Thoughts about silent film music and life in 2025: Back to the start in more ways than one

Harry Langdon is over a barrel (actually, several of them) in 'The Strong Man' (1926).

The New Year in silent film accompaniment starts for me on Monday, Jan. 6, when I'll do music for Harry Langdon's great comedy 'The Strong Man' (1926) at the Garden Cinema in Greenfield, Mass. 

Details and more info about the screening are in the press release pasted below.

But before we plunge headlong into 2025, I'd like to pause to round up a few thoughts about where I am and where I'm going.

First: I didn't realize it until just now, but 2025 will mark the 20th year that I've been regularly accompanying silent film screenings.

After all this time and effort, I feel like I'm finally beginning to really know how to do it consistently and effectively. No joke!

One reason for this is that I've been devoting time to improving my keyboard technique. I've done this by regularly running through the old Hanon piano exercises, and then seriously working on actual concert pieces. 

So now, for the first time in my life, I can play (or rather plow through) all of Chopin's 'Heroic' Polonaise in A flat. It's a thrill to actually be able to play music I've loved all my life, and get to know it that much more thoroughly.

Although some sections are still pretty rough and slow going, and I've memorized only about 60 percent of it, I hope to have the whole thing under my fingers in the near future.

This helps with silent film accompaniment by giving me a more robust technique to call on when needed. It trains the hands to do more during improvisation, which is how I do music for most silent films.

Also, after 20 years and more than 1,500 screenings, I feel I've developed a fluency in the art of silent film accompaniment---a sense of what works, when to hold back, when to come on strong, and so many other elements that go into effective scoring.

In addition, I've forged my own personal musical language. I feel this enables me to bring a vintage film to life for today's audiences with music that's respectful of the films and the period, but still feels fresh and reflects today's notions of effective film scoring.

It's also an exciting time in general. I feel my life has been divided into separate but overlapping phases, and I feel I'm on the cusp of entering a new period in which I'll finally be able to devote time and energy to several writing projects I've had in mind for many years now.

Yes, writing. I was trained as a journalist, and that's what I did for a time after graduating from Fordham University in 1986. I thought that writing for newspapers would be a great way for me to get started on my own long-term writing ambitions. 

To write and get paid for it while learning about life---what could be better?

But after a few years of in-the-trenches reporting (which is very different from literary writing), I took an opportunity to jump into newspaper management, which eventually led to me getting an MBA and co-founding a publishing company. 

So I was doing as much writing as ever, but it was nearly all business-related. My own personal writing projects went into hibernation due to day-to-day priorities that seemed more immediate, and also perhaps because felt I wasn't quite ready.

So nothing happened, and for a long time it seemed like life had other plans for me. Just as the publishing company was becoming established, I also became caregiver for my mother as her health declined. This turned into pretty much another full-time job for the 10 years prior to her death in 2018.

During this time, the only writing-related activity on my part was to threaten to publish a pamphlet intended for caregivers of elderly parents. I would joke about the title: "Don't Expect A Thank You!" (Sorry, Mom. Just going for the laugh again.)

Following her death, I took on a new challenge---the management of a non-profit aviation museum that over the past six years has been yet another all-consuming crusade, as it had to be. 

Couldn't I do writing in my spare time? Not really, as that was filled with music.

All during this time, music was my off-the-clock release, therapy, salvation, and primal scream.

Going back to the beginning, I very serious about music at a young age. But I pretty much gave it up when I went into the word business, first as an English major at Fordham and then as a journalist.

But music didn't give up on me. Starting in 2000, I began singing in the chorus of a professional opera company based in New Hampshire, which was hugely rewarding and allowed me to get familiar with some of the classics of the genre.

I also began playing keyboard in pit orchestras for musicals such as 'Ragtime' and 'Titanic,' both performed at the time by a local community theater group. 

And then, after working with local filmmaker Bill Millios to create music for 'Dangerous Crosswinds' (2005), a drama he made here in New Hampshire, I began the silent film accompaniment activities that continue to this day.

In the process of all this frenetic activity, I've recently blown past age 60. (I'll actually hit 61 the week after next!)

And guess what? In the past year or so, I've felt a growing sense of finally being ready to go back to the start and do what I originally hoped to do a long time ago now. Write!

And that's good, as over the years I've accumulated ideas or premises or outlines for at least a dozen books I hope to eventually tackle. 

Really! So in 2025 I hope to begin pulling together material to shape into a book-length manuscript, and then do it again and again as I ransack the idea cupboard.

And I think all the experience in business and music has helped me get to this point. It's served to sharpen my sense of self and also how I view the world we inhabit. It's given me something to write about.

One reason for this transformation, I think, was a project I helped with this past year. Last summer, I had the privilege of reading a book-length manuscript about silent film by my accompanist colleague Ben Model. 

It was a great read, by the way, and I encourage you to pick up the book when it's published, which I believe will happen later this year. 

But it also opened my eyes to the idea of writing about silent film from my own perspective. There's so much that I want to say! It would be a way to answer the questions I often get asked at screenings. (And it would be totally different from what Ben did with his own book.)

Also in 2024, I worked on another manuscript for a local history book commissioned by the Aviation Museum of N.H., where I'm executive director. I collaborated with author Leah Dearborn on the book's overall organization as well as line-by-line editing as each section was drafted.

(The book, 'Grenier Air Base: A Beacon on the Home Front,' has since been published and has been very well received so far.)

So with all this book-related activity, it seemed like something was telling me that it was time to move ahead with my own writing.

And so I shall.

In the meantime, I invite you to join me on Monday, Jan. 6 at the Garden Cinemas in Greenfield, Mass. for Harry Langdon's 'The Strong Man' (1926)---the very first film directed by a very young Frank Capra.

Press release below. See you at the movies!

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A trade ad promoting Harry Langdon in 'The Strong Man' (1926).

MONDAY, DEC. 16. 2024 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Frank Capra's very first movie highlights Garden Cinema silent film program on Monday, Jan. 6

Screening features Harry Langdon's classic comedy 'The Strong Man' shown with live music; fun family activity suitable for all ages

GREENFIELD, Mass. — Silent film with live music returns to the Greenfield Garden Cinemas in January with the showing of an uproarious comedy starring Harry Langdon.

The screening of 'The Strong Man' on Monday, Jan. 6 at 6:30 p.m., gives families a chance to enjoy a fun activity suitable for all ages. The Garden Cinemas are located at 361 Main St., Greenfield, Mass..

Admission is $10.50 adults, $8:50 for children, seniors, and students. Tickets are available online or at the door.

The screening, the latest in the Garden Cinemas' silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating scores for silent films.

Directing 'The Strong Man' was young first-timer Frank Capra, who would later go on to create such Hollywood classics as 'Mr. Smith Goes to Washington' (1939) and 'It's a Wonderful Life' (1946).

'The Strong Man' tells the story of a World War I soldier (Langdon) who, following his discharge, finds work as assistant to a circus strong man. As the act travels the country, Langdon continually searches for a girl he corresponded with while stationed overseas in the military.

The search leads to a town controlled by Prohibition-era gangsters, which forces Harry to test the limits of his own inner strength even as he looks for his dream girl. Can Harry triumph over the bad guys? And is love more powerful than brute strength?

The feature-length film showcases the unique child-like personality of Langdon, who is largely forgotten today. For a brief time in the 1920s, however, he rivaled Charlie Chaplin as Hollywood's top movie clown.

Langdon's popularity, which grew quickly in the last years of the silent era, fizzled as the movie business abruptly switched to talkies starting in 1929.

'The Strong Man' was selected in 2007 for preservation in the U.S. National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

In recent years, 'The Strong Man' has been recognized as a major achievement of the silent film era—a satisfying and timeless balance of emotion and comedy.

"A little tragedy and a lot of laughs can be seen in 1926's The Strong Man," wrote critic Richard von Busack in 2007. "Director Frank Capra's energy and sturdy plot sense counterpoint Langdon's wonderful strangeness."

'The Strong Man' will be accompanied by live music by Jeff Rapsis, a New Hampshire-based silent film accompanist who performs at venues across the region and beyond.

"These films were created to be shown on the big screen as a communal experience," Rapsis said. "With an audience and live music, they still come to life in the way their makers intended them to.

"The silent film screenings at the Garden Cinemas are a great chance for people to experience films that first caused people to first fall in love with the movies," he said.

Silent films with live music are screened at the Garden Cinemas the first Monday of each month. Upcoming titles include:

• Monday, Feb. 3, 2025, 6:30 p.m.: "Nanook of the North" (1922), directed by Robert Flaherty. Classic documentary tells the story of Inuit hunter struggling to survive in far-north Canada. Breakthrough film that used the motion picture camera to take audiences to far-away places ordinarily unreachable.

• Monday, March 3, 2025, 6:30 p.m.: "The Sheik" (1921) starring Rudolph Valentino. Paris-educated Sheik Ahmed Ben Hassan (Rudolph Valentino) provides brides for wealthy Arabs. The high-spirited Lady Diana Mayo (Agnes Ayres), learning that the sheik will be in the city of Biskra, Algeria, playfully decides to disguise herself as a dancing girl to become one of the prospective brides, leading to a torrid story of forbidden love.

• Monday, April 7, 2025, 6:30 p.m.: "The Lost World" (1925) starring Wallace Beery. First-ever movie adaptation of Arthur Conan Doyle's legendary tale of British explorers who discover pre-historic creatures still thriving atop a remote South American plateau. Great entertainment; ground-breaking special effects by the same team that later created 'King Kong' mesmerized early movie audiences and remain impressive today.

Frank Capra's 'The Strong Man' will be screened with live music on Monday, Jan. 6 at 6:30 p.m. at the Greenfield Garden Cinemas, 361 Main St., Greenfield, Mass.

Admission is $10.50 adults, $8.50 for children, seniors, and students. Tickets available at the door; advance tickets are available at www.gardencinemas.net. For more information, call the box office at (413) 774-4881.

Time for a 2024 year-end wrap up after scoring 'Oliver Twist' (1922), my 400th silent film

2024 highlight: Hanging with John Ewing and Genevieve Schwartz of the Cleveland Cinematheque. John retired this year after nearly 40 years running the highly regarded repertory theater.

Dear Diary,

First, I'm not sure why I keep writing to you, because you never write back.

But now that I've accompanied my last silent film program for 2024, it's time to look back at the year's highlights, and even a few lowlights, if only for contrast.

First, the numbers...the past year saw me create live music for a total of 86 silent film programs in nine states—most in my home base of New England, but a few in glamorous faraway locations as Cleveland, Ohio; Topeka, Kansas; Ocala, Florida; and Niles, Calif.

That's down slightly from the recent pace of 100+ screenings per year, but consciously so. My day job as museum director has me coordinating three programs in which high school students are building airplanes, and that's been taking up a lot of my attention.

In terms of highlights, the screening I found most rewarding was tackling Abel Gance's seven-hour epic 'La Roue' (1923) all in one go for Silent Movie Day in September. Very much appreciate the willingness of the Brattle Theatre in Cambridge, Mass. to program and let me accompany this remarkable film. Thanks also to the 40 souls, plus or minus, who stayed for the whole thing. Wow!

Now that I've done it once, and lived, I'd like to take 'La Roue' on the road and do it in other places in 2025. Let me know any venues that might be up for a seven-hour silent film immersion.

Another highlight was heading up to Maine in July to do music for Ed Lorusso's Silent Film Festival up in Gardiner, Mane. I'd never played in that area before and response was gratifying. 

It was a real privilege to help bring Ed's program to life. Same thing with the Lois Weber Film Festival in central Mass.—it was a real kick to bring effective silent film music to this enthusiastic audience.

Alas, probably the low point for me was having to cancel a screening in November (something I rarely do) at the last minute due to a kidney stone. I'm better now (famous last words, I know) and the screening is being rescheduled to later in 2025.

In terms of fellow accompanists, I had the privilege of working with (and hearing) Ben Model, Rodney Sauer, and (for the first time) Donald Sosin. They're all top-notch and it's inspiring to hear what they do. 

 I also got to hang with silent film musician and organist Peter Krasinski, but the only accompaniment that happened when we got together was the drinks that went with dinner prior to attending a BSO concert. 

Lots of wonderful new venues this year that I hope to return to. Among them: the First Congregational Church in Reading, Mass.; the West Newton Cinema in West Newton, Mass.; Pothole Pictures in Shelburne Falls, Mass.; the Moultonborough (N.H.) Public Library; and the long-running Walker Lecture Series (now with silent film!) in Concord, N.H.

Many thanks to the many venues that continue to regularly program silent films with live music, for which I am ever grateful. It's hard to single any out but I very much appreciate the ownership, staff, and patrons of the Town Hall Theatre in Wilton, N.H. (which functions as my home base); the Somerville Theatre in Somerville, Mass.; the Flying Monkey Moviehouse in Plymouth, N.H.; the Jane Pickens Theatre in Newport, R.I.; the Garden Cinemas in Greenfield, Mass.; the Rex Theatre in Manchester, N.H.; the Leavitt Theatre in Ogunquit, Maine; the Center for the Arts in Natick, Mass.; the Coolidge Corner Theatre in Brookline, Mass.; Epsilon Spires in Brattleboro, Vt. and the Brattle Theatre in Cambridge, Mass.

Special thanks to Dennis Marden and all the volunteers at the Brandon Town Hall and Community Center in Brandon, Vt., where I've been performing regularly since 2011. This season marked the final year of the volunteer group that's managed the venue, which will now be run by the town's Recreation Department. In some good news, the town has agreed to continue the series, which supports the ongoing renovations and preservation of the venerable old building. So I'll be back in Brandon in 2025! 

And a special tip of the hat to everyone at the Kansas Silent Film Festival, which I've attended each year since 2000 (yikes—do the math) and which I look forward to every February. As I say: most people go to Aruba in February. I go to Topeka!

Although I regularly accompany repeat screenings of big titles such as 'The General' (1926) and 'Nosferatu (1922), I still try to work in films I haven't encountered before. This year I tackled a good number of new films (well, new to me) which brought my overall grand total to exactly 400 as the year ended. 

If you'd like to see the complete list, it's posted online here.

Among the first-timers this year were 'Oliver Twist' (1922); 'The Bat' (1926); 'La Roue' (1923); 'Captain January' (1924); 'The Awakening of Ruth' (1917); 'The Seventh Day' (1922); 'The Pagan' (1929); 'The Show' (1927); and 'Daughter of the Dawn' (1920), a Native American drama that's the only silent film I've accompanied that was shot entirely in Oklahoma. 

Finally, it was a genuine pleasure this year to make the acquaintance of a person who occasionally attends silent films I accompany when they're based on great works of literature. This person actually reads the books first and then comes to see how the movie compares. 

You know who you are. Thank you for your interest and encouragement!

So, Diary—what do you make of all this? Diary? Hello?

Well, the calendar now goes somewhat quiet until late January, with only a screening of Harry Langdon's comedy 'The Strong Man' (1926) on Monday, Jan. 6 at the Garden Cinemas in Greenfield, Mass. to break things up. (Among the things I hope it breaks up is the audience. Har!)

Thanks again to everyone who supported and facilitated this ongoing silent film experiment during 2024. Wishing all a memorable holiday season however you celebrate it. See you in a darkened theatre when the days begin getting longer!

—Jeff Rapsis

Up next: back to the future with 'Metropolis' on Sunday, Dec. 8 at Natick Center for the Arts

Who has time for holiday shopping when you can take in a screening of 'Metropolis'?

This weekend brings a chance to see the great futuristic fantasy 'Metropolis' (1927) on the big screen and with live music.

The screening takes place on Sunday, Dec. 8 at 4 p.m. at the Natick Center for the Arts, 14 Summer St., in Natick, Mass. 

More information about the film and the screening is in the press release pasted in below. 

Year after year, 'Metropolis' remains one of the most-requested silent film titles, at least in my experience. 

I guess even if an audience isn't into silent film, 'Metropolis' has such a novelty appeal (a silent film about the future!) that people want to experience it, which is great.

If given a chance, I try to explain that the film really needs to be seen in the context of the era that produced it.

Director Fritz Lang and screenwriter Thea von Harbou weren't just spinning a futuristic tale. They were attempting to address big questions faced by Germans in the Wiemar Republic.

What kind of a society did Germans want to create? With Bolshevism and collectivism to the east, and Gilded Age capitalism to the west, what direction should the German people take?

What role should religion and spirituality take? Both are important elements of the German culture. Lang and Harbou knew this—hence the film's final climax takes place on the roof of a cathedral, of all places.

Essentially, their message was specific to the times, but also happens to be timeless: that choices we make today will have important consequences for tomorrow.

We all know now that Germany chose abysmally in the ensuring years. 

In the century since 'Metropolis' was filmed, political systems have come and gone. But the film's power endures and has a lot to say to us today.

See for yourself at our screening on Sunday, Dec. 8 at 4 p.m. at the Natick Center for the Arts in Natick, Mass. More details below!

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Mad scientist gesture 101: a scene from 'Metropolis' (1927).

MONDAY, DEC. 2, 2024 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Restored classic sci-fi epic 'Metropolis' to screen in Natick on Sunday, Dec. 8

Landmark early futuristic fantasy, with half-hour of rediscovered footage, to be shown with live music at Center for the Arts

NATICK, Mass.—A silent film hailed as the grandfather of all science fiction fantasy movies will be screened with live music at the Center for the Arts in Natick, Mass.

'Metropolis' (1927), an epic adventure set in a futuristic world, will be shown on Sunday, Dec. 8 at 4 p.m. at the TCAN Center for the Arts, 14 Summer St., Natick, Mass.

The screening, the latest in the Center for the Art's silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Admission is $12 per person for members; $14 for non-members. Tickets are available online at www.natickarts.org or at the door. Tickets are available online at www.natickarts.org or at the door.

'Metropolis' (1927), regarded as German director Fritz Lang's masterpiece, is set in a society where a privileged elite pursue lives of leisure while the masses toil on vast machines and live in poverty.

The film, with its visions of futuristic factories and underground cities, set new standards for visual design and inspired generations of dystopian fantasies from Ridley Scott's 'Blade Runner' to Terry Gilliam's 'Brazil.'

In reviving 'Metropolis' and other great films of cinema's early years, the Center for the Arts aims to show silent movies as they were meant to be seen—in high quality prints, on a large screen, with live music, and with an audience.

"All those elements are important parts of the silent film experience," said Rapsis, who will improvise an original live score for 'Metropolis' on the spot. "Recreate those conditions, and the classics of early cinema leap back to life."

Oh my god! Did I forget to set my clock back last month?

In 'Metropolis,' the story centers on an upper class young man who falls in love with a woman who works with the poor. The tale encompasses mad scientists, human-like robots, underground spiritual movements, and industrial espionage, all set in a society divided between haves and have-nots.

The version of 'Metropolis' to be screened at the Center for the Arts is a newly restored edition that includes nearly a half-hour of missing footage cut following the film's premiere in 1927. The lost footage, discovered in 2008 in an archive in Argentina, has since been added to the existing 'Metropolis,' allowing plot threads and characters to be developed more fully.

When first screened in Berlin, Germany on Jan. 10, 1927, the sci-fi epic ran an estimated 153 minutes. After its premiere, the film's distributors (including Paramount in the U.S.) drastically shortened 'Metropolis' to maximize the film's commercial potential. By the time it debuted in the U.S. later that year, the film was only about 90 minutes long.

Even in its shortened form, 'Metropolis' became a cornerstone of science fiction cinema. Due to its enduring popularity, the film has undergone numerous restorations in the intervening decades in attempts to recover Lang's original vision.

Restoration work continues to this day. In 2008, the curator of the Buenos Aires Museo del Cine discovered a 16mm dupe negative of 'Metropolis' that was considerably longer than any existing print.

It included not merely a few additional snippets, but 25 minutes of "lost" footage, about a fifth of the film, that had not been seen since its Berlin debut.

The discovery of such a significant amount of material called for yet another restoration, a 2½-hour version that debuted in 2010 to widespread acclaim. It's this fully restored edition that will be screened at the Center for the Arts.

" 'Metropolis' stands as an stunning example of the power of silent film to tell a compelling story without words, and reach across the generations to touch movie-goers from the real future, which means us," said accompanist Jeff Rapsis, who provides live music for silent film screenings throughout New England and beyond.

To accompany a silent film, Rapsis uses a digital synthesizer to recreate the texture of the full orchestra. The score is created live in real time as the movie is screened. Rather than focus exclusively on authentic music of the period, Rapsis creates new music for silent films that draws from movie scoring techniques that today's audiences expect from the cinema.

The restored 'Metropolis' will be shown on Sunday, Dec. 8 at 4 p.m. at the TCAN Center for the Arts, 14 Summer St., Natick, Mass. Admission is $12 per person for members; $14 for non-members. Tickets are available online at www.natickarts.org or at the door.

CRITIC'S COMMENTS on ‘METROPOLIS’

“'Metropolis' does what many great films do, creating a time, place and characters so striking that they become part of our arsenal of images for imagining the world.”
—Roger Ebert, 2010, The Chicago Sun-Times

“If it comes anywhere near your town, go see it and thank the movie Gods that it even exists. There’s no star rating high enough.”
—Brian Tallerico, Movieretriever.com

Post Turkey Day screening: W.C. Fields in 'So's Your Old Man' on Sunday, Dec. 1 in Wilton, N.H.

Outside the Coolidge Corner's marquee prior to 'Thief of Bagdad.'

Happy Thanksgiving!

This year, among the many things I have to be thankful for is making it through 'The Thief of Bagdad' last Tuesday night. I accompanied the film just hours after having a stent removed following last week's kidney stone surgery.

'Bagdad' had been scheduled for the Coolidge Corner's 'Sounds of Silents' series long before the kidney stone decided to make an appearance. It just worked out that the stent removal (a follow-up to the surgery itself) wound up getting scheduled for the same day as the film.

But the show must go on! So driving into Boston, I was already thinking ahead to places in the film where I could set up an atmospheric loop on the synthesizer, which would enable me to quickly escape to the men's room if needed.

Well, turns out I had no problems. Actually, I think getting absorbed in doing music for this sprawling, ambitious picture helped minimize any distracting pain or lingering discomfort, which is a phenomenon I've noticed before.

If I'm suffering, say, a bad cold, whatever symptoms I have seem to recede or disappear entirely when I'm accompanying a film. They'll return afterwards, but during the time I'm at the keyboard it's like a reprieve.

Some say laughter is the best medicine. I say it's creating live music for a silent film screening!

And I'll get to do it again on Sunday, Dec. 1 when I accompany 'So's Your Old Man' (1926) at the Town Hall Theatre in Wilton, N.H. More info is in the press release pasted in below.

It's a silent comedy starring W.C. Fields, so lucky me: I'll get the therapeutic benefits of both laughter and silent film accompaniment.

Happy Thanksgiving and see you at the movies!

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An original lobby card for 'So's Your Old Man' (1926) starring W.C. Fields.

MONDAY, NOV. 18, 2024 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Town Hall Theatre to screen rare silent film starring comic icon W.C. Fields

'So's Your Old Man' shows legendary performer as younger man; program on Sunday, Dec. 1 accompanied by live music

WILTON, N.H.—He was a performer who could be recognized by just the nasal twang of his voice.

But prior to reaching iconic fame in talking pictures, W.C. Fields successfully starred in a popular series of silent feature films for Paramount Pictures and other studios in the 1920s.

Rediscover the non-talking W.C. Fields in 'So's Your Old Man' (1926) one of his best silent pictures, in a Thanksgiving Day weekend screening on Sunday, Dec. 1 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

Live musical scoring will be provided by silent film accompanist Jeff Rapsis. Admission is free; donations are accepted, with $10 per person suggested to defray expenses. 

In 'So's Your Old Man' (1926), Fields plays Sam Bisbee, inventor of a new shatter-proof windshield glass and regarded as a crackpot by the townsfolk.

After a demonstration of his glass to auto executives goes awry, he faces ridicule and shame. On the way home, Bisbee encounters a woman he thinks is trying to commit suicide, and so prevents her.

 

W.C. Fields (right) in a scene from 'So's Your Old Man' (1926).

The woman is really Princess Lescaboura, member of a family of European royalty, who later arrives in Bisbee's home town to thank him, upending Bisbee's life and setting the small town aflame with gossip. The film includes a version of Fields' famous "golf" routine.

The film was remade as a talkie in 1934, with W.C. Fields again starring, under the title 'You're Telling Me!' In 2008, 'So's Your Old Man' was added to the U.S. National Film Registry.

W.C. Fields remains famous today for his comic persona as a misanthropic and hard-drinking egotist with a snarling contempt for dogs, children and women.

Although Fields achieved lasting fame as a movie star in talking pictures of the 1930s, his long career encompassed decades on the vaudeville stage as well as a series of silent film roles in the 1920s.

"People find it hard to think of W.C. Fields in silent films, but he was actually quite successful," Rapsis said. "As a vaudeville performer and juggler, Fields cultivated a form of visual comedy and pantomime that transferred well to the silent screen.

"Also, as a middle-aged man during the silent film era, he was able to play a family father figure—the kind of role that wasn't open to younger comic stars such as Charlie Chaplin or Buster Keaton," Rapsis said.

In all, Fields starred in 10 silent features in the mid-1920s. Several are lost; in those that survive, Fields sports a thick mustache, part of his vaudeville costume as a "vagabond juggler" which he dropped in later years.

W.C. Fields (at right) includes his legendary golf routine in 'So's Your Old Man' (1926).

The film was made not in Hollywood, but at the Paramount studios in Astoria, Queens, a popular production facility for New York-based stage performers who also appeared in film.

For the music, Rapsis improvises in real time, while the film is running, using a digital synthesizer that allow him to recreate the "movie score" texture of a full orchestra.

"Improvising a score live is a bit of a high-wire act, but it allows me to follow and support the film a lot more effectively than if I was buried in sheet music," Rapsis said.

"Instead, I'm free to follow the film right in the moment. Each time it's different, which lends a certain energy and immediacy and excitement to the experience."

'So's Your Old Man,' a silent comedy starring W.C. Fields, will be screened with live music on Sunday, Dec. 1 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

Admission is free; donations are accepted, with $10 per person suggested to defray expenses. For more information, call the theater at (603) 654-3456.

Pre-Thanksgiving cinematic feast: Creating music for 'The Thief of Bagdad' 100th anniversary screening on Tuesday, Nov. 26 at Coolidge Corner in Brookline, Mass.

A poster promoting 'The Thief of Bagdad' (1924).

Is Thanksgiving is all about giving thanks for abundance?

If so, I can't think of a better silent film to prepare one for the upcoming holiday than 'The Thief of Bagdad' (1924), an epic adventure/fantasy starring Douglas Fairbanks Sr.

I'll accompany a 100th anniversary screening of 'Thief' on Tuesday, Nov. 26 (two days prior to Turkey Day) at the Coolidge Corner Theater in Brookline, Mass.

More about the film and screening in the press release below.

But wait—how does a film set in a mythical Bagdad (resplendent in Art Deco design accents, no less) and based on exotic tales from long ago have anything to do with Thanksgiving?

Douglas Fairbanks Sr. plays the title role in 'Thief of Bagdad' (1924).

I think the key is abundance. 'The Thief of Bagdad' contains more of everything that almost any picture made up until then.

More scenery! More thrills! More intrigue! More eye-popping visuals! 

More Douglas Fairbanks, who dances through the film in a performance that's more—well, Fairbanksian than ever before!

But chiefly it's an abundance of ambition that drives 'Thief' to heights never quite achieved until then. 

Fairbanks, at the top of his game, was ready to put everything he knew, and everything the movies could then do, into something truly grand—a motion picture to transport audiences to another realm in the same way the film's flying carpet transports characters in the story.

It all paid off with one of the greatest fantasies produced in the silent era: a picture that captivated audiences when first released, and which still has that effect today.

And that, I think, is something to be thankful for!

So don't be a turkey! Come join us on Tuesday, Nov. 26 at the Coolidge for a 100th anniversary screening of 'The Thief of Bagdad.'  Details in the press release below.

*     *     *

 

Douglas Fairbanks Sr. and Julanne Johnston in 'The Thief of Bagdad' (1924).

MONDAY, NOV. 11, 2024 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Flying carpets, fire-breathing dragons, underwater palaces, and more!

Classic epic 'Thief of Bagdad' to screen Tuesday, Nov. 26 at Coolidge Corner Theatre

Adventure/fantasy starring Douglas Fairbanks presented with live music in celebration of film's 100th anniversary

BROOKLINE, Mass.—It ranks among the first Hollywood epics to show the full potential for movies to depict entire worlds of fantasy. It was also one of the top grossing films of 1924.

It was 'The Thief of Bagdad,' a celebrated triumph for actor/director Douglas Fairbanks that stands as one of greatest achievements of cinema's silent era.

It's a film filled with images of flying carpets, exotic cities, underwater palaces, winged horses, fire-breathing dragons, and more!

See if for yourself with live music on Tuesday, Nov. 26 at 7 p.m. at the Coolidge Corner Theatre,  290 Harvard St., Brookline, Mass.

Vintage handbill promoting the original release of 'Thief of Bagdad.'

This 100th anniversary screening of 'The Thief of Bagdad' , the latest in the Coolidge's 'Sounds of Silents' series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Tickets $23 per person general admission; students $21.

Douglas Fairbanks, star of 'The Thief of Bagdad,' was the Harrison Ford of his time—a pioneering action hero who was among the first to entertain movie audiences with thrilling adventures.

'The Thief of Bagdad' stands among his best work. A timeless fable on a grand scale, it boasts a great story, spectacular sets, and magical special effects.

A bare-chested Fairbanks plays a crafty street-smart rogue who can easily steal anything his heart desires—except the love of a beautiful princess, daughter of the powerful Caliph of Bagdad.

To win her hand, he must not only change his ways, but also show his worthiness over many other highly placed suitors.

In making the film, Fairbanks spared no expense for what some critics still regard as the most lavish fantasy movie ever made, a show-stopping adaptation of the traditional "A Thousand and One Nights" Arabian legend.

The result is an epic in which a flying carpet is just one of many eye-popping sights designed to astound movie audiences.

 

Fairbanks, swaggering through massive marketplace sets and cavernous throne rooms as an incorrigible pickpocket, scales towering walls (with the help of a magic rope) and leads merry chases through crowded bazaars in his pursuit of loot.

The jaunty opening is a preamble to the film's spectacular second half, in which the repentant thief embarks on an odyssey through caverns of fire, underwater palaces, and even outer space.

Special effects range from a giant smoke-belching dragon to a magical flying horse, and still glow with a timeless sense of wonder from the early days of movies.

William Cameron Menzies's sets were among the largest ever created for a motion picture. Especially noteworthy is his design for a mythical Bagdad, a unique combination of Art Deco and Islamic elements—a dream city inspired by illustrations from story books.

Fairbanks, among the most popular stars of the 1920s, was the inspiration for the character of George Valentin in the Oscar-winning Best Picture 'The Artist' (2011).

Fairbanks was known for films that used the then-new medium of motion pictures to transport audiences to historical time periods for grand adventures and athletic stunts.

He's often referred to as "Douglas Fairbanks Sr." to avoid confusion with his son, the actor Douglas Fairbanks Jr.

A century after its premiere, 'The Thief of Bagdad' remains highly regarded. In 1996, the film was selected for preservation in the U.S. National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

Live music for 'The Thief of Bagdad' will be provided by silent film accompanist Jeff Rapsis, who uses a digital synthesizer to create a traditional full orchestra "movie score" sound.

"Seeing a Fairbanks picture in a theater with live music and an audience is a classic movie experience," Rapsis said.

Rapsis emphasized the unique value of seeing early cinema as it was originally presented.

"These films were designed for the big screen, live music, and large audiences. If you put it all together again, you get a sense of why people first fell in love with the movies," Rapsis said.

See Douglas Fairbanks Sr. in the 'The Thief of Bagdad' (1924) with live music on Tuesday, Nov. 26 at 7 p.m. at the Coolidge Corner Theatre,  290 Harvard St., Brookline, Mass.

Tickets $23 per person general admission; students $21. For more information, call the box office at (617) 734-2501 or visit www.coolidge.org. 

2024 Silent Film Season in Brandon, Vt. concludes Saturday, Nov. 16 with 'Barbed Wire' (1927)

A lobby card for Paramount's 'Barbed Wire' (1927) starring Pola Negri.

This Saturday, it's up to Brandon, Vt. (about 2.5 hours) for the final screening of the 2024 season: 'Barbed Wire' (1927), a World War I drama that kind of bridges the season between Veterans Day and the holiday season.

It's also the final screening of silent films organized by the Friends of the Town Hall, a volunteer group that's worked for a quarter-century to rescue and restore Brandon's vintage 19th century town hall after a long period of abandonment and neglect.

The group is disbanding after this season, with the town recreational department taking over management of the venue. I'm pleased to say arrangements are in place for another season of monthly silent film programs starting in May 2025.

But I will certainly miss working with the Friends of the Town Hall volunteers and their long-tenured leader, Dennis Marden. He's the one who got me to start coming to Brandon back in 2010, and he's kept things fun and lively ever since.

He and his group have also transformed the formerly forbidding facility into a warm, inviting and versatile community center. Through physical improvements (like adding heat!) to bringing in a wide range of programming (yes, silent films, too!), their labors have given the Brandon community a great big gift—a vibrant gathering place that most communities can only dream of.

The imposing exterior of Brandon Town Hall, which dates from the 1860s.
 

The interior of Brandon Town Hall set up for an event. 

And my feeling is that in this day and age, we need places to gather and have shared experiences more than ever.

So if you happen to be within sledding distance of Brandon, Vt. this Saturday, why not join us for the shared experience of Pola Negri in 'Barbed Wire' (1927)? 

Lots more info in the press release below...

*     *     *

A vintage one-sheet promoting the World War I drama 'Barbed Wire' (1927).

MONDAY, NOV. 11, 2024 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film classic 'Barbed Wire' at Brandon Town Hall on Saturday, Nov. 16

Drama starring Pola Negri set in World War I prison camp to be screened with live music; highlighted by unusual Christmas scene

BRANDON, VT. — A rarely shown World War I prison camp drama with an unusual Christmas sequence will fill the big screen when 'Barbed Wire' (1927) is revived on Saturday, Nov. 16 at 7 p.m. at 7 p.m. at the Brandon Town Hall and Community Center, Route 7, in Brandon, Vt.

'Barbed Wire,' a silent drama starring Pola Negri and Clive Brook, will be screened with live music by Jeff Rapsis, a New Hampshire-based silent film accompanist.

All are welcome to this family-friendly event. Admission is free, with free will donations accepted in support of ongoing Town Hall renovations.

Set in rural France, 'Barbed Wire' dramatizes the human conflicts that occurred throughout Europe during what was known as 'The Great War.'

In a small village, Mona Moreau (Pola Negri) and her aging father work their farm to feed the brave young men fighting for France. But when their farm is commandeered to build a camp for German POWs, they must feed the prisoners as well.

In the beginning, Mona resents the German prisoners she is forced to feed, but soon she begins to empathize with them. Mona's sympathies begin to raise the suspicion of her neighbors and worst of all, she fears she may be falling in love with handsome prisoner Oskar Muller (Clive Brook).

The relationship is opposed by the townspeople, who ostracize the girl's family, setting in motion dramatic events shaped by war, prejudice, forbidden love, and shared humanity.

"The ending of 'Barbed Wire' astounds viewers today because of the bitter lessons it tries to extract from the wartime experience, and how applicable they are to our world right now, so many years later," Rapsis said.

"At the time, society had just been through a global conflict fueled by hatred, bigotry, and intolerance, and people knew what that led to. They knew. And we can learn from them still," Rapsis said.

An original lobby card for 'Barbed Wire' (1927).

Directed by Rowland V. Lee for Paramount Pictures, a highlight of 'Barbed Wire' is a sequence in which the German prisoners celebrate a traditional Teutonic Christmas, by turns solemn and rowdy, despite being incarcerated.

Accompanist Jeff Rapsis specializes in creating music that bridges the gap between an older silent film and the expectations of today's audiences.

Using a digital synthesizer that recreates the texture of a full orchestra, he improvises scores in real time as a movie unfolds, so that the music for no two screenings is the same.

"It's kind of a high wire act, but it helps create an emotional energy that's part of the silent film experience," Rapsis said. "It's easier to support the emotional line of the movie and the audience's reaction when I'm able to follow what's on screen, rather than be buried in sheet music," he said.

Because silent films were designed to be shown to large audiences in theaters with live music, the best way to experience them is to recreate the conditions in which they were first shown, Rapsis said.

The screening is sponsored by Jean and Harold Somerset, Nancy and Gary Meffe, Bethany and Andrew Menkart, and the American Legion Post 55, Brandon.

'Barbed Wire' will be shown with live music on Saturday, Nov. 16 at 7 p.m. at 7 p.m. at the Brandon Town Hall and Community Center, Route 7, in Brandon, Vt. All are welcome to this family-friendly event. Admission is free, with free will donations accepted in support of ongoing Town Hall renovations. 

Thoughts on 'Daughter of the Dawn' in San Francisco, and remembering Joe Yranski

Me and silent film accompanist Rodney Sauer at the Essanay Silent Film Museum in Niles, Calif.

Saturday, Nov. 2 brought a double-helping of my favorite dish: silent film delight.

I got to accompany 'Daughter of the Dawn' (1920), an unusual Native American drama, at the Niles Essanay Silent Film Museum in Niles, Calif.

And I also got to see and visit with all the folks who maintain the Niles museum, the only venue I know of that runs a silent film program with live music every week all year round.

Really! Sometimes the programs can be quite creative. Later this month, Jon Mirsalis (a Bay area resident and Niles regular) will accompany the classic drama 'The Wind' (1928) in what's being described as 'Blow-A-Rama.'

All I know is that it involves the use of fans in the Niles venue, which is an original 1913 Edison theater. Wish I could be on hand. Still, it's a good enough idea that I'm considering stealing it.

Niles is a natural gathering place for the silent film community, which is why I've been journeying out there off and on (thank you, frequent flier miles!) for the past 10 years or so.

This time, I was joined by another guest accompanist: Rodney Sauer of the Mont Alto Motion Picture Orchestra, who was on hand to help out with a program honoring Native American Heritage Month, which happens to be November.

It was Rodney and his Mont Alto group (a five-member combo that specializes in scoring silent films) that first got me pointed toward exploring the craft on my own—almost 25 years ago now!

It was March 2000. On a whim, I attended the Kansas Silent Film Festival (this time, thank you Delta flight passes!) in Topeka, Kansas, where I'd never been before. There, I heard the Mont Alto group accompany the silent 'Peter Pan' (1924) and Buster Keaton's 'The Cameraman' (1928).

And I met people, including Rodney, who were so encouraging and welcoming that it eventually led to my trying my hand (or rather, both hands) at it. And here we are.

I've since had occasion to appear on the same program as Rodney, mostly at subsequent Kansas festivals, and it's always great to see him and the other Mont Alto members, catch up, and trade stories. 

Rodney helped me find sheet music for when I recorded a score for Gloria Swanson's 'Zaza' (1923), and he's always been friendly and encouraging and bemused and generous.

Rodney was visiting Niles to speak about and accompany 'Ramona' (1929), starring Delores Del Rio and directed by Edwin Carewe, one of the few motion picture directors of Native American heritage, then or now.

He also introduced 'Daughter of the Dawn' (1920), the film I accompanied, providing the Saturday afternoon audience a good summary of how the film came to be, and how it was rediscovered only recently as part of a business legal settlement in Oklahoma. 

Although the film has been reissued with a recorded score using appropriate and authentic Native American music, Niles is committed to showing silent films with live accompaniment. Since I qualify as live, I got the assignment. 

But the thing is, I don't qualify as Native American. With me, you can take your pick: I'm one quarter Irish, Polish, Lithuanian, and/or French-Canadian. Call my ethnicity "assorted."

So my musical heritage, such as it is, is a melange of Polish polkas played on accordian (which Rodney could do, if needed), Irish step-dancing, and what I'll call Quebec-style country & western. Plus all the marching band music I absorbed in high school.

But it was Rodney who gave me a clue about how to approach 'Daughter of the Dawn'—not at Niles, but years ago at a Kansas Silent Film Festival, when he accompanied the wilderness docu-drama 'Chang' (1928) on solo piano.

I don't think Rodney's heritage includes any of the indigenous tribal peoples of southeast Asia, where the film was shot. 

But I remember Rodney saying that to create an effective atmosphere, he tried to avoid "Western-style" chord progressions and modal scales—scales that to our ears might sound somewhat medieval, as in a Gregorian chant.

It seemed to work for Rodney back then. So that's what I did for 'Daughter of the Dawn.'

I took a handful of melodic scraps heavy with intervals of fourths, some flourishes built on modal scales, and wove it together as best I could to support what unfolded on the screen.

I think I struck paydirt right away with a simple device during the opening titles: a single note repeated twice, alternating off the beat in octaves, pulsing steadily along, over and over.

This not only provided a way to enter the world of the movie, but became a kind of textural signal that could be brought back whenever needed. And just by dumb luck, it worked really well when the movie went in a "two hearts that beat as one" direction. 

Under this pulsing note figure, I began weaving different harmonies, mostly using minor chords or often just open fifths. Then I could shift from the pulsing notes, bring in my melodies and work up music as the movie unfolded. 

The one really prominent dance in 'Daughter of the Dawn' is not some kind of theatrical call to war, but was a quiet and modest 'Dance of Thanksgiving' after a successful hunt. Shown onscreen, it consisted of a modest shuffling in a circle, with little footwork and no arm movement. 

For music, this was a lucky break. I was able to do it justice, I think, but a quiet percussive shifting of chords deep in the piano's bass notes. 

In the end, the music for 'Dawn of the Dead' fell together pretty well, I thought. I neither overplayed or underplayed—a balance it's taken me some time to achieve. And thus I created music for my 399th silent feature film. (Yes, I keep track right on this blog.)

And now it's back to New England for a run of shows leading into the holiday season, highlighted by a 100th anniversary screening of 'The Thief of Bagdad' (1924) on Tuesday, Nov. 26 at the Coolidge Corner Theatre in Brookline, Mass., and later (in December) what will be my 400th film: the silent 'Oliver Twist' (1922), starring Jackie Coogan and Lon Chaney, which I'll accompany on Friday, Dec. 13 as part of a Dickens festival at the Park Theatre in Jaffrey, N.H.

Joe Yranski, 1951-2024.

Before moving on, I would be remiss to not mention the recent passing of Joe Yranski, well-known and well-loved film buff who died unexpectedly on Oct. 31.

Joe was one of the major figures in the vintage film community. To account for the scope of Joe's work over the years in any complete way would be nearly impossible. 

Organizations he worked with include the Library of Congress, the Academy of Motion Picture Arts and Sciences, the Mary Pickford Foundation, and Warner Bros. Joe helped preserve and reclaim an untold number of classic films.

On a personal note: like Rodney Sauer, Joe was a person whose generosity and friendliness and overall example encouraged me to take up the practice of silent film accompaniment.

I first encountered Joe in 2008 through fellow accompanist Ben Model, who at the time was working with Joe in programming silent film screenings at the old Donnell Library Center branch of the New York City Public Library on West 53rd St.

Through Ben, I was invited to participate in a "Meet the Music Makers" series that Joe was running, even though at the time I had just started accompanying silent film programs and hadn't made much music at all.

Still, Joe invited me to come down to Manhattan and accompany 'Lessons in Love' (1921), a Constance Talmadge film that hadn't been available since it probably first ran, but which Joe had resurrected and was screening as part of the series, which took place in the facility's basement auditorium.

(I had never heard of 'Lessons in Love' before this, but Joe provided a screener on VHS in advance of the show. I remember my big idea was to play off the 'Lessons in Love' idea by basing large parts of the accompaniment on my Hanon piano technical exercises.)

It turned out Joe and I were both graduates of Fordham University in New York. Based on that, and a mutual interest in vintage film, Joe and I struck up a friendship and correspondence that never flagged over the years. Although a die-hard New Yorker, he occasionally took vacation trips to New England, so we shared that in common as well, though our paths never crossed during these travels.

As I got to know Joe, he revealed himself as a man fully in thrall with life. This took various forms: most obviously his zest for cinema, and in particular his strong connection to silent-era star Colleen Moore, whom he befriended, and whose family he remained in contact with.

But there was more. I could see he had a passion for New York City—its history, its presence, all that it offered. He was part of it and it was part of him. Throughout his life, he held the same wonder that I recall having as a high school kid from New Hampshire arriving at Fordham, except Joe never outgrew that.

I'm sure Joe's life wasn't always easy, but he never failed to be anything less than courteous and solicitous and gracious and charming. These are all qualities in short supply, in our times especially, but not when Joe Yranski was present.

Soon after my Donnell Library debut, Joe invited me to accompany films at Cinefest, the annual vintage film confab that used to take place every March in Syracuse, N.Y. 

I still consider this my "big break," in that I was able to finally meet and work alongside many other accompanists, film scholars, authors, and all the characters that make up the vintage film community.

Under Joe's guidance, I remained in the rotation at Syracuse until the final blow-out year in 2015, when no less than eight accompanists were brought in to share the duties as a kind of last hurrah. 

I'll never forget sitting in the room before the film screenings started, as legendary accompanists including Phil Carli and Gabriel Thibaudeau and Makia Matsumura and Judy Rosenberg and Andrew Simpson and the aforementioned Jon Mirsalis and Ben Model were dividing up the films, and thinking to myself, "What am I doing here?"

But Joe felt I should be included, and that was all I needed to jump in and do my best with a film no one wanted: the silent film version of Harold Lloyd's early talkie, 'Welcome Danger' (1929). It came together marvelously, I thought, and remains a highlight of my silent film accompaniment career—all thanks to Joe.

After a long run, Cinevent ended in 2015. But the years rolled on, and Joe kept in touch. Holidays brought friendly notes. Sending out my schedule of upcoming performances often brought encouraging remarks. I didn't get to see Joe very often, but he was always there.

Until now. All I can say is that I'm very sorry that he's no longer among us. I don't think it's really quite sunk in yet. 

But I do know this: the example of good cheer and friendly openness that Joe Yranski always set is something that I will continue to try to emulate.

And with a nod to our Fordham connection, I will say one more time: Go Rams!