SF Silent Film Festival, Day 3

The Irrepressible Felix the Cat
This may have been the first theatrical, 35mm presentation of multiple Felix the Cat cartoons ever. The shorts were wild, crazy, bizarre, surreal, and hilarious. The accompaniment added much to the festivities. Donald Soosan and a drummer who's name I didn't get accompanied some of the shorts. Toychestra–a sextet playing toy instruments and a synthesizer–did the rest. They took turns, with Sosin and the drummer doing one cartoon, and Toychestra doing the next. Everyone joined in for the last one, involving a trip to Mars. There was singing from Toychestra, snoring sounds from Sosin, and monkey sounds, clapping, and laughter from the audience. The only disappointment was that it ended.

The Spanish Dancer
I've never been a fan of Pola Negri, the star of The Spanish Dancer. Her acting strikes me as stilted, and she usually played a annoyingly sexless seductress. But she's somewhat more acceptable here, as a gypsy dancer ingenue. Nevertheless, I really enjoyed this swashbuckler.

That had everything to do with the leading man, Antonio Moreno. He plays the joyful, devil-may-care swashbuckling hereo with the optimism of Fairbanks and the energy of Flynn. I'll have to find out more about him.

Donald Sosin once again supplied the music. This time, in addition to the grand piano, he was accompanied by two guitarists, and used a synthisizer as well as his usual grand piano. He had a laptop open, as well.

The Canadian
Not everything is a pleasant surprise. This drama about an Englishwomen who moves to her brother's farm in Alberta and marries a farmhand is only moderately interesting. Mona Palma at first plays the Englishwoman with so much snobbery that she fails to be either believable or sympathetic. She wins some sympathy as her problems build up–especially in one effective, shocking scene–but after that moment the movie slides into predictability. Thomas Meighan gets top billing as the new husband.

Stephen Horne's accompaniment, on piano and accordian, was better than the movie.

The good:

  • The whole Shackleton story of spectacular failure turning into spectacular success, is just so amazing and incredible.
  • The fact that there is a cinemagraphic record of this voyage is even more amazing.
  • Stephen Horne's musical score on piano and other instruments.
  • Actor Paul McGann's dramatic readings from Shackleton's diary.

The bad:

  • Nowhere near enough of McGann's dramatic readings from Shackleton's diary.
  • The movie is horribly padded with “cute” animal photography.
  • It was projected off a very bad digital source. My guess: A heavily-compressed DVD.
  • Although the screening started on time, it ended very late. That contributed to the biggest problem of he day. Read on:

Pandora's Box
We had to wait. South ended, with a pretty full house, only half an hour before Pandora's Box (which was sold out) was scheduled to open. Other delays inside (I don't know the details) delayed things further. The show finally started at 8:00.

I've loved this film for 20 or more years, but I've never experienced it like I did tonight.

First, there's the restoration: Previous screenings showed a film that was literally in black and white, without shades of gray. The new Pandora's Box showed the full monochrome range, and a great deal more detail. I could appreciate the lighting, the photography, and the acting better than ever. The bridal bedroom scene felt like the dark corners of the soul. And I wasn't so sure of Louise Brook's Lulu's naive innocence. There were times when I felt that she understood the destructive consequences of her behavior…maybe. That made her all the more interesting and, oddly, her tragedy all the sadder.

Then there was the music by Matti Bye Ensemble. Heavy on drums and strings, it created a sense of relentless motion and doom. This was, thanks to Matti Bye, the darkest Pandora's Box I've ever experienced. I loved it.

Because of the delay, I didn't stay for The Overcoat.


One thought on “SF Silent Film Festival, Day 3

  1. Hey Lincoln, I agree that this was the darkest Pandora’s Box I’ve ever seen–or more properly, heard. I think Mattie Bye’s score is relentlessly doomy, without enough levity for some of the funnier or sillier scenes to make us appreciate the contrast.

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