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Saturday is looking good to me.

Raise a glass to old El while you're out there!

Saturday is looking good to me.

Raise a glass to old El while you're out there!

Keep trying Louie!

I'll still plan to go, but do regret that most of the program is familiar to me (one of the hazards of going to Pordenone).

To handicap the festival, they'll have figure out something special indeed with the music to do something with The Overcoat, which is a cold and heartless film version of the famous Gogol story.

Wings I've just seen. Mantrap I've just seen. I didn't like Mantrap, but mainly because it was one more story that wastes Bow's talents.

If they were going to show the one real find from Pordenone it should have been The Lady in the Dugout. A great movie and an almost unique Western, filmed by men who really were there.

The real winner in this lineup is The Canadian, which I saw back to back last October in Pordenone with The Wind. The Wind is famous, perhaps rightfully so, but in many ways The Canadian is a better movie, especially the first half, a really interesting mix of humor and drama. The film can't quite keep up this level, the second part falling into more routine, but its still quite a nice film.

Ehh, excuse me, but Pordenone didn't "find" either THE LADY IN THE DUGOUT or THE CANADIAN, both films had been well seen at various Cinephile Conventions for quite a number of years and were well known with Historians and Cinephiles alike before they ever hit Pordenones screens. If it took the Pordenone commitee this long to read Brownlows THE WAR, THE WEST AND THE WILDERNESS and decide that these films may be good enough not to offend the virgin eyes of their crowd, goodie for them, but no credit is due them for discovering anything.

And you think MANTRAP wastes Clara Bow? You should go back to watching Hungarian films from the 1960's.


RICHARD M ROBERTS

Richard, the films are familiar to me because I was at Pordenone and just saw them. When I write about them at length, such as when I do talk about 'discoveries' at the Italian festival, I always try to put the word 'discover' in quotes, or discuss that the words are complicated because of course it isn't a discovery in any sense that knowledgable people have known about the film for years. For example, the film I would say is the 'find' of the festival is Eliso, a terrific film, but of course if anything it's a 'rediscovery' since everybody who saw it in 1929 thought it was great. I guess the French finding Chaney's The Unknown is a 'discovery' but it's still hard not to use the quotes. I've heard people talk about The Canadian for at least10 years, so hardly a discovery or even a find. What it has been is hard to see, which makes a 'find' for those of use who don't pilgrimage to archives. So please excuse my lack of italics for my prior post. I'll try and do better in my more formal reviews.

Lady of the Dugout is more complicated. It's been around for a long time, but doesn't get discussed in the common threads of discussion about the Western genre. Partly one could argue that hardly anyone saw it when it was released, so it's influence was minimal, but I'd still like to raise the awareness of the film, and if I can use the word 'find' or 'discovery' or the headline: Martians Rob Stage I'll consider it. Okay, maybe not Martians, but that's how headlines work. Not fair, but fair game as to try and promote the film.

As for Mantrap, my feelings about the film were shared everyone I talked to about it (about 20 or so) but I'm glad you liked it better that I did. Like I said, it's not a bad film, but when I see Bow films from this period it often seems to me that she's more interesting than the film she's in Whatever it is, it's also hard to call it a Western, so branding the film as a Western was a bit grating to me. But if that's what it takes to get ANY Bow on DVD so she can be seen, that's okay with me. I don't want to get pedantic about whether Mantrap is a Western or a Northern or whatever. And whatever it is, it's not a 'find' or a 'discovery.'

Is now the time to begin planning an Nville dinner get together?

Mary? Karie? Greta & Ray? Derek? Lokke? Rodney? Bueller?

I'll be at part but not all of the festival and would enjoy a get together if I can make it.

Great stuff! It's just a bit of a shame you won't get the original scores written for Loves of Pharaoh (a lush score by Eduard Künneke)

I agree, the original Eduard Künneke full orchestra score is wonderful and matches the film quite well. I was standing by for receiving a copy of the conductor's part so as to begin transcribing it for solo performance at the Castro's famed Wurlitzer Unit Orchestra this July, but got word from the festival staff yesterday clarifying quite specifically that for this year's festival screening I am commissioned "to prepare and perform a traditional compilation score assemblage". So, I've a bit of a shameful month ahead preparing that one plus two newly commissioned piano solo compilation scores (to Mary PIckford's AMARILLY OF CLOTHESLINE ALLEY and Edward Sloman's HIS PEOPLE) for performance at a double feature screening on June 23rd in the National Gallery of Art's Cineconcert Series, tied to its upcoming George Bellows art exhibition.

Dennis James - SILENT FILM CONCERTS (also now on Facebook)

Things don't look good for me coming this year. The fact I've just seen many of these films doesn't help.

Things don't look good for me coming this year. The fact I've just seen many of these films doesn't help.

Gee, I feel snubbed.

That's right, Donna won't have the chance to keep me from using her towels for yet another year. And I would never go to a festival that would include me in the audience.

That's right, Donna won't have the chance to keep me from using her towels for yet another year. And I would never go to a festival that would include me in the audience.

That's okay, Lokke. You're being excluded this year, so you can feel free to attend.

Jim

I received the festival brochure in today's mail. Whomever proofed the layout goofed - a nice pic of Tyrone Power as Zorro was used to illustrate the 1920 version with Fairbanks screening on Sunday.

Yikes! I'd a thought they knew Fairbanks by now...

One other piece of news -- in the past, at Telluride and Rome New York, Mont Alto has accompanied a 35mm print of THE WONDERFUL LIE OF NINA PETROVNA, which is a shortened (and somewhat censored) American release print, and which is the only easily available print so it's probably what's been shown mostly in the US. The SFSFF is planning to use a more complete print from England, which is almost 20 minutes longer, and (as I understand) doesn't have the censor cuts. We're excited about that, though we'll need to revise our score at the last minute.

As much as I planned to go earlier this year, looks like I won't get back from NY to make any sense to then fly across the country to get back to SF. The fact that I"ve seen just seen two-thirds of the program doesn't help. Even Pordenone looks very iffy for me this year. Maybe it'll be Cine-Con in LA this year. Haven't been there since 2004.

Too bad they can't recreate the Castro theater experience for the LA audience. Oh wait, they have. It's called El Capitan.

I received the festival brochure in today's mail. Whomever proofed the layout goofed - a nice pic of Tyrone Power as Zorro was used to illustrate the 1920 version with Fairbanks screening on Sunday.

Just got my brochure, that was an EPIC fail.

Here are a couple/three of pieces I did on the upcoming San Francisco Silent Film Festival. A few more, including an interview or two, forthcoming......

Silent Film Festival Announces 2012 Line-up / Huffington Post
http://www.huffingtonpost.com/thomas-gladysz/silent-film-festival_b_1516411.html

and

What and Who (as in Doctor) not to miss at this year’s Silent Film Fest / San Francisco Chroncile website
http://blog.sfgate.com/tgladysz/2012/07/04/what-and-who-as-in-doctor-not-to-miss-at-this-years-silent-film-fest/

and

Sid Kay's Fellows - Music in Pandora's Box
http://sfsilentfilmfestival.blogspot.com/2012/06/sid-kays-fellows-music-in-pandoras-box.html

Sadly, I'll be missing this year's SFSFF. I expect a full report.

Just so you know, the version S.F. is getting of The Wonderful Lies of Nina Petrovna is from a European archive, and much more complete than the American release print that's most commonly seen in the U.S. (It took me more than two days to revise our score to fit the new continuity). I've prepared a new translation from the German -- which reveals that the American translators toned down (and occasionally just omitted) some of the more scandalous titles.

In honor of the SFSFF screening of The Cameraman on July 15, here is my post about how it was filmed.

http://silentlocations.wordpress.com/2012/07/07/buster-keatons-the-cameraman/

Cheers,
John

Everyone - have fun at SFSFF this year. I want detailed reports.

Oh, I am sure I will chime in.

I'm very much looking forward to the lineup and will be seeing most of the films.

Looking forward to hearing and seeing Rodney and Mont-Alto.

Here's an article about the musicians at the S.F. S.F.F.

San Francisco Classical Voice article on silent film music.

I'lll cross-post this in the Music thread too, since it may reach people not going to the fest...

Those who appreciate further info on the different kinds and quality of prints being shown
at this year,s fest may want to consult Carl Martin,s blog at
http://www.filmonfilm.org/blog
Disclosure: I,m on the board of directors.

Here are my 2 cents in advance of Wings tomorrow everning.

http://strictly-vintage-hollywood.blogspot.com/2012/07/top-10-reasons-to-go-to-san-francisco.html

I'll be posting a full recap as soon as I recover from the whirlwind weekend.

Looking forward to seeing Rodney, Ken, Derek, Greta & Ray, Mary, Camille, Elaine and quite a few other people. Also looking forward to meeting some new faces. Hopefully I can get to spend some time with Lynn, too.

It's always a delightful weekend and I'm rather pleased with the lineup this year.

Looking forward to it and hope to meet some of you!

Brooksie, you'll be there? I might not make it tomorrow, but will be there for most everything else. Hop we have time to catch up.

We had a super opening night treat: around five minutes of restored two strip Technicolor footage from Red Hair!

When the title came up, for one amazing moment, I thought they might have had the whole thing ... but what we saw was still pretty amazing. A great crowd reaction to Wings too.

Brooksie,

This is great news about the 5 minutes of RED HAIR and in Color no less. We had heard that more of RED HAIR had surfaced, but I had no firm details. Good to know that the WINGS screening went well. Thanks for keeping us posted.

East coast Pola Negri fans want to know: How was the restored SPANISH DANCER?

All in all, a very well rounded and entertaining festival. I didn't see all the films, but enjoyed virtually all I saw. Once again, the diverse musical accompaniment makes the festival a treat for the ears as well. Just wished it ran a little closer to the actual times, but organized very well.

The Tales From the Archives this year focused on the commercial rather than the esoteric, with examinations of the work restoring WINGS and the differences in DR. STRANGELOVE, both really plugging the wonders of digital. The q & A was one of the most diverse and pointed of the last few years as well.

LITTLE TOYS, the Chinese film, featured some beautiful cinematography, montages, and excellent performance from the lead actress. The film was resolved too politically, but had its moments.

MANTRAP revealed an energetic, sexy performance from Bow, a touching one from Ernest Torrence, and a solid one from Percy Marmont. Frisky and fun, with beautiful footage of Big Bear, and somewhere in East Hollywood/Edendale area, with a bouncy performance from Stephen Horne. About half of the excellent documentary TWINS PEAK TUNNEL
was screened, revealing the process in excavating and building the tunnel through the hills.

THE WONDERFUL LIE OF NINA PETROVNA looked gorgeous and had its moments of tragic love, but seemed long, with a twitchy performance from Brigitte Helm. Unfortunately, director Philip Kaufman revealed the entire plot in his introduction, something they need to talk about with the presenters, make their introductions shorter and less revealing of major plot points. Mont Alto did a superb job as usual.

Unfortunately I missed the Felix the cat shorts, would have loved to seen them.

THE SPANISH DANCER was a hoot and a holler, funny, epic, and wildly entertaining. Moreno was a pretend Fairbanks, and Negri lit up the screen with her fiery performance. The film included a cast of thousands and gorgeous sets, with a little bit of melodrama, comedy, action, and atmospheric color. Donald Sosin's score blended piano and guitar to sexy effect.

THE CANADIAN was thoughtful and touching, very naturalistic and beautifully shot. A tad slow, but so realistic.

SOUTH somewhat disjointedly told the remarkable true story of Sir Ernest Shackleton and crew surviving a terrible ordeal in Antarctica and living to tell the tale. It featured remarkable photography and cinematography by the great Frank Hurley. Not as moving as THE GREAT WHITE SILENCE, as it moved between moments of humor, stoic British reserve, and animal documentary. The greatest parts of the tale either couldn't be filmed or would be too depressing to reveal to audiences.

I missed the last two films of the evening.

This morning started with THE MARK OF ZORRO, full of great action and humor, with a somewhat subdued score from Dennis James. I saw families with older kids around me, hopefully silent fans in the making.

THE DOCKS OF NEW YORK is another gorgeously designed tone poem by Josef von Sternberg, atmospheric, raw, and touching. Donald Sosin's wonderful score of period songs and music added emotional resonance to the film.

EROTIKON was an elegant, humorous take at adultery, ironic in its handling. The Matti Bye Ensemble's score brought sly humor to the proceedings, but occasionally could be almost Philip Glass in its hypnotic repeating.

STELLA DALLAS as always, is tear jerking melodrama at its best, beautifully shot and framed, with a fine cast adding emotional heft. Belle Bennett does an outstanding job of revealing the soft vulnerability and lost quality to Stella, and Alice Joyce subtly underplays. Stephen Horne's score combined pulsing jazzy feel and delicate emotional touch.

Hope to have my report up later today. It was a really terrific festival weekend. I enjoyed the social end, too. I missed seeing Derek B and enjoyed spending time with Brooksie, Missdupont and Greta.

MANTRAP revealed an energetic, sexy performance from Bow, a touching one from Ernest Torrence, and a solid one from Percy Marmont. Frisky and fun, with beautiful footage of Big Bear, and somewhere in East Hollywood/Edendale area

IIRC, some of it was also filmed at Lake Arrowhead.

THE WONDERFUL LIE OF NINA PETROVNA looked gorgeous and had its moments of tragic love, but seemed long, with a twitchy performance from Brigitte Helm. Unfortunately, director Philip Kaufman revealed the entire plot in his introduction

The Castro also had problems with projecting the subtitles. Quite a few title cards went by without any translation at all. The problem was eventually resolved, but it was very annoying. The film was beautifully directed, though it was indeed long, and the content was a bit thin. I'm interested in seeing if any other of the director's films are as good.

STELLA DALLAS as always, is tear jerking melodrama at its best, beautifully shot and framed, with a fine cast adding emotional heft. Belle Bennett does an outstanding job of revealing the soft vulnerability and lost quality to Stella

It's interesting to compare her to Stanwyck, whose innate shrewdness somewhat played against the role. By contrast, Bennett emphasizes Stella's vulgarity and coarseness, yet does so with--as you noted--vulnerability and sweetness. The film, and her performance, were every bit the equal of the sound version and Stanwyck. Henry King's direction also seemed a bit sprightlier than King Vidor's.