Maybe salt depravation affects the mind… as the Svan suddenly appear in the grip of religious mania as they form a long deranged line burying “a rich man”. They throw their money and themselves into his grave, slaughter cattle and horses in tribute to their archaic gods then callously exile a woman about to break the ban on giving birth during funerals…

The women don’t actually want to give birth and would rather die… if only there was salt. If only there was a road! …and some muscular singing workmen!!

Worry not as the camp constructionists are on their way…

In the Navvy...
None of this detracts from the film’s power and with its Flaherty-styled set pieces it not only showcases a disappearing way of life but entertains with forceful imagery in this stunning setting. No wonder Andrei Tarkovsky thought it amazing.

This was the second year of the first Five Year Plan which, if memory serves, took seven years with more misery to follow with the second Plan – millions died of starvation as Stalin focused on industrialisation and Dekulakization, the process of removing the wealthier peasants from the land with or without salt.

The Bioscope welcomed a guest accompanist Jeff Rapsis who had flown in from Boston in the morning. There was little sign of jet lag as he worked the keys with expert ease throughout helping to underscore the scale and wonders of the visuals whilst tracking the cock-eyed narrative moods. There’s something special about the relationship between live music and film…

David Shepard
Given the recent death of silent film historian David Shepard it was good to have one of his fellow countrymen playing and one who knew him personally. Mr Shepard was passionate about live screenings and, as Amran Vance reminded us in his moving tribute, helped preserve many of the films we have been lucky enough to see at the Bioscope. Another one of those relationships that go way beyond the bounds of the less than exceptional.

If Salt was a bright and shiny Russian doll, there should be no surprise in finding three smaller but equally wondrous ones underneath it.

The Voice of the Nightingale (1923)
The evening began with a remarkable stencil-coloured short, The Voice of the Nightingale (1923) from Wladyslaw Starewicz – a fable of young girl who accidentally traps a nightingale and then is driven by dreams to let him free. Who knows why the nightingale sings? He sings for thee my friend…

Then Chris Bird introduced two films he has helped preserve and propagate with the aid of the increasingly legendary Fritzi Kramer who runs the outrageously excellent blog MoviesSilently. Both films were made by Russian emigres, who had escaped to France on a ship called The Albatross after the revolution.  They named their production company after their ship and from which they made The House of Mystery, Le Brasier Ardent (1923), Kean (1924) and so many excellent features.

Ivan in L’Enfant du carnaval - screen grab from Movies Silently
The first tonight was Child of the Carnival (1921) featured Fritzi’s main man, Ivan Mosjoukine. It only survives as a 9.5mm home cinema version which compressed five reels into one often cutting out key scenes and characters to speed up the story telling. Still, there was enough to see the debonair M. ease his way with trademark charm through forced adoption of a child he presumes to be the result of a wayward dalliance. The baby’s mother is brought in by his scheming manservant – clearly trying to make a man out of him - and, waddaya know, it just might work.

Lillian Henley played along for these films and borrowed some melodies from the nightingale and effortless elegance from Ivan.

The KB poster using artwork from Fritzi Kramer - follow the link for Fritzi's review
Next was Tales of the One Thousand and One Nights (1921) directed by the inestimable V. Tourjansky and starring his partner Nathalie Kovanko and Nicholas Rimsky. Shot extensively in Tunisia the film looked grand despite again being from an incomplete copy – again 9.5mm and tinted. It’s such a joy to hear the projector whirl round 80-year old celluloid: so much warmer than digital, new light casting old shadows… actual magic!

The story is the familiar one of Scheherazade telling tales to prevent herself falling victim to the Sheik’s habit of killing his brides on their wedding night (something tells me he’s missed the whole point…). Her stories feature young lovers, Kovanko and Rimsky and their efforts to remain faithful to each other and Allah… an unbeatable combination or at least they need to be...

Meg Morley accompanied with some lovely Arabian flavours and romantic major chords; there’s something primal about the Arabian Nights both in terms of the form and the appeal, and she caught it perfectly with misirlou minims and sandy semibreves...

Another excellent programme from the Bioscope and films you simply won’t see screened anywhere else anytime soon!

Both of these films are available to view online via YouTube and you can see more of the extraordinary work Bird and Kramer are doing on Chris Bird's channel here as well as Movies Silently for which my blog envy knows no bounds!

You can also find out more about Jeff Rapsis' music on his website here.