'Go West' with Buster Keaton on Sunday, Aug. 29 at Town Hall Theatre in Wilton, N.H.

'Go West' (1925) with Buster Keaton, today at 2 p.m. in Wilton, N.H.

Today's forecast: cloudy with rain possible at any time. In other words, perfect movie weather!

So come on over the Town Hall Theatre in Wilton, N.H., where this afternoon we're finishing up a summer-long series of silent Westerns with a dose of comedy.

Today's main attraction: 'Go West' (1925), Buster Keaton's comic send-up of the genre. If you've never seen this picture with an audience, you've never really seen it. 

Also, we'll run what's left of 'Womanhandled' (1925), a Richard Dix comedy that survives only partially but I think holds up really well. Come and we'll find out together.

The show starts at 2 p.m. See you there!

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MONDAY, AUG. 23, 2021 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'Go West' with Buster Keaton at Town Hall Theatre on Sunday, Aug. 29

Classic silent film comedy masterpiece to be screened with live musical accompaniment

WILTON, N.H.—He never smiled on camera, earning him the nickname of "the Great Stone Face." But Buster Keaton's comedies rocked Hollywood's silent era with laughter throughout the 1920s.

See for yourself with a screening of 'Go West' (1925), one of Keaton's landmark features, on Sunday, Aug. 29 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

The screening is free and open to the public; a donation of $10 per person is suggested to support the Town Hall Theatre's silent film programming.

The program will feature live music by silent film accompanist Jeff Rapsis.

'Go West' marks the finale of the Town Hall Theatre's summer-long salute to silent film westerns.

"After a season filled with intense dramas, we figured we'd finish our western series with something lighter— a comedy," Rapsis said.

The show will also include portions of 'Womanhandled' (1925), a partially lost comedy Western feature starring Richard Dix.

In 'Go West,' Buster heads out to ranch country, where the stone-faced comedian encounters romance in a highly unusual way.

Rustle up some belly laughs as Buster must once again prove himself worthy to all those who doubt him.

'Go West' was an unusual film for Keaton. With its portrayal of a down-and-out wanderer who becomes a reluctant hero, 'Go West' could have been a vehicle for Charlie Chaplin’s Little Tramp.

The film was praised by critics and did well at the box office, but today is lesser known than Keaton classics such as 'The Navigator' (1924) and 'The General' (1926).

Co-starring in 'Go West' is a mourn-faced cow named Brown Eyes, with whom Keaton worked extensively prior to the filming.

Brown Eyes received a credit in the movie, and even got a salary of $13 a week for her acting.

Keaton's female co-star is actress Kathleen Myers. Joe Keaton, the comedian's father and a popular vaudeville performer, appears briefly in a barbershop scene.

Much of 'Go West' was shot on location in Kingman, Ariz., during the summer of 1925, in temperatures approaching 120 degrees.

"These films are audience favorites, and people continue to be surprised at how engrossing and exhilarating they can be when shown as they were intended: in a theater, and with live music," said Rapsis, who accompanies more than 100 screenings each year at venues around the nation.

Rapsis improvises live scores for silent films using a digital synthesizer to recreate the texture of the full orchestra.

"It's kind of a high wire act," Rapsis said. "But for me, the energy of live performance is an essential part of the silent film experience."

‘Go West' (1925) starring Buster Keaton will be shown with live music on Sunday, Aug. 29 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

The screening is free and open to the public; a donation of $10 per person is suggested to support the Town Hall Theatre's silent film programming.

For more information, visit www.wiltontownhalltheatre.com or call (603) 654-3456. For more about the music, visit www.jeffrapsis.com.

 

Nosferatu: Not just for Halloween anymore! (During a pandemic, any time is Nosferatu time)

I'll never travel basic economy again!

Screening 'Nosferatu' with more than two months to Halloween? Really?

Well, consider. It's Friday the 13th. And we're in pandemic. So yes, it's as good a time as any for the original screen adaptation of the plague-infused Dracula tale.

And 'Nosferatu' (1922) is what I'll be accompanying tonight, starting at 8 p.m., on the lawn outside the Custom House Maritime Museum, 25 Water St., Newburyport, Mass. 

(And all the sailing ship action makes it a good fit for the Maritime Museum, too.)

Tickets are $15 each and are still available. And it's outdoors, so the screening may or may not include bats!

I don't actively seek out outdoor screenings to accompany, as just too many things can go wrong: summertime cloudbursts, bugs swarming around the keyboard light, fire trucks responding to a call. (Hopefully not at the screening.)

But outdoors or not, a gig is a gig, and summer is the time they happen in my part of the world. 

And so I'll be playing al fresco again on Tuesday, Aug. 17 up at Alton, N.H. Town Bandstand for a screening of 'Clash of the Wolves' (1925) starring Rin Tin Tin.

I was invited up there to be part of the town's extended "Old Home Days" festival in 2019, the year before the pandemic. We ran Buster Keaton's 'Seven Chances' (1925), and the response was good enough to merit a return this summer.

However, it came with an unusual request: for this year, please run a movie with a lot more action in it. 

Wow! It's a tough audience when Buster Keaton in 'Seven Chances' doesn't offer enough action. 

So this year I went with 'Clash' because it starts off fast (Rinty rescuing his own dog family from a raging forest fire) and then just never stops moving. (Also, the raging forest fire makes it as timely as Nosferatu during the pandemic.

And in between, I'm back indoors on Sunday, Aug. 15 to do music for the early 1916 silent adaptation of Jules Verne's '20,000 Leagues Under the Sea.' The voyage starts at 4 p.m. at the Center for the Arts in Natick, Mass.

Lots more info in the press release below. Hope to see you there, or under the stars (and among the mosquitos) in Newburyport, Mass. tonight or Alton, N.H. next Tuesday!

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MONDAY, JULY 26, 2021 / FOR IMMEDIATE RELEASE
Contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Natick Center for the Arts to screen original 1916 silent film version of '20,000 Leagues Under the Sea'

Early adaptation of Jules Verne classic pioneered underwater photography; shown with live music on Sunday, Aug. 15

NATICK, Mass.—The original silent film version of the Jules Verne classic '20,000 Leagues Under the Sea' (1916) will be shown with live music on Sunday, Aug. 15 at 4 p.m. at the Center for the Arts, 14 Summer St., Natick, Mass.

Tickets are $18; Center for the Arts members $15.

Live music will be provided by Jeff Rapsis, a New Hampshire-based silent film accompanist.

In production for more than two years by Universal, the original silent film version of '20,000 Leagues Under the Sea' is an epic retelling of the classic Jules Verne novel, and with elements from other Verne stories mixed in.

Allen Holubar stars as the domineering Captain Nemo, who rescues the passengers of an American naval vessel after ramming them with his iron-clad steampunk submarine, The Nautilus.

On board 'The Nautilus' in '20,000 Leagues Under the Sea' (1916).

Incorporating material from Verne’s 'Mysterious Island,' the film also follows the adventures of a group of Civil War soldiers whose hot-air balloon crash lands on an exotic island, where they encounter the untamed “Child of Nature” (Jane Gail).

Calling itself “The First Submarine Photoplay Ever Filmed,” the film is highlighted by pioneering underwater photography, including an underwater funeral and a deep sea diver’s battle with a giant cephalopod.

The film, directed by Stuart Paton, was filmed largely in the Bahamas to take advantage of shallow seas and bright sunshine.

Several methods were devised to capture scenes underwater, including a sort of "reverse periscope lens" that used mirrors in long tubes to enable a camera onboard ship to film below the surface.

The film has little in common with a later adaption released in 1954 by Walt Disney Studios and starring James Mason.

In honor of extraordinary technical and artistic achievement, the silent version of '20,000 Leagues Under the Sea' was added to the National Film Registry by the Library of Congress.

Accompanist Jeff Rapsis will create a musical score for '20,000 Leagues Under the Sea' live during the screening, in the manner of theater organists during the height of silent cinema.

"For most silent films, including '20,000 Leagues Under the Sea,' there was never any sheet music and no official score," Rapsis said. "So creating original music on the spot to help the film's impact is all part of the experience of silent cinema."

"That's one of the special qualities of silent cinema," Rapsis said. "Although the film itself is well over a century old, each screening is a unique experience — a combination of the movie, the music, and the audience reaction."

The original silent film version of '20,000 Leagues Under the Sea' (1916) will be screened with live music on Sunday, Aug. 15 at 4 p.m. at the Center for the Arts, 14 Summer St., Natick, Mass.

Tickets are $18; Center for the Arts members $15. Tickets must be purchased in advance online at www.natickarts.org. For more information, call the Center box office at (508) 647-0097 or visit www.natickarts.org.
 

Heading west once again, this time with John Ford: two early features at Town Hall Theatre

A darkly lit scene from 'Hell Bent' (1918), directed by a very young John Ford.

Heading west today—west to Wilton, N.H., that is—to accompany two early John Ford dramas starring Harry Carey.

It's the latest installment in our summertime salute to silent film Westerns at the Town Hall Theatre.

This afternoon, we're screening 'Straight Shooting' (1917) and 'Hell Bent' (1918), a pair of features that mark the first westerns directed by a very young John Ford. (Billed in these here titles as "Jack" Ford.)

So gather round the cinematic campfire (not the best image for nitrate film) and take in two rarely screened tales from long ago. More info in the press release below.

Also, I'd like to report that silent Garbo remains a top box office attraction. Last night in Brandon, Vt., 'Wild Orchids' (1929), a late MGM silent starring the Swedish sphinx, drew a sizeable crowd on a humid evening.

Perfect conditions for a steamy, tropical romantic thriller! 

Original promotional materials for 'Wild Orchids' (1929).

But I've found 'Wild Orchids,' with its "stalking big game" metaphor threaded throughout a cat-and-mouse story, always makes a strong impact on audiences. Coming as it did at the very end of the silent era, it was produced by people who were at their peak of fluency in the medium.

And the result is a film that really holds up well. After last nights screening, I had an interesting conversation with a couple who said that for a silent film, they were surprised at how sophisticated it was.

Well, I'm surprised that 'Wild Orchids' is not more embraced by critics. But then Garbo always wanted to be left alone, anyway.

If you're eager to see 'Wild Orchids' on the big screen, I'll do it again later this month—on Wednesday, Aug. 18 at the Leavitt Theatre in Ogunquit, Maine.

In the meantime, hope to see you at this afternoon's double helping of John Ford silent westerns. The round-up begins at 2 p.m.!

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Early cowboy star Harry Carey plays as "Cheyenne Harry" in two early John Ford westerns.

MONDAY, JULY 26, 2021 / FOR IMMEDIATE RELEASE
Contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Director John Ford's first two Westerns to be shown in Town Hall Theatre double feature

Summer series of rare silent Westerns with live music continues with Harry Carey films on Sunday, Aug. 8 in Wilton, N.H.

WILTON, N.H.—Even if you've won four Oscars for Best Director (more than anyone else), you had to start somewhere.

See the very first Westerns helmed by John Ford, who would later win multiple Academy Awards, in the next installment of the Town Hall Theatre's summer salute to silent film westerns.

'Straight Shooting' (1917) and 'Hell Bent' (1918), both directed by Ford when he was in his early 20s, will be shown as a double feature on Sunday, Aug. 8 at 2 p.m.

The screening is free and open to the public; a donation of $10 per person is suggested to support the Town Hall Theatre's silent film programming.

The program will feature live music by silent film accompanist Jeff Rapsis.

"Both of these early John Ford Westerns are more than a century old," said Rapsis. "They didn't need to pretend to be in the 'Old West' because it was there all around them."

Critics regard 'Straight Shooting' as a landmark in the history of the Western. The first feature directed by Ford, it revived the career of early superstar Harry Carey, who gives a rough and tumble performance as a hired gun who turns on his employers to defend an innocent farmer and his family.

In 'Hell Bent,' "Cheyenne Harry" (Harry Carey playing the same character from Straight Shooting) flees the law after a poker game shootout, and arrives in the town of Rawhide, where he becomes friendly with local cowboy Cimarron Bill and dance hall girl Bess Thurston.

When gang leader Beau Ross kidnaps Bess, Harry goes to desperate lengths travelling across the deadly desert in order to free Bess from her hard-bitten captor.

“Cheyenne Harry” is a role Carey would play into the 1930s, an amiable antihero who pals around with outlaws but who really has a heart of gold. Carey's work was a pivotal influence on John Wayne, a later Ford collaborator.

Carey's rugged frame and craggy features were well suited to westerns and outdoor adventures. When sound films arrived, Carey displayed an assured, gritty baritone voice that suited his rough-hewn screen personality.

As he aged, Carey transitioned from leading roles to character parts, including the President of the Senate in Frank Capra's 'Mr. Smith Goes to Washington.' (1939).

John Ford, the only four-time 'Best Director' Oscar winner, stands as an iconic figure in American cinema. In a career spanning five decades, Ford directed more than 140 films. He's widely regarded as one of the most important and influential filmmakers of his generation.

Ford's work was held in high regard by his colleagues, with Orson Welles and Ingmar Bergman among those who named him one of the greatest directors of all time.

Ford made frequent use of location shooting and wide shots, in which his characters were framed against a vast, harsh, and rugged natural terrain.

Upcoming titles in the Town Hall's summer series of silent Westerns include:

• Sunday, Aug. 22 at 2 p.m.: Set in western Canada, 'Mantrap' (1926) tells the story of a New York divorce lawyer on a camping vacation to get away from it all, but gets more than he bargained for with Clara Bow, then fast on her way to becoming Hollywood's 'It' girl. Directed by Victor Fleming, who would go on to helm 'Gone With the Wind' (1939) and 'The Wizard of Oz' (1939).

• Sunday, Aug. 29 at 2 p.m.: Our look at silent-era Westerns concludes with the genre's lighter side. In 'Womanhandled' (1925), Richard Dix tries to win his girlfriend by taking up the rugged cowboy life, only to find it not so rugged. In 'Go West' (1925), Buster Keaton sends up the legends of the West with his timeless brand of visual comedy; includes perhaps the most unlikely love story in any mainstream 1920s Hollywood film.

Accompanist Jeff Rapsis will create musical scores for each film live during its screening, in the manner of theater organists during the height of silent cinema.

"For most silent films, there was never any sheet music and no official score," Rapsis said. "So creating original music on the spot to help the film's impact is all part of the experience."

"That's one of the special qualities of silent cinema," Rapsis said. "Although the films themselves are often over a century old, each screening is a unique experience — a combination of the movie, the music, and the audience reaction."

'Straight Shooting' (1917) and 'Hell Bent' (1918), two early westerns directed by John Ford and starring Harry Carey, will be screened on Sunday, Aug. 8 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H. Free admission; a donation of $10 per person is suggested to support the Town Hall Theatre's silent film series.

For more information, visit www.wiltontownhalltheatre.com or call (603) 654-3456.

Tonight: Original silent version of 'Ben Hur' with live music at Flying Monkey in Plymouth, N.H.

It's a world threatened by pandemic, climate change, and pharmaceutical commercials! What we need is a good old-fashioned Hollywood religious epic to give us hope.

And we'll get just that tonight (Thursday, Aug. 5) with the original silent version of 'Ben Hur' (1925) at the Flying Monkey Moviehouse and Performance Center in Plymouth, N.H.

The journey starts at 6:30 p.m. More details in the press release below. See you there!

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An original poster for the original silent version of 'Ben Hur' (1925).

MONDAY, JULY 26, 2021 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film epic ‘Ben Hur’ (1925) at Flying Monkey on Thursday, Aug. 5

Hollywood's original Biblical-era blockbuster to be screened with live music at historic venue

PLYMOUTH, N.H.—One of early Hollywood's greatest epics returns to the big screen with a showing of 'Ben Hur, A Tale of The Christ' (1925) on Thursday, Aug. 5 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth.

The screening, the latest in the Flying Monkey'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 $10 per person, general admission. Tickets are available online at flyinghmonkeynh.com or at the door.

The silent version of 'Ben Hur' was originally slated for a screening earlier this year at the Flying Monkey, but was postponed to Thursday, Aug. 5.

'Ben Hur,' starring Ramon Novarro and Francis X. Bushman, was among the first motion pictures to tell a Biblical-era story on a large scale.

The film, which helped establish MGM as a leading Hollywood studio, employed a cast of thousands and boasted action sequences including a large-scale sea battle.

The film is highlighted by a spell-binding chariot race that still leaves audiences breathless with excitement.

Set in the Holy Land at the time of Christ's birth, 'Ben Hur' tells the story of a Jewish family in Jerusalem whose fortune is confiscated by the Romans and its members jailed.

The enslaved family heir, Judah Ben Hur (played by Novarro, a leading silent-era heartthrob) is inspired by encounters with Christ to pursue justice. This leads him to a series of epic adventures in his quest to find his mother and sister and restore his family fortune.

'Ben Hur,' directed by Fred Niblo, was among the most expensive films of the silent era, taking two years to make and costing between $4 million and $6 million. When released in 1925, it became a huge hit for the newly formed Metro-Goldwyn-Mayer studio.

The chariot race scene in 'Ben Hur,' with Novarro and other cast members driving teams of horses at high speed on a mammoth dirt racetrack in a gigantic replica of a Roman stadium, was among the most complicated and dangerous sequences filmed in the silent era. It remains noted for its tight editing, dramatic sweep, and sheer cinematic excitement.

The chariot race was re-created virtually shot for shot in MGM's 1959 remake, and more recently imitated in the pod race scene in 'Star Wars Episode I: The Phantom Menace.'

Besides Novarro in the title role, the film stars Francis X. Bushman (at right) as Messala, the Roman soldier who imprisons the Hur family; Betty Bronson as Mary, mother of Jesus; May McAvoy as Ben Hur's sister Esther; and Claire McDowell as Ben Hur's mother.

'Ben Hur' was based on the best-selling 1880 novel by General Lew Wallace, which interwove the story of Christ's life with the Ben Hur clan, a fictional Jewish merchant family.

Celebrity "extras" in the chariot race scene included stars such as Douglas Fairbanks, Harold Lloyd, Lionel Barrymore, John Gilbert, Joan Crawford, Lillian Gish, Mary Pickford, and a very young Clark Gable.

The film was remade by MGM in the 1950s in a color and wide-screen version starring Charleston Heston that garnered 11 Academy Awards. Some critics believe the original 1925 version offers superior drama and story-telling.

In creating music for silent films, accompanist Jeff Rapsis performs on a digital synthesizer that reproduces the texture of the full orchestra and creates a traditional "movie score" sound.

For each film, Rapsis improvises a music score using original themes created beforehand. No music is written down; instead, the score evolves in real time based on audience reaction and the overall mood as the movie is screened.

'Ben Hur, A Tale of The Christ' (1925) will be shown on  Thursday, Aug. 5 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H. Admission is $10 per person general admission. Tickets are available online at flyingmonkeynh.com or at the door. For more information, call the Flying Monkey at (603) 536-2551.

Improv comedy on a grand scale: 'Seven Chances' on Aug. 4 at Leavitt Theatre, Ogunquit, Maine

A Swedish poster for 'Seven Chances' (1925). Wow, what happened to Buster's hat?

It's a film Buster Keaton didn't really want to make. But it turned out to be among his most memorable,  thanks to a climactic sequence added only after the picture was considered finished.

It's 'Seven Chances' (1925), and the way it was put together is a great example of how things got done in 1920s Hollywood, and at the Keaton Studio in particular.

I'll accompany 'Seven Chances' on Wednesday, Aug. 4 at 7 p.m. at the Leavitt Theatre In Ogunquit, Maine. More details about the screening are in the press release below.

When introducing the film, I often relate the story of how Buster felt 'Seven Chances,' originally a stage farce, wasn't really his kind of comedy. But felt obligated to make it because his producer, Joe Schenck, had purchased the rights.

Turned into a motion picture, 'Seven Chances' originally ended with an outdoor chase: a tuxedo-clad Buster pursued across the landscape by an army of angry would-be brides. 

Later in life, Keaton recalled his team feeling they had an ending that was "okay. Not a world-beater, but just okay."

But when the rough cut was previewed to a Los Angeles audience, the crew noticed something: at the very end of the chase, they audience perked up. 

On screen, as Buster tumbled down a hill, he accidentally dislodged three small rocks, which started bouncing down the hill with him, as the chase faded out. "I had to scram to get out of the way," Buster recalled.

That, and the reaction it got, inspired Buster and his crew to go back create the now-legendary "rock slide" sequence, which was then spliced into the picture.  

If three rocks were good, then three hundred rocks would be better!

It was improv comedy on a grand scale. And it's a great example of how Keaton's comedy was to a great extent "found" in the world around him. 

No formal scripts were used, either for his short comedies or his features of the 1920s. He and his team would decide on a story, figure out how to start it, and then come up with a "finish," as shown above with 'Seven Chances.'

And then off they'd go, either in the studio or, more often, into the streets of Los Angeles or the surrounding California countryside. As Buster said late in life, "We figured the middle would take care of itself."

Of course there had to be a certain amount of preparation, especially when the story was set in a historical period. 'The General' (1926), with its minutely detailed costumes, locales, and props from the Civil War era, did not happen by accident. 

But the comedy often did.

This Wednesday's screening of 'Seven Chances' won't happen by accident: it's at 7 p.m. at the historic Leavitt Theatre in Ogunquit, Maine. The venue opened in 1923 as a silent movie house, and remains largely intact. 

It's likely that 'Seven Chances' played there in the summer of 1925. And if it didn't, then we'll remedy that on Wednesday night. Hope to see you there!

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Buster in 'Seven Chances.' I've always been intrigued by the bearded bride in the center of the crowd.

MONDAY, JULY 26, 2021 / FOR IMMEDIATE RELEASE
Contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Buster Keaton comedy 'Seven Chances' (1925) on Wednesday, Aug. 4 at Leavitt Theatre

Silent film presentation with live music features classic race-to-the-finish romantic farce

OGUNQUIT, Maine—He never smiled on camera, earning him the nickname of "the Great Stone Face." But Buster Keaton's comedies rocked Hollywood's silent era with laughter throughout the 1920s.

See for yourself with a screening of 'Seven Chances' (1925), one of Keaton's landmark feature films, on Wednesday, Aug. 4 at 7 p.m. at the Leavitt Theatre, 259 Main St., Route 1 in Ogunquit.

Admission is $12 per person. Live music for the movie will be provided by silent film accompanist Jeff Rapsis.

Adapted from a stage play, the story finds Buster learning that he'll inherit $7 million if he's married by 7 p.m. on his 27th birthday—that very day!

Buster's hurried attempts to tie the knot on his own go awry. But then a newspaper story changes the game, creating an avalanche of would-be brides who relentlessly pursue Buster as he searches for his one true love before the deadline.

'Seven Chances' was the first screen adaptation of the now-familiar story, since used in movies ranging from the Three Stooges in 'Brideless Groom' (1947) to Gary Sinyor's 'The Bachelor' (1999), a romantic comedy starring Chris O'Donnell and Renee Zellwinger.

Keaton, along with Charlie Chaplin and Harold Lloyd, stands today as one of the silent screen's three great clowns. Some critics regard Keaton as the best of all; Roger Ebert wrote in 2002 that "in an extraordinary period from 1920 to 1929, (Keaton) worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies."

As a performer, Keaton was uniquely suited to the demands of silent comedy. Born in 1895, he made his stage debut as a toddler, joining his family's knockabout vaudeville act and learning to take falls and do acrobatic stunts at an early age.

A remarkable pantomime artist, Keaton naturally used his whole body to communicate emotions from sadness to surprise. And in an era with no post-production special effects, Keaton's acrobatic talents enabled him to perform all his own stunts, including some spectacular examples in 'Seven Chances.'

The historic Leavitt Theatre opened in 1923 as a summer-only silent movie house. Now approaching 100 years of operation, it continues to show movies, but also functions as a restaurant, bar, and lounge.

In reviving Keaton's 'Seven Chances,' the Leavitt Theatre aims to show silent film as it was meant to be seen—in restored 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 accompany the film. "Recreate those conditions, and classics of early Hollywood such as 'Seven Chances' leap back to life in ways that audiences still find entertaining."

Rapsis performs on a digital synthesizer that reproduces the texture of the full orchestra, creating a traditional "movie score" sound. He improvises the complete score in real time during the screening.

"Creating a movie score on the fly is kind of a high-wire act, but it can often make for more excitement than if everything is planned out in advance," Rapsis said.

Buster Keaton's 'Seven Chances' (1925) will be screened with live music on Wednesday, Aug. 4 at 7 p.m. at the Leavitt Theatre, 259 Main St., Route 1 in Ogunquit. Admission $12 per person; tickets available at the door.

For more information, call (207) 646-3123 or visit www.leavittheatre.com.