Silent Sheffield… The Lodger (1927), Neil Brand, Orchestra of St Pauls, Ben Palmer, Abbeydale Picture House, Yorkshire Silent Film Festival

This is only the second year of the Yorkshire Silent Film Festival and already you can sense it gathering momentum and a personality all its own driven by organiser-in-chief Jonathan Best. This year’s edition is a month-long celebration of silent film played out across that big county to the right of Lancashire, featuring a roster of key silent films all played by some of the most vibrant musical minds in the country, on their own or in ensembles.

Tonight was a major-league kick-off with a World premiere of Neil Brand’s sparkling new score for Hitchcock’s ground-breaking The Lodger as played by the Orchestra of St Pauls conducted by Ben Palmer. It was part of a weekend of silent spectacles in Sheffield’s amazing Abbeydale Picture House – one of the city’s oldest cinemas and one saved for film projection by a kindly benefactor who realised its communal significance far outweighed initial plans to re-work it as a climbing space.

The Abbeydale opened in 1920 but rarely can it have played host to such an intoxicating blend of on screen atmospherics and such refined accompaniment, emphatically performed by a truly World-class ensemble.  For me at least, this score far out-ranks the previous orchestration provided for the Hitchcock Nine restorations by Nitin Sawhney: that was musically interesting and inventive but doesn’t synchronise emotionally or narratively as well as Neil’s work. It’s the difference between Rita Hayworth trying to match Fred Astaire’s movement for their first feature, You'll Never Get Rich (1941), versus Ginger Rogers on their ninth: you’d still enjoy watching Rita dance but...

Here there’s a coherence that speaks of an obsession with replicating the emotional nuance of the source material and gifting supremely able players with a chance to fully immerse their sonic output with the sights on screen: from the grand moments of fear and dread murder to the sexual splash as Ivor Novello stands outside the bathroom listening as June Tripp taking a dip to a rising cluster of notes as she raises a laugh: it’s an emotional ballet written in response to Hitchcock’s 90-year old choreography.

Sat in the second row, feet away from the violins in the Abbeydale’s plush green seats, you’re swept up under the combination of giant Ivor face and mesmerising musicality… all weekly woes dissipate and the cinema takes you on a strange journey just as it would have done your grandparents… just as the director intended when, as Mr Brand said in his introduction, he decided to make voyeurs of us all…

It starts with as scream and as newspapers report all on the Avenger’s murderous spree and the people on and off screen lap it up – we can’t help ourselves. This man who only murders blondes – already with this Alfred? – has a dressing room full of show girls fascinated and so are we; both with the story and with the girls… By the by, am I correct in noticing the ultra-short trim of scouser Peggy Carlisle lapping up the gossip?

The film looms large on the Abbeydale’s huge screen imposing itself on the audience from the opening dramatics as Germanic shadows are cast over a suffocating, studio-bound London: “a story of the fog…”

Inside the cosy home of The Bunting Family all is clear with mother (Marie Ault – who is just magnificent), father (Arthur Chesney) and their daughter Daisy (June Tripp here referred to as Miss June). They are in the basement of a townhouse not far from the Houses of Parliament and are entertaining Joe Chandler (Malcolm Keen), a policeman who is romancing Daisy although as her treatment of his pastry heart reveals – a very Lubitsch touch – isn’t as keen as the cop.

Here's Ivor!

They are disturbed by a knock on the door and Mrs Bunting goes upstairs to find the strangest fellow standing on their threshold: Jonathan Drew (an unearthly Ivor Novello), a tall stranger, with scarf wrapped over his face, has come looking to rent their spare rooms. Why is this so clearly-moneyed man looking for accommodation and, why is he so strange…?

Hitchcock piles on the clues that begin to implicate Drew in the Avenger killings… his scarf is worn in the same manner as the murderer, he nervously hides a mysterious briefcase in his room and then asks for the surprisingly plentiful portraits of blonde woman to be removed after turning them one-by-one against the wall.

Miss June

He is indeed a “queer fellow” as one of the characters observes, intense and detached and not conforming to social norms. He is hiding something but we don’t know what.

None of this distracts Daisy who takes an immediate shine to the new arrival. Daisy’s a “mannequin” and with broader horizons than her family and boyfriend… whilst Drew is something new and interesting. They start to relax in each other’s company and play chess in his room. She glances at this strangely handsome man whilst he gazes intently at her blonde locks… Hitchcock contuse his playful tone as Drew, looking intent, reaches for the poker only to cut away and casually return after the fire has been stoked.

Marie Aultgives a great performance

But we have doubts about Drew and when he leaves the house late in the evening, Mrs Bunting wakes and peers out of her window as he enters the night. There’s great light and shade in this sequence with Drew descending the darkened staircase and the dim light of the street lights illuminating Mrs B as she begins to wonder if this man may be even stranger than he appears.

And, as every Tuesday, there is another murder that night…

Staircase mystery...

Drew attends one of Daisy’s fashion shows and buys her one of the dresses she parades. This is too far for the Buntings and father returns it with some straight talking. Drew creeps out towards the bathroom where Daisy is bathing and we’re treated to a proto-Psycho moment as Daisy’s supreme vulnerability is set against the presence of a potential killer.

By now Joe has also had enough and distraught, the policeman begins to put two and two together as it looks increasingly likely that the lodger is the killer… or is that just what he and we want?

Your move...

It’s masterful story-telling and almost all in the mind of the viewer who is a clueless as Joe in terms of interpreting the evidence Hitchcock supplies. As with the story so with the score and Brand’s music keeps us guessing right until the end as the tension becomes almost unbearable…

A thrilling ride all round and an excellent start to the festival!

Flying the flag: the Abbeydale

The films continue in silent Yorkshire throughout the month and full details can be found on the festival site. You can also find out what's happening at the Abbeydale Cinema on their Facebook page here.

Neil’s score will be available on the up-coming Criterion DVD/Blu-ray release, played by the Orchestra of St Pauls with Ben Palmer conducting. It’s released on 27^th June and you can pre-order here.

Oh, silent film obssessive... is that Peggy from Hindle Wakes (right) in The Lodger (left)?

Hitchcock and Horne, London Film Festival - The Manxman (1929)

This was the final restoration premier for the Hitchcock Nine and the BFI series went out with a bang... a piano, fiddle, oboe and two harps! Presented as the London Film Festival‘s archive gala, the screening took place at the Empire Leicester Square, a former music hall where the Lumière brothers staged the first commercial projected film shows in 1896.

Now it’s one of the cinemas of choice for blockbusting premiers so, there could be no bigger or better venue for the culmination of the BFI Hitchcock project.

The Manxman was Hitchcock’s last purely silent film (Blackmail was made in both formats… although it’s better as a silent in my opinion) and as Robin Baker, the BFI’s Head Curator, said in his introduction, showed the director’s mastery of the form.

Malcolm Keen and Carl Brisson

The restoration team had the benefit of the original negatives amongst others and their thousands of hours of labour showed in yet another crisp print projected into the Empire’s huge screen. The restoration process has been painstaking and as Baker said, it has taken longer to restore than films than Hitchcock took to make them.

And, what can you say about the new score from Stephen Horne? Having blown us all away with his music for The First Born at last year’s archive gala, he repeated the trick this year… adding appropriately Celtic touches to reflect the dramatic landscapes of the Isle of Man.

Randie Ayrton confronts Carl Brisson

Inventive, controlled and passionate the music was performed by Stephen with an expert ensemble made up of Jennifer Bennett (fiddle/viola), Joby Burgess (percussion), Janey Miller (Oboe and the aptly-named Oboe d’Amore) and Ruth Wall (Lever Harp/Wire Harp and a passing resemblance to Anny Ondra...).

This was the fifth of the nine restored Hitchcocks I have seen and whilst I have thoroughly enjoyed the new music placed against the other films, Horne’s score was the most sympathetic. This is very much Stephen’s “day job” and it really showed as his music offered gentle support to the story, anticipating mood changes and helping the viewer interpret the meaning and feeling. He’s spent decades dueting with the directors of silent film and so his mastery of collaboration-after-the-fact should come as no surprise.

Here his music played a major part in turning this event onto a memorable occasion, making the very best of a film of great visual flair but low-level dramatic impact.

The boys argue over who buys the next round...

The Manxman was based on a highly-successful 1894 novel from Manxman, Hall Caine and dealt with social norms of the Isle of Man a semi-autonomous island that even in the twenties was still mildly out of step with mainland Britain (even now…?). The social pressures on the main protagonists would have been a curiosity then and they certainly are now. The characters’ motivations therefore seem obscure and fathomless… which is where the music comes in helping to fill the cognitive gaps and anchor the heartbreak in terms we can better understand.

The story is a love triangle based in a small fishing port where a poor fisherman, Pete Quilliam (Carl Brisson) is best friends with a lawyer, Philip Christian (Malcolm Keen). The two men, from different ends of the social scale, are as close as brothers and pursue the same causes with Philip helping the fishermen fight for their rights.

But they also have other interest at heart. Pete is in love with Kate (Anny Ondra) the daughter of the local pub landlord and so, we soon discover, is Philip.  But when her father, Old Caesar (Randie Ayrton wearing two impressive earrings), rejects the fisherman as not being worthy he pledges to make his fortune overseas and return to marry Kate.

Dad watches Kate as she weighs up the options...

She pledges to wait for him and he asks Philip to watch over her. Pete leaves and via clever use of Kate’s diary, Hitchcock shows the developing feelings between her and Pete’s best mate… out of sight, out of mind.

Pete is reportedly killed and the two are free to pursue their affair but her returns unharmed and enriched, to claim his bride. Philip will not stand in his buddy’s way and, with his career on the rise, has other issues of standing to consider.

Pete marries Kate but they are doomed to unhappiness even after the birth of a baby… Will true love out or will society force them to persist in their sad compromise?

It’s a slow-paced film but Hitchcock puts as much emotional spin on things as he can but this sometimes means that the actors seem to be over-reaching. All three are very skilled but I struggled to view Malcolm Keen as genuine romantic competition to Carl Brisson (sorry mate!) – he is very expressive but hasn’t got leading man good looks. Besides, Anny Ondry can’t hide her earthy qualities and you instinctively feel that she’d be better off with the swarthy Dane.

Hitchcock’s camera spends a lot of time on Miss Ondry and you can understand why he chose her for Blackmail, she… radiates!

Can you spot Anny in this picture?

Also stunning is the north Cornwall scenery that stands in for the Isle of Man, you can see the director really enjoying himself with some shamelessly gratuitous shots of the cliff sides, forests and brooding  skies…usually with Anny skipping across them!

I shall really miss the Hitchcock premiers but these films will run and run. Robin Baker said that The Pleasure Garden had recently been shown to a crowd of 6,000 on Copacabana Beach in Rio de Janeiro… now there’s a great venue for silent film!

The Manxman is currently available as part of the Silent Hitchcock collection but, as I’ve said before, it’s worth waiting until the restored version is made available, hopefully complete with Mr Horne’s superlative score. The BFI are working on it…

There she is!

The Lodger (1927), Nitin Sawhney, LSO, Barbican, London

  

The latest in the BFI’s Hitchcock restoration project, this screening of The Lodger took place at London’s Barbican Centre with the London Symphony Orchestra performing a new score from Nitin Sawhney.

Robin Baker, Head Curator at the BFI explained that none of the original scores remain and so this presents the opportunity to commission new music which can redefine and reconnect these films for modern audiences.

Sawhney has impressive credentials and has scored a number of films - he's even been nominated for an Ivor Novello Award for Film and TV Composition. Here his music featured a large formation from the LSO as well as his own band who provided piano, percussion, cello and vocals. Playing in front of the mighty LSO must take some courage and I had particular admiration for drummer Martyn Kaine who had to make everything swing but musicianship was excellent from all parties.

The soundscape was lush and closely tracked the emotional flow of Hitch’s first thriller. The only issues I had were with the songs interspersed in the score which jumped the narrative gun on one at least one occasion and threatened to prick the bubble… Other than that though, the music was pretty sensational including the lovely vocals - ambitious and as powerfully emotional as the film.

The Lodger seems heavily in debt to German expressionism and yet with that earthy music hall comedic touch that lightens even the most sinister Hitchcock. I overheard one audience member saying that she wasn’t sure whether some of the acting was deliberately funny but my silent film rule of thumb  would be that if something is funny,  it’s generally meant to be: we haven’t changed that much.

The acting matches the expressionist agenda but there’s a whole range in this film from the Golden Curls girls naturalistic post-show chatting to the more tortured emoting of victims, suspects and the unlucky in love. It’s “arch” and there’s a very knowing – very British – mix of horror and humour.

The film kicks off with a scream as the latest victim of the serial blonde assassin, The Avenger, is cut down by the killer. Hitchcock then shows us the excited reaction to the killing across London, fuelled, as ever, by the press – “Murder – wet from the press!” screams one of the inter-titles (strikingly rendered in expressionistic style by E. McKnight Kauffer).

Only a few decades after Jack the Ripper, Londoners responded to fear of serial killer in their midst through a mixture of outrage and humour… people pull faces and imitate the killer’s appearance (scarf pulled over face)… even Joe the Policeman  jokes that the killer likes the golden hair, just like him.

After the “Story of the London Fog” is established the film shifts to the interior world as we encounter the Buntings with mother (Marie Ault), father (Arthur Chesney) and their daughter Daisy (June Tripp here referred to as Miss June). They are in the basement of a townhouse not far from the Houses of Parliament and are entertaining Joe Chandler (Malcolm Keen), a policeman who is romancing Daisy.



This relaxed domesticity offers a stark contrast to the frenetic goings on of the outside world. Joe offers Daisy pastry hearts and flirts with her… yet we get the feeling she’s not entirely convinced. But Mum looks on pleased with her daughter’s reliable beau…

Their cosy routines are disturbed by a knock on the door and Mrs Bunting goes upstairs to find the strangest fellow standing on their threshold. A tall stranger, with scarf wrapped over his face, has come looking to rent their spare rooms. This lodger is revealed to be Jonathan Drew (an unearthly Ivor Novello) who is mysteriously withdrawn and looking for short term accommodation in spite of his dress and treatment of money marking him out as a man of wealth.

Hitchcock piles on the clues that begin to implicate Drew in the Avenger killings… his scarf is worn in the same manner, he nervously hides a mysterious briefcase in his room and then asks for the portraits of blonde woman to all be removed… (quite why there were so many is not revealed…).

On top of this he is indeed a “queer fellow” as one of the characters observes, intense and detached and not conforming to social norms. Clearly he is hiding something but we don’t know what.

He disturbs the household but begins to respond to Daisy’s warmth and willingness to take him at face value. Daisy’s a “mannequin” and with broader horizons than her family and boyfriend… Drew is something new and interesting. They start to relax in each others’ company and play chess in his room. She glances at this strangely handsome man whilst he gazes intently at her blonde locks… It’s like an off-beat version of the Thomas Crown chess game.



But we have doubts about Drew and when he leaves the house late in the evening, Mrs Bunting wakes and peers out of her window as he enters the night. There’s great light and shade in this sequence with Drew descending the darkened staircase and the dim light of the street lights illuminating Mrs B as she begins to wonder if this man may be even stranger than he appears.

And, as every Tuesday, there is another murder that night…

 

Drew attends one of Daisy’s fashion shows and buys her one of the dresses she parades. This is too far for the Buntings and father returns it with some straight talking. Drew creeps out towards the bathroom where Daisy is bathing and we’re treated to a proto-Psycho moment as Daisy’s supreme vulnerability is set against the presence of a potential killer.

By now Joe has also had enough and confronts Drew only for Daisy to side with the new man. Distraught, the policeman begins to put two and two together as it looks increasingly likely that the lodger is the killer…
I won’t give any further details of the plot… you really have to experience this one to be “thrilled”.

This English expressionist film feels more “influenced” than Hitchcock’s next film, The Ring and is more mannered in acting terms with Novello, cast firmly against type. He’s not as naturalistic as Lillian Hall-Davis in the latter film but his haunting and strangely conflicted, performance serves this story well.

The other performers contribute to an overall feeling of the mildly grotesque, especially the gurning Keen.  Marie Ault has more nuance and arguably plays the character we most identify with…safe in our domestic routines but having to take a chance on a stranger to make ends meet. June Tripp is also good as the heroin who puts her love on the line for a long shot…

The Lodger is currently available on a dirty old DVD but I’d hold off for the restored version to become available. The BFI have again done a fantastic job, especially given the source material – there was no negative and this was the most damaged of the “Hitchcock Nine”.

The screen shots here pre-date the restoration – it is quite something. Roll on the next one…