Archive for Jane Gardner

The Sunday Intertitle: You Bad Ass

Posted in Fashion, FILM, MUSIC, Politics with tags , , , , , , , , , , , , , , , , , , , , , , , , on March 25, 2018 by dcairns

Movies from 10.30 a.m. until around midnight yesterday at the Hippodrome (and also at Bo’ness Railway Station). The one film I was unsure of, the recently rediscovered early ‘3-s Chinese film, STRIVING, turned out to be a highlight. For all its blatant propaganda content (“Bullets dodge brave soldiers,” one intertitle tells us — and we learn how the Chinese defeated the Japanese, which is pretty counter-factual), I actually like it better than the admired THE GODDESS. It’s in perfect nick, and Stephen Horne and Frank Bockius really brought it to life with their accompaniment.

Everybody’s favourite intertitle came from this film: “You bad ass!” a charming mistranslation which meant to come out as “You awful jerk!” or something. Difficult to find an idiom that carries the meaning and feels natural but doesn’t sound too, well, idiomatic.

The day began with Baby Peggy in THE KID DETECTIVE and Neil Brand at the piano. Neil told us that he’s actually played before B.P. herself. He asked her if they played music on set when she acted, and she said yes, there was one piece that would always make her cry. So when he accompanied her film he played it, and glanced into the audience, and sure enough, there were tears running down her face. I wish we’d had her with us yesterday. She was a big hit, especially in drag with tweed suit and inverted Hitler mustache.

Then there was the very peculiar SAVING SISTER SUSIE, a 1921 Christie Comedy with Dorothy Devore, who I hadn’t seen before. On the slenderest pretext, Devore is forced to dress as a child so she can’t steal her sister’s rich beau, but he falls for her anyway, the “Buster Brown” costume failing to put him off — maybe it even encourages him. This foretaste of THE MAJOR AND THE MINOR meant that the naive little farce stood out in a day full of imperilled virigins and sexual threat, as perhaps the most disturbing film of all.

DER SCHATZ (1923), the first film of GW Pabst, was impressive, but hampered by the score. The Hippodrome set like a good improvisation as much as the next silent film geek, but we like to feel the musician is improvising TO the film. Alois Kott had laid down a sound bed of strange noises, which sometimes changed in sync with the scenes, and then he added another layer of abstract musical noise with an amazing instrument that looked like a cross between a cello and a Curly-Wurly™. None of the sounds would necessarily have been inappropriate for this film, though the intergalactic computer twinkling was something you might want to be careful with. But none of them seemed to follow or reflect the action, tone, mood of the characters or create either tension or space. The effect became like watching a good film (with Werner Krauss and THE 39 STEPS’ Lucie Mannheim) through a thick pane of frosted glass: music as barrier.

We did learn that Kott has provided live improvised accompaniment to football matches, though. I like that idea — sounds like about the only thing that could make the experience of a football match tolerable to me.

Oh, somewhere in there I accidentally won a chocolate egg in a quiz, which I then shared with random audience members. Seemed only fair since I’d guessed half the answers.

Tom Mix and his Wonder Horse, Tony, starred in THE GREAT K & A TRAIN ROBBERY (1926), where the clean-cut hero pretends to be a bandit in order to thwart real outlaws. Heroine Dorothy Dwan (fresh from the ’25 WIZARD OF OZ) seems to be serious obsessed with bandits, fantastising Mix as Dick Turpin via match dissolve, and gloating lustfully over her big book of Romantic Highwaymen. Who knew that highwayman porn was a thing? Second favourite intertitle stemmed from this film, where an effete villain is introduced with the words, “if he’s a college man — it must have been Vassar.” It’s at 2.36 in the above YouTubing. The movie is impossibly innocent — six-shooters blast all over the Colorado setting, but nobody ever gets shot, but it IS a bit heteronormative, I guess you could say.

John Sweeney pounded the ivories to strong dramatic effect despite the chill of the open-air performance amid the Bo’ness steam locomotives.

Then came the double feature of THE PENALTY and SEVEN FOOTPRINTS TO SATAN, which I’d written programme notes for. Graeme Stephen & Pete Harvey provided a beautiful score for the former, quite light and airy for this sadistic gangster-horror melodrama, and maybe a counter-intuitive choice to use strings for a film about a mad pianist (Lon Chaney) — but it worked!

I’m biassed, but Jane Gardner’s score for SEVEN FOOTPRINTS, performed with Roddy Long on violin, was my favourite of the day. It started with jaunty tunes from piano and bow, then when the going gets spooky, Jane switched to electronic keyboard and Roddy added an array of filters to his violin for an eerie selection of drones, pulses, throbs, wails and screeches — but not forgetting the tunes. This movie originally had a Vitaphone soundtrack, now lost, and while it would be unlikely that Jane happened on any of the precise effects of the original (apart from the gong), I could well believe that her work complimented the film every bit as effectively. Director Benjamin Christensen must be looking up from Hell, smiling.

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When Saturday Comes

Posted in FILM, MUSIC with tags , , , , , , , , , , , , on March 22, 2018 by dcairns

On Saturday we’ll be in Bo’ness at the Hippodrome Silent Film Festival. Time and budgetary constraints mean I’m not seeing any of the shows before then, since I’d have to travel through by train and then bus and that can get expensive in addition to the (reasonably-priced) cost of the films themselves. But to compensate for that, on Saturday we aim to see EVERYTHING.

10.30 a.m. SAVING SISTER SUSIE with Dorothy Devore, and THE KID REPORTER with Baby Peggy. Neil Brand at the piano.

Lunch.

13.30 FEN DOU (STRIVING). This one’s a gamble because I haven’t been blown away by the little Chinese silent cinema I’ve seen (not even the acclaimed THE GODDESS), but when else will I get a chance to see it? Plus the music, by Stephen Horne & Frank Bockus, is sure to be excellent. The movie itself could be a masterpiece, and is almost certain to be better than hanging around on a cold Saturday in Bo’ness until —

16.30 DER SCHATZ (THE CASTLE). Music by Alois Kott. Pabst’s first feature and one of his most expressionistic films. Should be awesome on the Hippodrome’s big screen.

18.30 Dinner at the Bo’ness Railway Station (home of vintage steam trains that appear in nearly every British period movie) and a screening of THE GREAT K&A TRAIN ROBBERY with Tom Mix on the station platform.

20.00 Double-bill of THE PENALTY with Lon Chaney and Benjamin Christensen’s SEVEN FOOTPRINTS TO SATAN (pictured) with Thelma Todd, for which I’ve written the programme notes. Graeme Stephen & Pete Harvey will be accompanying the former, with Jane Gardner & Roddy Long (THE NORTHLEACH HORROR) scoring the latter.

And then, hopefully, we get a lift home, or at least as far as the Linlithgow train station…

The Sunday Intertitle: The Milk of Inhuman Kindness

Posted in Fashion, FILM, MUSIC, Painting, Science with tags , , , , , , , , , , on May 7, 2017 by dcairns

A fantastic event at L’Institute Francaise last week — Lobster Films’ magnificent restoration of Marcel L’Herbier’s science-fiction romance L’INHUMAINE, accompanied by my colleagues from THE NORTHLEACH HORROR Jane Gardner and Roddy Long on keyboards and violin and introduced by our friend Rolland Man.

I’d seen this projected before, and of course found it visually stunning, but with sharper picture and better accompaniment, L’Herbier’s achievement becomes even more apparent, his daft story more involving. Combining his aesthetic ritziness — designs by the best architects (Robert Mallet-Stevens), production designers (Autant-Lara & Cavalcanti), fashion designers (Paul Poiret) and artists (Fernand Leger) — with the fashionable tropes of cinematic impressionism — a school founded entirely upon sequences of delirium, hysteria and drunkenness (superb) — he fashions a hysterical melodrama propounding his own perverse and peculiar ideas — anticommunist, anti-mystic, technocratic — and serves up a mad lab climax that anticipates both METROPOLIS and FRANKENSTEIN.

Leger’s intertitles weren’t very clear, and seemed weirdly SHRUNKEN in the previous copy of the film I’d accessed, so it was lovely to see them so crisp, their forms mirroring the groovy kinetic sculptures that form mysterious pieces of lab equipment, used to save heroine Georgette Leblanc from a deadly snake-bite.

Such is the dazzling power of the imagery that nobody else we spoke to spotted Mme. Leblanc’s nipple as it escaped her Grecian-style gown. Here, purely in the interests of proving Fiona & I did not imagine it, is the nip-slip.

I have been informed that my blog is BANNED at the BFI because their servers detect nudity and come down hard on it. If this is true of all our cultural bodies, I wonder how the art galleries manage to function.