Silent Movie Day 2022: On the joys of combining silent film music with long-haul trucking

My set-up at the Brattle, just before embarking on a 4½-hour journey with Fritz Lang's 'Dr. Mabuse, Der Spieler.'

Well, that put the "odd" in odyssey!

I'm just back after a silent film swing that took me to screenings in Cambridge, Mass., Detroit and Cleveland, and then back again—all in less than three days.

This was all in support of this year's 'Silent Movie Day' on Thursday, Sept. 29, but which in my case also involved accompanying extra screenings on the days before and after it.

So for me, Silent Movie Day was actually three days in a row, each featuring a BIG (meaning lengthy) title.

First up: On Wednesday, Sept. 28, I left home in New Hampshire at 4 p.m. to make the one hour drive to Cambridge, Mass. 

That evening, the venerable Brattle Cinema (just off Harvard Square) screened Fritz Lang's 'Dr. Mabuse, The Gambler' (1922), the sprawling two-part crime thriller that clocks in at 4½ hours. Yes, I played for it all, starting at 6 p.m. and ending just before 11 p.m.

After that, I loaded my keyboard and sound gear back onto the Forester, then hopped on the Massachusetts Turnpike (a.k.a. I-90) and headed west for Detroit, Mich. Buoyed by a brief catnap at a rest area in Utica, N.Y., I pulled into the Motor City in mid-afternoon.

At Cinema Detroit, where masks are still required out of an abundance of caution.

That night (Thursday, Sept. 29), Cinema Detroit celebrated Silent Movie Day with another sprawling Lang epic, 'Woman in the Moon' (1929), with live accompaniment by me. Clocking in at 2¾ hours, it seemed like a short subject compared to 'Mabuse.'

The next day (Friday, Sept. 30), I backtracked to Cleveland, where that evening I did live music for the the Cleveland Cinematheque's screening of another silent epic: Erich von Stroheim's 'Greed' (1924).

Talk about length! Von Stroheim originally planned an eight-hour running time, and then created a four-our version before the studio finally took it from him and released a version that runs about 2½ hours, which is what we saw at the Cinematheque.

Strangely, at that length, 'Greed' turned out to be the shortest feature of the trip.

Also on the bill at Cleveland: a newly discovered industrial promotion film, 'The Heart of Cleveland' (1924), a half-hour commercial for the wonders of electricity that was filmed and shown in the city. 

What a surprise! Featuring shots of a family touring giant industrial facilities, it anticipated Dziga Vertov's 'Man With The Movie Camera' by several years. More on the film (and a link to the video) is here. 

The Cinematheque audience just before Friday night's screenings. Taken from the keyboard with the fisheye lens on my new iPhone 13.

Afterwards, I loaded my gear and pointed the Forester east on I-90 to take me back home via the N.Y. State Thruway. After a brief catnap (again in Utica, N.Y.), I arrived home at 10:30 a.m.—exactly 66½ hours and 1,705 miles later.

Out of those 66½ hours, I was at the keyboard improvising music for more than 10 of them. That's a lot of music to spin out in live performance over three days. 

The only concession to the sheer quantity of scoring needed was that I allowed myself to use some common motifs that worked for all three films. Usually I'd try to avoid recycling material,

What motifs? The most common was a simple sequence of three descending notes: D, C#, G, with the last being held. You can build amazing things with this! (Only now do I realize it's a slight twisting of the opening notes of Rachmaninoff's very familiar 'Prelude in C# minor.')

Okay, now for the big question: Why do a stunt like this? Why combine silent film accompaniment with the romance of long-haul trucking?

Well, partly to challenge myself, and to see if I really could do it. Did I have the mental and physical stamina to get through this marathon?

Turns out I did, mostly. Only twice did I catch myself going into a mild "swoon" state on the piano bench: once near the start of Part II of 'Dr. Mabuse' (about three hours into the movie), and then near the end of 'Greed.'

Both times I felt a wave of wooziness wash over me, and so did a mental check to make sure it wasn't the symptom of some larger Fred-Sanford-like attack coming on. ("It's the big one, Weezy, I'm coming to join yez!") 

In both cases, while being so absorbed in creating music, I had apparently stopped breathing. So I began breathing again, and all was well.

Otherwise, everything about this escapade fell into place quite nicely. No giant traffic delays, no car troubles, no unexpected weather.

The main cast of Fritz Lang's lunar voyage epic, 'Woman in the Moon' (1929).

The only concern came at Cinema Detroit, where the heat was cranked up prior to 'Woman in the Moon,' making the house way to warm for me to survive 2¾ hours in live improv mode. 

I was preparing to strategically disrobe if necessary, but they turned off the heat before the show started and all went fine.

Another reason to do this was to take advantage of 'Silent Movie Day' (which only started last year) to engineer something of a deep dive for myself: to do music for a series of longer films to see how that would affect the music-making, if at all.

I find a longer film of any type often affords enough running room to thoroughly explore whatever musical material I'm working with. With films that run two, three or four hours, you do things that just aren't possible with a film that runs an hour and change. 

Counter-intuitively, I find shorter films far more demanding to score effectively, as everything's more tightly wound, especially with comedies. Often there's just no slack to lose yourself and come up with natural and effective scoring, at least the way I do it.

Talk about trances: a scene from 'Dr. Mabuse, Der Spieler.'

So my mini-marathon of 10 hours was a chance to push myself as deeply as one can go into the wide open spaces of improv. And it did just that: near the end of Part 1 of  'Mabuse,' I was so completely absorbed when I realized I had no idea what the actual time was.

The Brattle has a wall clock up above where I was sitting, so I glanced up and saw: 8:35 p.m. So something like half-way through, with hours still to go. And I then dove back into the trance-like state, once again completely absorbed in translating images into music to help the film cast its spell.

I can't speak for other accompanists, but I love those rare times when a movie absorbs you so completely that you lose sight of the beginning and the end. You always know they're there, of course, but the movie is so big that both start and finish lie well beyond the horizon. 

It's those times when I feel free to do what I think is my best work—where all the second-guessing subsides and the music flows naturally, as if in a dream. It's always underpinned by constant calculating and anticipation and so on, but all that becomes second nature in a way that never happens when you're playing, say, a one-reel Snub Pollard comedy. 

So in terms of losing myself, I have to say I got ample doses of that with all three films. But 'Mabuse' stands out as unique, in that the sheer quantity of time to be playing live, and then knowing that I would launch myself westward in the wee hours of the morning, creating a sense of being alive and in the moment that made 'Silent Film Day' worth all the effort. 

A scene from 'Dr. Mabuse, Der Spieler.'

Audiences were generous with their reactions both during the screenings and afterwards. The Brattle Mabuse marathon attracted about 35 people (more than expected) who were welcomed by creative director Ned Hinkle as the "hard core."

Ned mentioned that he'd wanted to program the whole Mabuse saga in one big gulp, and the film's 100th anniversary plus Silent Film Day seemed to be the right occasion for it. 

However, at first he hadn't considered live music because he couldn't imagine anyone wanting to tackle the whole thing in one evening. Little did he know!

As far as I could tell, everyone at the Brattle stayed to the end, at which point they lustily cheered the film. In fact, we seem to have ended with significantly more people than when we started. 

Afterwards, I spoke with several people who had no idea they were in for such a long haul. It's one thing to see "270 minutes" in the listing, but quite another to do math.

I also talked with a young guy who turned out to be a visiting student from China who'd been in the U.S. for all of three weeks. He could not be more enthusiastic about the programming at the Brattle, which he's apparently attended every evening since his arrival.

I was glad to hear this, but couldn't help thinking he's not quite getting a very accurate impression of life in America.

At Cinema Detroit, a good-sized crowd remained engaged and reacted noisily throughout 'Woman in the Moon.' A high point was when the Walter Turner character played by Fritz Rasp does his "quick change" into another character and back again right before our eyes, which produced bursts of astonished laughter.

I think one thing that helped was that for the first time ever, I had a distinct musical signature for this character that I used only when he was on screen, and then never again except for that one moment when he reappears as if by magic. 

With its one-of-a-kind mix of prescient sci-fi and completely erroneous assumptions about space travel, 'Woman in the Moon' produced the "gaping mouths" reaction that only it can do. 

The one thing I forgot to mention beforehand was that although the film is a serious drama, it contains a great deal of comedy that was intended to break the tension. For modern audiences who often don't know what to make of what they're seeing, it helps to give people permission to laugh.

But the Cinema Detroit audience seemed to get this without any prompting. Several big laugh moments stand out in my mind as highlights of the communal experience.

In Cleveland, 'Greed' attracted something like 80 people, which Cinematheque director John Ewing observed was the largest in-person attendance of any screening since the pandemic. 

(That's John at left, at the podium, which renders him invisible where I sit below at the keyboard.)

Fortified by a meal at 'L'Albatross,' my favorite restaurant in all of North America (no kidding!), and knowing I was in the home stretch of my marathon, I pushed myself to rise to the challenge of scoring von Stroheim's legendary lost masterwork. 

And that's all I remember. Well, not really, but kinda sorta. It takes awhile to awaken from that dream state.

The next thing I knew, I was on I-90, heading east through Ashtabula, Ohio, and wondering if it had all been a dream. In other words, success!

Many thanks to the many people who made this Silent Movie Day oddysey possible, especially Ned Hinkle and Ivy Molan of the Brattle Cinema in Cambridge, Mass.; Paula and Tim Guthat at Cinema Detroit; and John Ewing and Genevieve Schwartz at the Cleveland Cinematheque. 

(And a special thanks to Genevieve for joining me on the L'Albatross pilgrimage, which included visiting a side street paved with wood.)

All of these people remain willing to include silent film with live music as part of their programming—not just on Silent Movie Day, but at any time. I think that's something worth celebrating all year long.

Well...after a phenomenally busy September full of challenging live performances, I'll be taking a bit of a break now. As I said earlier this month to the audience after doing live music for Louis Feuillade's 'Les Vampires' (1915), which is 7½ hours long: "I'm going to lie down now."

But look out, as here comes Halloween! This year's schedule is highlighted by numerous screenings of 'Nosferatu' (1922) to mark the 100th anniversary of its release.

There's also a rare three-screenings-in-one-day on Saturday, Oct. 29, when I'll do 'Nosferatu' in the afternoon in Jaffrey, N.H., then 'Der Golem' in the evening in Ogunquit, Maine, and then a midnight screening of the reconstructed 'London After Midnight' at the Coolidge Corner Cinema in Brookline, Mass. 

One day, three screenings, three states. 

Anyone want to book a morning screening in Rhode Island that day to make it four?

If we start at 6 a.m., we can fit in the entire 'Dr. Mabuse' saga, with plenty of time for lunch...

Notes from 'Greed' at the Somerville Theatre, then 'Speedway' on Thursday in Plymouth, N.H.

'Speedway' (1929) shows auto racers competing at astounding speeds of up of 85 mph!

Next up: music on Thursday, May 18 for 'Speedway' (1929), a vintage auto racing drama.

But first, a few words about 'Greed' (1924), which I had the privilege of scoring on Sunday, May 14 at the Somerville Theatre down in Boston.

This screening, part of the Somerville's 'Silents Please!' series, was a real event: a 35mm print, a big turnout, and a film that really holds the 30-foot-high screen and then some.

Plus, afterwards projectionist David Kornfeld presented a slideshow of scenes cut from the final release print. Everyone stayed, entranced by what they saw.

David had assembled several hundred images, which were projected on the big screen as he talked us through all the plot twists and characters we'd missed.

And it was surprisingly compelling, I think, because we'd all just watched 'Greed,' and there's no better time to show an audience all we didn't see.

Afterwards, I mentioned to David that if movie-going was anything like climbing mountains, then 'Greed' at the Somerville was one of the more worthy summits!

And lots of good discussions afterwards, including at least one comparison of 'Greed' to the 1962 comedy epic 'It's a Mad, Mad, Mad, Mad, World.'

It's an apt pairing in more than one way. Both about avarice, and they're both over-long projects that got cut down by their respective studios.

And most amazingly: Zasu Pitts appeared in both pictures. Here she is in 'Greed' playing the lead role of Trina:

And here she is as operator of the Santa Rosita Police Department in 'Mad, Mad, Mad, Mad, World':

And I can't wrap up this report without including my own joke about the picture, which I claimed was rated highly by none other than actor Michael Douglas.

How? Because Douglas, as Gordon Gekko in 'Wall Street' (1987), proclaimed that "Greed is good!"

About the music: in the world of improv, sometimes I'm not satisfied with what I do, and other times I'm surprised at how well it all works.

On Sunday afternoon, 'Greed' was one of those that fell together really well, I thought. I had some good material to start with, and held back long enough so that really dramatic scenes would stand out that much more.

It was only the second time I'd tackled 'Greed,' the first being back in 2010 at the Palace Theatre in Manchester, N.H.

Just out of curiosity, I looked up my report from that screening, and here's what I found:

I came up with a nice suite of melodic material for this film, I thought: a somewhat stern Beethoven-like main theme for McTeague, a slow tune in 12/8 with shifting major and minor harmonies that helped bring out slowly creeping lunacy; a little chromatic signature that worked really well in the deep bass underneath sustained dissonances in the treble; and my favorite, a dirge-like "eating melody" for when the family pigs out at the wedding (which brought some of the rare laughter we got), and which returned in other depictions of excess; and a whole tone signature for the caged bird images that play a role throughout 'Greed.'

Huh? That was seven years ago, and I have no recollection whatsoever of any of the musical material I used then.

I might have scrawled some notes down somewhere, but I'd have to go hunting.

Still, I was struck by how different my approach was now compared to back then. Going by the 2010 notes, there wasn't one thing in common.

It would be interesting to hear what I was doing then and compare it to now—to see how my accompaniment style has evolved, and what's remained the same.

It would also be comforting, in the sense that it's a little disconcerting to think that everything that happened that night, in a musical sense, has vanished, even from my own head.

And this feeds into my desire to spend more time writing things down. But before that can happen, here comes another screening—this time, in on Thursday, May 18 up at the Flying Monkey Moviehouse in Plymouth, N.H.

It's 'Speedway' (1929), a crackerjack auto racing drama from MGM starting William Haines, Ernest Torrance, and Anita Page. Many scenes were filmed on location at the actual Indianapolis 500 track, showing what it looked like in the 1920s.

Members of a vintage auto group should be on hand, so we won't lack for an audience. If you'd like to join us, more details are in the press release below:

* * *

Original (and French!) promotional art for MGM's auto racing adventure 'Speedway' (1929).

WEDNESDAY, MAY 3, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Vintage auto racing thriller to be screened with live music on Thursday, May 18 at Flying Monkey

MGM's late silent drama 'Speedway' (1929) filmed on location at actual Indy 500 track

PLYMOUTH, N.H.—Fasten your seat belts! We mark the traditional Memorial Day running of the Indianapolis 500 with a vintage race car drama filmed right on the famed track—at speeds topping 115 mph!

In honor of this year’s Indy 500, MGM's vintage auto racing drama 'Speedway' will be screened with live music on Thursday, May 18 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H.

The screening is a chance to experience this landmark film as it was intended to be seen: in a high quality print on the big screen, with live music and with an audience. Live music will be performed by Jeff Rapsis, a New Hampshire-based silent film accompanist.

Tickets are $10 per person.

In 'Speedway,' MGM leading man William Haines stars as Bill Whipple, a cocky mechanic/race car driver in town for the "The Indianapolis Speedway" race.

He meets a couple of other participants—Mac (Ernest Torrence), the old-timer with heart trouble who thinks of Bill like a son and has been trying to win this race for 17 years; and Renny, a driver not opposed to using dirty tricks to win.

'Speedway' also stars actress Anita Page in a leading role.

To lend an air of realism to the movie, many scenes were shot on location at the actual Indianapolis 500 track. Today, the footage provides auto racing fans a vivid glimpse of the sport as it was practiced in earlier generations.

Actor William Haines was one of MGM's biggest stars in the late 1920s, often playing the male lead romantic comedies. But off-screen, Haines was gay—and, unusually for the era, did not hide his homosexuality.

This led to friction with his bosses. MGM studio chief Louis B. Mayer, convinced that movie audiences would not accept a gay leading man, urged Haines to keep his long-term relationship with actor Jimmie Shields a secret.

Anita Garvin and William Haines get to know each other in 'Speedway.'

Haines maintained his star status at MGM during the move to talking pictures. But a publicity crisis arose in 1933, when Haines was arrested in a YMCA with a sailor he had met in Los Angeles' Pershing Square.

Mayer then delivered an ultimatum: Haines had to choose between a sham marriage to an MGM actress or giving up his career. Haines refused to submit, choosing to be himself rather than to pretend to be someone he wasn't. Mayer subsequently fired Haines, terminated his contract, and banished him from the industry.

His movie career over, Haines recovered by launching an interior design firm, using his connections to become the most sought-after decorator in the Hollywood movie colony. The business prospered over the decades, with a client list of A-list celebrities as well as political figures such as Ronald and Nancy Reagan.

Haines remained with his partner Shields for the rest of his life. Joan Crawford, who co-starred with Haines in several pictures, described the pair as "the happiest married couple in Hollywood." In recent years, Haines has been recognized as a courageous pioneer in gay rights in the early Hollywood community.

'Speedway' was one of the final silent movies released by MGM prior to the studio's conversion to making talking pictures.

The movie will be screened with live music performed by silent film accompanist Jeff Rapsis.

'Speedway' is the latest in a monthly series of silent films presented with live music at the Flying Monkey. The series provides local audiences the opportunity to experience silent film as it was intended to be shown: on the big screen, in good-looking prints, with live music, and with an audience.

‘Speedway’ (1929) will be shown on Thursday, May 18 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. For more info, call (603) 536-2551 or visit www.flyingmonkeynh.com. For more info on the music, visit www.jeffrapsis.com.

From the big city (Boston) to small town New England: Four days, four shows, three states

Gibson Gowland in 'Greed' (1924), to be screened in 35mm with live music on Sunday, May 14 at the Somerville Theatre. Now there's something to make for a memorable Mother's Day!

Heading into a busy performing stretch, with shows every day from Thursday, May 11 through Sunday, May 14.

And it's quite a variety of programs and locations, too.

Films range from one of the biggest (the sprawling WW! aviation drama 'Wings') to comedy short subjects, while the venues go from big city movie palaces (the Somerville Theatre) to rural town halls.

Here's what's on the silent film accompaniment to-do list. Hope you can join in for some or all!

• Thursday, May 11, 7:30 p.m.: "The Winning of Barbara Worth" (1926) starring Gary Cooper, Ronald Coleman, Vilma Banky; The Capitol Theatre, 204 Massachusetts Ave., Arlington, Mass.; (781) 648-6022; http://capitoltheatreusa.com/. Admission $12, $10 student/senior.

The skinny: Epic Western about the settling and irrigation of California's Imperial Valley, once a wasteland but now an agricultural paradise. Shot on location by director Henry King in Nevada's Black Rock desert, one of the first films to take audiences to the wide open spaces of the great American West. With a young Gary Cooper playing a key role. Silent film with live music at a terrific locally owned neighborhood cinema!

• Friday, May 12, 2017, 6 p.m.: "Wings" (1927) starring Clara Bow, Buddy Rogers, Richard Arlen; Webster, N.H., Webster Public Library/Town Hall, 947 Battle St., Webster N.H. Sweeping drama about fighter pilots in World War I; one of the great achievements of the silent cinema, winner of "Best Picture" at the first-ever Academy Awards.

The inside track: Compelling story, great performances, battle scenes filmed on an immense scale, and in-air aviation sequences that remain thrilling even today. Presented by the Webster (N.H.) Public Library and the Webster (N.H.) Historical Society as part of a program to commemorate the U.S. entry in World War I. Free admission, all welcome to attend.

• Saturday, May 13, 2017, 7 p.m.: Silent 'Our Gang' Festival; Brandon Town Hall and Community Center, Main Street/Route 7, Brandon, Vt.; http://www.brandontownhall.org.

The straight dope: Long before Alfalfa and Spanky, an earlier version of "The Little Rascals" had a long run during the silent film era. Take a trip back to the early years of "Our Gang" with some of their most popular comedies. Join us for a series of silent films and live music in a wonderfully restored town hall in Brandon Vt. that features great acoustics. Admission free, donations accepted, with proceeds to help continuing preservation work.

• Sunday, May 14, 2017, 2 p.m.: "Greed" (1924) in 35mm, directed by Erich von Stroheim; Somerville Theatre, 55 Davis Square, Somerville, Mass.; http://www.somervilletheatreonline.com.

The deal: Sudden fortune won from a lottery creates such destructive force that it ruins the lives of the three people involved. Legendary director Erich Von Stroheim's great masterpiece brought silent film drama to new heights of intensity. Rare chance to see this film in 35mm on the big screen with live music. Part of a monthly series at the Somerville Theatre, a wonderful 100-year-old moviehouse committed to keeping alive the experience of 35mm film. Featuring outstandingly exacting work of legendary projectionist David Kornfeld. For more info, call the theater box office at (617) 625-5700. Admission $15 per person.

Okay! Each one of these programs has its merits.

On Thursday, 'The Winning of Barbara Worth' is a little-known but terrific Henry King picture that holds up well and really surprises audiences.

On Friday, 'Wings' will be shown as part of a World War I commemoration in the Town Hall/Public Library of Webster, N.H. Big film in a small town!

On Saturday, the 'Our Gang: The Early Years' program will kick off this year's silent film program up in Brandon, Vt. Guaranteed laughs!

On Sunday, a chance to see Von Stroheim's 'Greed' in 35mm at the Somerville Theatre! What more can I add?

But first things first. On Thursday, I'll go down to Boston early for a radio interview that afternoon with Radio BDC, the Boston Globe's streaming audio service and "Internet radio station." I'm there at 3 p.m. and not sure if what we'll do will air live or later, but you'll find it at www.bdcwire.com/radiobdc/.

And because Thursday night is 'The Winning of Barbara Worth' at the Capitol in Arlington, here's more info via the press release. I'll do the same for the others as we wade through the weekend.

* * *

An original poster for 'The Winning of Barbara Worth.'

WEDNESDAY, MAY 3, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rip-roaring epic silent Western at Arlington's Capitol Theatre on Thursday, May 11

'The Winning of Barbara Worth' (1926), ground-breaking outdoor drama starring Gary Cooper and Ronald Colman, to be screened with live music

ARLINGTON, Mass.—A film that helped create Hollywood's love affair with the American West will continue this season's silent film series at the Capitol Theatre in Arlington, Mass.

'The Winning of Barbara Worth' (1926), a silent drama starring Gary Cooper, Ronald Colman, and Vilma Banky, will be shown on Thursday, May 11 at 7:30 p.m. at The Capitol Theatre, 204 Massachusetts Ave., Arlington, Mass.

Admission is $12 adults, $10 kids and seniors. Live music will be provided by accompanist Jeff Rapsis, a New England-based performer who specializes in creating music for silent film presentations.

Directed by Henry King, 'The Winning of Barbara Worth' chronicles the epic story of pioneer settlers who dreamed of irrigating California's parched Imperial Valley in the early 20th century. Filmed on location in Nevada's Black Rock desert, the movie is noted for its extensive use of vast open spaces and wild scenery.

The story centers on a rivalry for the affections of Barbara Worth (Vilma Banky), adopted daughter of a powerful rancher. A local cowboy (Gary Cooper) finds himself competing with a newly arrived engineer (Ronald Colman), who has come to the rural valley to work on plans to harness the Colorado River for irrigation.

Will the local ranchhand prevail over the city slicker engineer? Can citizens of the parched region prevail over nature and transform their lands into an agricultural paradise? Will rumors of shortcuts taken in constructing a massive dam lead to disaster?

All these questions combine to create a film that showed Hollywood and movie-goers the power of a drama set in the rural American west.

Hey! That's not the same guy in the poster above!

The film is also noted for its camerawork by Greg Toland, who would later go on to do principal photography for 'Citizen Kane' in 1941.

For 'The Winning of Barbara Worth,' Rapsis will improvise a score from original musical material that he composes beforehand, using a digital synthesizer to recreate the sound and texture of a full orchestra.

"What I try to do," Rapsis said, "is create music that bridges the gap between a film that might be 80 or 90 years old, and the musical expectations of today's audiences."

'The Winning of Barbara Worth' continues a monthly series of silent films presented with live music at the Capitol. The series provides local audiences the opportunity to experience silent film as it was intended to be shown: on the big screen, in good-looking prints, with live music, and with an audience.

“These films are still exciting experiences if you can show them as they were designed to be screened,” said Rapsis, accompanist for the screenings.

“There’s a reason people first fell in love with the movies, and we hope to recreate that spirit. At their best, silent films were communal experiences in which the presence of a large audience intensifies everyone’s reactions.”

Upcoming shows in the Capitol's 2017 silent film series include:

• Thursday, June 22, 7:30 p.m.: "The Kid" (1921) starring Charlie Chaplin, Jackie Coogan. Chaplin's landmark comedy/drama about a tramp who raises an infant against all odds.

• Thursday, July 6, 7:30 p.m.: "The Lost World" (1925) starring Wallace Beery, Bessie Love. 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.

• Thursday, Aug. 3, 7:30 p.m.: "Grandma's Boy" (1922) starring Harold Lloyd, Mildred Davis. A cowardly young man must learn to conquer his fears before dealing with a larger menace to his community.

Gary Cooper, Vilma Banky, and Ronald Colman star in 'The Winning of Barbara Worth,' to be shown on Thursday, May 11 at 7:30 p.m. at The Capitol Theatre, 204 Massachusetts Ave., Arlington, Mass. Admission $12 adults, $10 kids and seniors.

Thoughts on 'Foolish Wives' (1922) prior to Sunday, Sept. 22 screening

We're coming to the last screening before I leave for Arkansas and Kansas next week, and it's a big one: 'Foolish Wives' (1922), the Erich von Stroheim drama set in Monte Carlo, as rebuilt on the Universal back lot.

I like one story that comes from the making of this film: for money on-screen von Stroheim insisted on using accurate reproductions of Monte Carlo banknotes. These were so life-like that some extras began bringing them to banks and successfully exchanging them!

How ironic for for a film in which counterfeiting plays such a prominent role!

Anyway, it's a big meaty drama that runs almost 2½ hours, and will provide a good workout prior to going on the road. Come see it on Sunday, Sept. 22 at 4:30 p.m. at the Wilton Town Hall Theatre, 40 Main St., Wilton, N.H. For more info, visit www.wiltontownhalltheatre.com.

And here's something I just found out: the date of our screening is actually von Stroheim's birthday! He'd be 128 years old.

The screening of 'Foolish Wives' comes on the heels of two screenings last week: 'Show People' (1928) drew about 50 people last Thursday (Sept. 19) to the Leavitt Theatre in Ogunquit, Maine, where it got a very positive reaction. A screening of Rin Tin Tin in 'Clash of the Wolves' (1925) at Red River Theatres in Concord, N.H. was less well attended, with about 18 people on hand, but the reaction was strong.

In case you're curious, here's the road schedule next week:

• Wednesday, Sept. 25: accompanying some Chaplin Mutuals for opening night of an "Art for the Citizen" symposium at the Crystal Bridges Museum of American Art in Bentonville, Ark.

• Thursday, Sept. 26: During the day, more Chaplin Mutuals during the symposium. In the evening, I'm part of "A Tribute to Charlie Chaplin and Early Movie Music," a panel discussion at the University of Arkansas campus at Fayetteville. Not sure if I have to accompany anything here, but I'll be ready.

• Friday, Sept. 27: Day 1 of the 2013 Buster Keaton Celebration in Iola, Kansas finds light accompaniment duties: Chaplin's short 'One A.M.' in the evening and possibly some other things during the daytime seminars.

• Saturday, Sept. 28: Day 2 of the Keaton Celebration is heavy lifting in terms of accompaniment. I'm slated to do piano scores for the Constance Talmadge feature 'Her Sister from Paris' (1925), the Arbuckle/Keaton short 'Out West' (1918), and Keaton's feature 'Seven Chances' (1925).

I'll file reports here from on the road. And looking forward to October, which brings a Pickford program at Keene (N.H.) State College, 35mm screenings of 'Safety Last' (1923) and 'The Cabinet of Dr. Caligari' (1920) at the Somerville (Mass.) Theater, and about a half-dozen different screenings of 'Nosferatu' leading up to Halloween.

See you at the movies!