Marching towards Veterans Day with John Gilbert in King Vidor's 'The Big Parade' (1925) on Sunday, Nov. 9 at Somerville Theatre

At the Crandell Theatre in Chatham, N.Y. Hey, that doesn't look like me on the marquee!

Pleased to report I've emerged intact from the annual Halloween silent film steeplechase. 

Yes, the last half of October is the busiest time of the year for this silent film accompanist, with screenings pretty much every night for two weeks straight.

But I'm not complaining! I played for audiences in six states, in venues ranging from a library basement to a genuinely spooky intact 1925 moviehouse. 

Made a lot of friends on the way, too, through which I hope to continue spreading the gospel of silent film with live music. 

And now comes Veterans Day. Next up is 'The Big Parade' (1925), the World War I epic from King Vidor starring John Gilbert and Renée Adorée. 

I'm accompanying it on Sunday, Nov. 9 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.

It's a great film for music. Why? Not to give anything away, but I've found the film is divided into two very different parts, and if the music reflects that, it can amplify the overall impact. 

The first half almost plays like a romantic comedy as it follows the adventures of John Gilbert's character in rural France. I try to reflect that in the music: a "light opera" texture seems to fit just right.

But as soon as Gilbert's unit is called to the front, everything changes. And the music can bring that out, making use of the full orchestra to underscore the dramatic intensity.

If you're in the Greater Boston area this weekend, I encourage you to check out 'The Big Parade.' It's not only a great movie, but also a terrific way to get in the zone for Veterans Day on Tuesday, Nov. 11. 

And if you're not in the Greater Boston area—well, there's still time. It only takes six hours to fly in from the West Coast or Europe. You have plenty of time! 

To whet your appetite, check out the press release below.

*    *    * 

An original release poster for 'The Big Parade' (1925).

MONDAY, OCT. 20, 2025 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Veterans Day special: 'The Big Parade' with live music on Sunday, Nov. 9 at Somerville Theatre

MGM's highest grossing film until 'Gone With The Wind'; blockbuster drama changed how Hollywood depicted war 

SOMERVILLE, Mass. — It was the 'Saving Private Ryan' of its time — a movie that showed audiences combat as experienced by a soldier whose life is changed forever by the horrors of war.

It was 'The Big Parade' (1925), a sprawling World War I epic and a box office sensation that made MGM into a powerhouse studio in Hollywood's golden years. It's the latest installment of 'Silents, Please!,' a silent film series with live music at the Somerville Theatre.

'The Big Parade' will be screened one time only at the Somerville Theatre on Sunday, Nov. 9 at 2 p.m. General admission is $17; members $13; seniors/students $12.

The show will feature live accompaniment by silent film musician Jeff Rapsis.

'The Big Parade,' released just a few years after World War I ended, was hailed by critics as the first Hollywood film to depict the harsh reality of combat and its impact of troops in the trenches and foxholes. Its hellish battle scenes were staged on a massive scale and still retain their ability to shock audiences.

Hey, get a room!

The picture, based on the best-selling novel "What Price Glory?", follows the story of a young man (John Gilbert) who rebels against a privileged background by enlisting in the army just before the U.S. enters World War I.

He is shipped out to France, where he falls in love with a local French woman before being transferred to the front. There, he and his squadmates face the German war machine, where they must endure the ultimate tests of duty and honor in a battle they come to see as meaningless.

In addition to vivid war scenes, the film contains a famous dramatic sequence in which the French woman (Renée Adorée) realizes her love for the soldier, and tries to find him to say goodbye as the massive convoy of troops pulls out for the front. Another celebrated sequence depicts the light-hearted first meeting of the soldier and the girl, in which he teaches her how to chew gum.

'The Big Parade' went on to become the top-grossing movie of the entire silent film era, earning $6.4 million domestically and making director King Vidor into the Steven Spielberg of his day. It stood as MGM's biggest single box office hit until the release of 'Gone With the Wind' in 1939.

Rapsis will improvise a musical score to the film in real time. In creating accompaniment for the 'The Big Parade' and other vintage classics, Rapsis tries to bridge the gap between silent film and modern audiences.

"Live music adds an element of energy to a silent film screening that's really crucial to the experience," Rapsis said. " 'The Big Parade' is filled with great scenes that lend themselves well to music. It's a real privilege to create a score to help this great picture come back to life," Rapsis said.

MGM's silent blockbuster ‘The Big Parade’ will be shown with live music on Sunday, Nov. 9 at 2 p.m. at Somerville Theatre, 55 Davis Square, Somerville, Mass.

General admission is $17; members $13; seniors/students $12. For more info, call (617) 625-5700 or visit www.somervilletheatreonline.com.

 

This Saturday in Maine: music for silent films starring canines; this Sunday in Massachusetts: 'Padlocked' (1926) at Somerville Theatre

A fairly evocative trade ad promoting the Paramount drama 'Padlocked' (1926).

My upcoming weekend consists of music for dogs in Maine, then music for people in Massachusetts. 

Ye—on Saturday, Aug. 9, I'll accompany a program of silent films starring canines at the Johnson Opera House in Gardiner, Maine. 

Then on Sunday, Aug. 10, I'll do music for 'Padlocked,' a 1920s morality drama, at the Somerville Theatre in Somerville, Mass.

Lots more about 'Padlocked' in the press release below. It's a film that hasn't been seen since 1926, but is now available after a 2023 restoration by the San Francisco Silent Film Festival.

But about the dog program, which takes place on Saturday, Aug. 9 starting at noon. Officially, it's the Augusta Colonial Theatre's 3rd Annual Silent Film Festival. (It's being held in another venue, the Johnson Opera House in Gardiner, Maine, but don't let that throw you.)

Subtitled 'Dog Day Afternoon,' the program (curated by film restoration guru Ed Lorasso) is being promoted like this:

"Come join us for a paws-itively fun time at Johnson Hall Opera House for our 3rd Annual Silent Film Festival! Watch classic movies starring all the great furry friends of the silent film era: Jean the Vitagraph Dog, Shep the Dog, Teddy the Wonder Dog, and everyone's favorite Rin-Tin-Tin! Enjoy popcorn, drinks, and a tail-wagging good time. Don't miss out on this doggone awesome event!"

Dog puns aside, it promises to be a pretty compelling program.

It's a good variety of early short films, plus the full-length spectacular Warner Brothers feature 'Clash of the Wolves' (1925) starring Rin Tin Tin.

If you'd like to know why Rin Tin Tin was known as the "mortgage lifter" among theater owners, 'Clash of the Wolves' is a good example.  

Canine star Rin Tin Tin on set with 'Clash of the Wolves' costar June Marlow.

I've done many animal-themed silent film programs over the years. It was a popular genre in early cinema, and their charm and excitement still comes through. 

The dogs themselves are as compelling as any human performer. Really—after all, lacking the power of speech is no handicap in silent films. 

See for yourself by attending this off-beat program on Saturday, Aug. 9. For more info, a complete list of films, and to buy tickets, visit the festival's Eventbrite page.

And what about 'Padlocked' (1926), which I'm accompanying on Sunday, Aug. 10 at 2 p.m. at the Somerville Theatre? Lots of info in the press release below. See you there!

*     *     *

A scene from the long-unseen Paramount drama 'Padlocked' (1926).

MONDAY, AUG. 4, 2025 / FOR IMMEDIATE RELEASE

Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Somerville Theatre to screen rare silent 'Padlocked' with live music on Sunday, Aug. 10

Restored 1920s morality drama from Paramount Pictures, based on provocative Cosmopolitan story; film unseen since its original 1926 release

SOMERVILLE, Mass. — Released at the height of the Roaring '20s, it played up the clash of Jazz Age temptations with traditional conservative morality.

It was 'Padlocked' (1926), a silent-era drama from Paramount Pictures—a movie unseen since its original release, but now available following a recent restoration.

The rarely screened film will be shown on Sunday, Aug. 10 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.

Admission $17 adults; $13 members; $12 seniors/children. Tickets are available at somervilletheatre.com or at the door.

Live musical scoring will be provided by silent film accompanist Jeff Rapsis, a New Hampshire-based performer who specializes in music for silent film screenings.

'Padlocked,' based on a serialized story published in Cosmopolitan magazine, is an urbane 1920s drama that skewers the cruelty and hypocrisy of moral reformers.

The film stars Noah Beery Sr., Florence Turner, Lois Moran, Louise Dresser, Helen Jerome Eddy, Allan Simpson, and Richard Arlen.

A vintage trade ad promoting Paramount's drama 'Padlocked' (1926).
 

Beery plays Henry Gilbert, a wealthy do-gooder and domestic tyrant whose puritanism destroys the lives of his wife and daughter, played by Florence Turner and Lois Moran.

Gilbert's myopia about human character proves his undoing: he sees evil in innocent amusements, but is easily taken in by a gold-digging con artist.

For the film's original release, Paramount's publicity machine played up the story's scandalous nature and contemporary relevance.

"A theme so powerful and so certain of overwhelming popularity," trumpeted ads promoting 'Padlocked.' "What a sweeping revelation of this restless age—and how superbly produced, with every possible box office value!"

'Padlocked' boasted several well-known names among its creative team.

Director Allan Dwan, already a Hollywood veteran, would go on to direct such classics as 'Sands of Iwo Jima' (1949) starring John Wayne.

'Padlocked' was an early example of the work of cinematographer James Wong Howe, who would later be nominated for 10 Academy Awards for cinematography, winning twice for 'The Rose Tattoo' (1955) and 'Hud' (1963).

 

A scene from Paramount's drama 'Padlocked' (1926).
 

The film, part of the Somerville's 'Silents, Please!' series, will be shown via a 35mm print produced by the San Francisco Silent Film Festival, which restored the film in 2023.

'Padlocked' hadn't been screened since its original release in1926; a sole surviving print was found in the Czech National Film Archive. Titles were translated back to English and other work restoration work done so the film could be made available to U.S. theaters.

"This is one reason why we continue to program silent films," said Ian Judge, the Somerville's creative director. "Rediscoveries from the silent era are being made all the time. We aim to give movie-goers the chance to experience these classic films as intended—on the big screen, with live music, with an audience, and shown using 35mm prints whenever possible."

To help bring 'Padlocked' to life at the Somerville, silent film accompanist Jeff Rapsis will create a soundtrack that mixes 1920s-style tunes with elements of contemporary movie scoring.

" 'Padlocked' is a great film for music," Rapsis said. "It has several lively cabaret scenes that I think today's audiences will find highly entertaining."

'Padlocked' (1926), a Paramount drama unseen since its original release, will be shown on Sunday, Aug. 10 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.

Admission $17 adults; $13 members; $12 seniors/children. For more information and to purchase tickets, visit www.somervilletheatre.com or call the box office at (617) 625-5700.

A fresh take on silent spookiness: 'The Bat' (1926) on Sunday, Oct. 27 at Somerville Theatre

A lobby card promoting 'The Bat' (1926) in its original release.

Something new—well, sort of—is flying into the Somerville Theatre  this Halloween season.

On Sunday, Oct. 27 at 2 p.m., I'll accompany the silent thriller 'The Bat' (1926) at the Somerville as part of the venue's 'Silents, Please!' series.

Based on a popular stage play, 'The Bat' was very successful in its original release at the height of the silent era.

But since then, it's rarely been screened or seen anywhere. That's surprising, in part because it's a good film that holds up well, but also because it had a lot of influence on the creation of an iconic superhero character: Batman!

Why has 'The Bat' been so elusive?

Well, it's not one of the silent era's many "lost" films. A circulating 35mm print of it has been available from the UCLA Film & Television Library for a long time, but has almost never been booked.

It might be that the film has no "star" performers with names still recognizable today. There's no Clara Bow or Rudolph Valentino in it. It does have Louise Fazenda and Jack Pickford in it, but they're not exactly household names anymore.

Also, the film was produced independently and released through United Artists. So it was not part of the output of a major studio such as MGM or Paramount, so after its original release it kind of got lost in the shuffle.

Another reason is that 'The Bat' has never been released on home video—that is, until now.

This Halloween season, 'The Bat' is getting a new attention thanks to a home video release of the film (on Blu-ray dis)c thanks to Ben Model, my friend and fellow silent film accompanist.

Cover art for the home video release of 'The Bat' (1926) by Undercrank Productions.

Ben accompanied the film at a screening some time ago, and was so impressed he organized a Kickstarter campaign to release the film through his label, Undercrank Productions.

The home video version of 'The Bat' came out just recently, and looks great! (I was a Kickstarter backer, so received a copy when the project was completed.) You can buy it online: for more information, visit the Undercrank website.

Or you can see it as it was intended: on the big screen at the Somerville Theater, with live music, on Sunday, Oct. 27 at 2 p.m. We'll be showing the new digital restoration from Underground/UCLA in DCP format. (Earlier references to using the 35mm print were my mistake!)

For more about 'The Bat' and Sunday's screening, check out the press release below. And happy Halloween!

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A trade ad promoting the original release of 'The Bat' (1926) to movie theater bookers.

MONDAY, OCT. 21, 2024 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Halloween treat! Rarely screened thriller 'The Bat' (1926) to fly at Somerville Theatre on Sunday, Oct. 27

Calling all Batman fans! Early silent comedy/mystery to be shown with live music; inspired Bob Kane to create Batman superhero

SOMERVILLE, MASS.—It's a rarely screened movie credited with inspiring comic book artist Bob Kane to create the iconic 'Batman' character.

It's 'The Bat' (1926), a silent comedy/mystery directed by Roland West.

See 'The Bat' via a new digital restoration on Sunday, Oct. 27 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.

The screening will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Admission $17 adults; $13 members; $12 seniors/children. Tickets are available at somervilletheatre.com or at the door.

The show will allow audiences to experience 'The Bat' the way its makers originally intended: on the big screen, with live music, and with an audience.

 

The film recently underwent a digital restoration and release by Undercrank Productions. The new restoration will be show in DCP format. 

The story: throughout the city a mysterious thief known only as The Bat is looting the wealthy. The Bat, who wears a full-head bat mask and cape, enjoys toying with his prey by sending notes telling where he is going to strike next. 

As the seearch intensifies, at the country estate of the recently deceased bank owner, Courtleigh Fleming, a disparate group assembles, each with their own agenda.

When Courtleigh Fleming’s nephew is shot to death on the mansion’s grand staircase, the race is on to unmask the killer, stop The Bat, and find a fortune in stolen money hidden within the house.

'The Bat' was originally a popular stage play by Mary Roberts Rinehart before being transformed into a movie during Hollywood's silent film era.

The cast, which includes period favorites Louise Fazenda, Arthur Housman, Jack Pickford, and Jewel Carmen, supports the ominous mood while providing plenty of amusement.

Director Roland West was a master visual stylist with a penchant for the macabre. In 'The Bat,' he expertly manipulated light and shadow.

West also assembled a top notch production crew that included art direction by William Cameron Menzies and photography by Gregg Toland, who would later shoot 'Citizen Kane' (1941) with Orson Welles. 

'The Bat' was a hit when first released, and was also influential, as the masked figure of 'The Bat' had a profound effect on young artist Bob Kane, who cited the film as one of his main inspirations for the creation of Batman.

Rapsis, a composer who specializes in film music, will create a score for 'The Bat' on the spot, improvising the music as the movie unfolds to enhance the on-screen action as well as respond to audience reactions. 

Rapsis performs the music on a digital synthesizer, which is capable of producing a wide range of theatre organ and orchestral textures.

"Live music was an integral part of the silent film experience," Rapsis said. "At the time, most films weren't released with sheet music or scores. Studios relied on local musicians to come up with an effective score that was different in every theater. At its best, this approach created an energy and a connection that added a great deal to a film's impact. That's what I try to recreate," Rapsis said.

‘The Bat’ (1926) will be shown with live music on Sunday, Oct. 27 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.

Admission $17 adults; $13 members; $12 seniors/children. For more information and to purchase tickets, visit www.somervilletheatre.com or call the box office at (617) 625-5700.

A weekend of 100th anniversaries with Buster Keaton in Newport, R.I. and Peter Pan in Somerville, Mass.

Buster Keaton cooks up some well-timed comedy in 'The Navigator' (1924).

Never mind the Superbowl—I'm attending a pair of 100th birthday parties this weekend!

This afternoon (Saturday, Feb. 10), it's Buster Keaton's 'The Navigator' (1924), which I'm accompanying at 4:30 p.m. at the Jane Pickens Theatre in Newport, R.I. More info in the press release pasted in below.

Then tomorrow (Sunday, Feb. 11), it's the original big screen adaptation of 'Peter Pan' (1924), for which I'll do music at 2 p.m. at the Somerville Theatre in Somerville, Mass. I've pasted that press release in below as well.

I think the Keaton screening is intended as a warm-up to Valentine's Day, while 'Peter Pan' is clearly family counterpoint to the Superbowl, which takes place later that day. 

Well, whatever reason works for you, hope you can join us and take in one or both screenings this week. Besides being the date of this year's Superbowl, Sunday also happens to be National Guitar Day and also National Autism Day. 

I don't know about you, but I can't think of better reasons to celebrate with a silent film screening!

See you at the movies!

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Dressed for diving: Buster Keaton in 'The Navigator' (1924).

MONDAY, JAN. 15, 2024 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Classic silent seafaring farce ‘The Navigator’ (1924) at Jane Pickens Theatre on Saturday, Feb. 10

Buster Keaton's nautical masterpiece to be screened with live music at historic venue in downtown Newport, R.I.

NEWPORT, R.I.—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.

Acclaimed for their originality and clever visual gags, and also admired for their authentic location shots and amazing stunts, Keaton's films remain popular crowd-pleasers today.

See for yourself with a screening of 'The Navigator' (1924), one of Keaton's landmark feature films, on Saturday, Feb. 10 at 4:30 p.m. at the Jane Pickens Theatre Film and Event Center, 49 Touro St., Newport, R.I.

The screening, the latest in the venue'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 $16 per person. Tickets available online at https://janepickens.com or at the door.

'The Navigator' is a comedy that follows the adventures of wealthy nitwit Rollo Treadway (Keaton) and his pampered girlfriend, who find themselves adrift alone on a massive ocean liner. Forced to fend for themselves without servants, the pair attempt to cope with day-to-day life, creating classic comedy in the process.

But when the ship runs aground on a remote island inhabited by cannibals, is Buster's resourcefulness enough to save the day?

Filmed at sea on a real ocean liner that Keaton treated as the largest prop in comedy history, 'The Navigator' has been hailed as one of the most original and distinctive movies to come out of silent film's golden era of comedy.

The film is highlighted by underwater scenes, with Keaton in an oversized antique diving suit, that were revolutionary at the time.

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 'The Navigator.'

Rapsis, a New Hampshire-based silent film musician who accompanies shows at venues across New England, said Keaton's films weren't intended to be shown on television or viewed at home.

In reviving 'The Navigator' at the Jane Pickens Theatre, organizers aim to show silent film as it was 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. "Recreate those conditions, and classics of early Hollywood such as 'The Navigator' 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.

'The Navigator' (1924) starring Buster Keaton will be screened with live music on Saturday, Feb. 10 at 4:30 p.m. at the Jane Pickens Theatre Film and Event Center, 49 Touro St., Newport, R.I.

Admission is $16 per person. Tickets available online at https://janepickens.com or at the door. For more information, call the box office at (401) 846-5474.

Critic comments on 'The Navigator':

"The Navigator looks and feels like it could be one of today's summer mega-blockbusters. It has a great, simple premise that includes the destroying of a huge set. It's endlessly imaginative, funny, inventive, etc. It's one of the greatest movies I have ever seen."
—Jeffrey Anderson, Combustible Celluloid, 2001

"His comic timing is brilliant. He says more in his face than most actors today do with their face and voices. It's a very funny story with dozens of very memorable comic scenes. A true classic."
—James Higgins, Turner Classic Movies, 2011

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An original release poster for 'Peter Pan' (1924).

TUESDAY, JAN. 30, 2024 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rarely seen silent film version of 'Peter Pan' at Somerville Theatre on Sunday, Feb. 11

Original big-screen adaptation of magical fantasy classic, a major 1924 hit, to be shown in 35mm with live musical score

SOMERVILLE, Mass.—It was the film that introduced movie-goers to visions of flying children, magical fairies, human-like animals and menacing pirates.

It was the original silent film adaptation of 'Peter Pan,' a picture personally supervised by author J.M. Barrie. The film was a major hit when released in 1924, with audiences eager to get their first big-screen look at the wonders of Neverland.

Movie fans can see for themselves when the first 'Peter Pan' (1924) is screened in 35mm on Sunday, Feb. 11 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville.

The program will feature live music for the movie by silent film accompanist Jeff Rapsis. General admission tickets are $16 per person; seniors/children $12; tickets available online at www.somervilletheatre.com or at the door.

Thought lost for many years, and overshadowed by more recent adaptations, the original silent 'Peter Pan' maintains its freshness and charm nearly a century after its original release.

In the story, first presented as a stage play in 1904, three children in London are visited one night by Peter Pan, a youth in search of his shadow. Pan shows his new friends how to fly, and then convinces them to join him in a journey to Neverland.

There they encounter Indians, mermaids, and a band of pirates whose leader, Captain Hook, is Pan's sworn enemy. The children are captured by Hook and taken prisoner aboard his pirate ship, setting the stage for an epic battle, the outcome of which will determine if the children may ever return home.

Though the Peter Pan story is well-known today due to subsequent adaptations (and also merchandising that includes a ubiquitous brand of peanut butter), the tale was virtually new when Hollywood first brought it to film in the early 1920s.

In England, author Barrie gave his blessing to the first-ever screen adaptation, though he retained control over casting and insisted that any written titles in the film be taken directly from his own text.

After a major talent search, Barrie settled on unknown 18-year-old actress Betty Bronson for the title role, and filming began in 1924. The role of Captain Hook was played by noted character actor Ernest Torrence, who invented the now-iconic villainous pirate persona that would become a Hollywood legend.

The film's highlights include special effects that maintain their ability to dazzle even today. The film's memorable images include a group of mermaids entering the sea, a miniature Tinkerbell interacting with full-sized children and adults, and a pirate ship lifting out of the water and taking flight.

'Peter Pan' also includes a cast of animal characters played by humans in costume, including the family dog Nana and an alligator who serves as Hook's nemesis, lending the film a magical quality.

After the film's release, no copies of the original 'Peter Pan' were known to exist, and for many years the film was regarded as lost. However, in the 1950s a single surviving print turned up in the George Eastman Archives in Rochester, N.Y., from which all copies today have descended.

Accompanist Jeff Rapsis specializes in creating live musical scores for films made prior to the introduction of recorded sound. Rapsis creates film scores in real time, as a movie is running, using a digital synthesizer to reproduce the texture of a full orchestra. He averages about 120 performances per year, and has created music for more than 380 different silent feature films.

"Improvising a movie score is a bit of a high wire act, but it can result in music that fits a film's mood and action better than anything that can be written down in advance," Rapsis said. "It also lends a sense of excitement and adventure to the screening, as no two performances are exactly alike."

'Peter Pan' is the latest in the Somerville Theatre's 'Silents, Please' series.

The series gives movie-goers a chance to rediscover the experience of silent cinema presented as it was intended: on the big screen using 35mm prints, with live music, and with an audience.

"If you can put all the original elements together, the films of early Hollywood still come to life," said Rapsis. "These are the films that caused people to first fall in love with the movies."

‘Peter Pan’ (1924) will be shown on Sunday, Feb. 11 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass. Admission $16 per person; seniors/children $12. For more information and to purchase tickets, visit www.somervilletheatre.com or call the box office at (617) 625-5700.

Fight the French Revolution tonight in 'Scaramouche' (1923) at the Flying Monkey in Plymouth, N.H.

A scene from 'Scaramouche' (1923).

Tonight: Join me for two hours spent fighting the French Revolution! 

That's what you'll get with 'Scaramouche' (1923), a big Rex Ingram-directed swashbuckler that I've never accompanied before, but will this evening.

The show starts at 6:30 p.m. Lots more detail in the press release pasted in below.

Meanwhile, a report from this past weekend: I had a great time accompanying 'The Freshman' (1925) on Saturday night up in Brandon, Vt. (they cheered at the end!), and then 'The Fire Brigade' (1926) on Sunday at the Somerville Theatre in Somerville, Mass.

Top billing on the Somerville Theatre's marquee! 

'The Fire Brigade' was eventful in that to simulate the sound of a large fire bell being struck by a hammer (seen on-screen multiple times during the film), I borrowed a big mounted boxing bell from fellow silent film musician Ken Winokur, who happens to live not far from the Somerville Theatre.

The bell came with a little hammer for hitting it, which was attached to the base by a length of twine to keep the bell and hammer from ever separating. What could go wrong?

Well, during the film, the first time I went to strike the bell, the hammer's metal head flew off the handle (hey, is that where that expression comes from?) and landed out into the darkness somewhere in front of me.

So there went that plan! For the rest of 'The Fire Brigade,' the bell tolled for no one, for lack of a hammer. The now bell-free score, however, went fine, and afterwards I found the hammer head, reattached it to the handle, and packed the whole thing up to return to Ken via a box on his porch.

Well, the next day, Ken pinged me to ask about the hammer's little metal head, which somehow didn't make it back with the bell after all! 

So I checked and found it still in the back of my car. It had apparently fallen off (and out of the bag) during transit. 

 Well, yesterday I mailed the hammer head to Ken—but not before using it to knock some sense into my own head for this whole sorry escapade.

But that's all in the past. Let's now look ahead to the future, in the form of a 1923 film with a story set during the French Revolution. 

Wait—let me rephrase that...

*     *     *

An original lobby card promoting 'Scaramouche' (1923).

TUESDAY, AUG. 29, 2023 / FOR IMMEDIATE RELEASE
Contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent swashbuckler 'Scaramouche' with live music at Flying Monkey on Wednesday, Sept. 13

Ramon Novarro stars in big budget adaptation of sprawling novel set during the French Revolution

PLYMOUTH, N.H.— It was a big story filmed on a big scale—a movie with a big budget and featuring a big star.

It was 'Scaramouche' (1923), a swashbuckler set during the French Revolution. Starring heartthrob Ramon Novarro, the picture ran into big problems during production, but went on to be one of the year's box office hits.

See for yourself with a screening of 'Scaramouche' on Wednesday, Sept. 13 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 Main St., Plymouth, N.H.

The screening will feature live music for the movie by silent film accompanist Jeff Rapsis. General admission is $10 per person.

The show is the latest in the Flying Monkey's silent film series, which gives audiences the opportunity to experience early cinema as it was intended: on the big screen, with live music, and with an audience.

Alice Terry and Ramon Novarro in 'Scaramouche' (1923).

Based on a 1921 novel by Rafael Sabatini, 'Scaramouche' tells the story of Andre-Louis Moreau (Novarro), a young lawyer whose close friend is killed by a prominent and powerful aristocrat.

Vowing revenge, Moureau disguises himself and joins a theater troupe, where he plays the title role of Scaramouche while working to avenge his friend's untimely death.

Along the way, there are swordfights, plot twists, and scenes of French Revolution rioting staged on a massive scale. The film co-start Alice Terry and Lewis Stone.

Director Rex Ingram pioneered movie adaptations of large-scale stories, creating some of the first true Hollywood epics in the early 1920s while employed by Metro Studios, which later became part of Metro-Goldwyn-Mayer.

Prior to 'Scaramouche,' Ingram directed megahits 'Four Horsemen of the Apocalypse' (1921) starring Rudolph Valentino and 'The Prisoner of Zenda' (1922) which also featured Novarro and Stone.

'Scaramouche' was an elaborate and unwieldy production that suffered from delays and cost overruns.

Ingram had secured the rights to Sabatini's novel in September 1922, and worked on the project for seven months before the cameras rolled.

Extensive outdoor sets, representing 18th-century Paris, were built both on the Metro lot and at a separate site in the San Fernando Valley, and 1,500 extras were used.

An experimental sequence was shot in Technicolor, with the Technicolor company picking up the tab; the sequence proved unsatisfactory and was ultimately discarded.

Despite production problems and cost overruns, 'Scaramouche' went on to rank as one of the top-grossing films of 1923, earning more than $1 million at the box office—a phenomenal sum for the day.

Modern viewers find much to admire about 'Scaramouche.'

"Scaramouche is easily one of Rex Ingram’s best films," wrote reviewer Fritzi Kramer of 'Movies Silently' in 2013.

"It is big, bold and beautiful yet it never loses sight of its characters. Their hopes, dreams and hatreds work in tandem with history to drive the plot steadily onward.

"And, unlike some of Ingram’s works, it is never slow-moving. This is historical spectacle done right. You owe it to yourself to check this film out."

Accompanist Jeff Rapsis will improvise an original musical score for 'Scaramouche' live as the movie is shown, as was done during the silent film era.

"When the score gets made up on the spot, it creates a special energy that's an important part of the silent film experience," said Rapsis, who uses a digital synthesizer to recreate the texture of a full orchestra for the accompaniment.

With the Flying Monkey's screening of 'Scaramouche,' audiences will get a chance to experience silent film as it was meant to be seen—in a high quality print, on a large screen, with live music, and with an audience.

"All those elements are important parts of the silent film experience," Rapsis said. "Recreate those conditions, and the classics of early Hollywood leap back to life in ways that can still move audiences today."

‘Scaramouche’ (1923) starring Ramon Novarro will be shown with live music on Wednesday, Sept. 13 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 Main St., Plymouth, N.H.

General admission tickets are $10 at door or in advance by calling the box office at (603) 536-2551 or online at www.flyingmonkeynh.com.

Celebrate Canada with silent double feature with Clara Bow, Thomas Meighan on 7/9 at Somerville

A trade ad promoting 'The Canadian' (1926) to exhibitors.

Half-time!

Believe it or not, we're approaching the halfway mark on 2023.

The summer solstice has already come and gone. The 4th of July isn't far behind. 

Before you know it, we'll be stuffing turkeys and shopping for Christmas presents.

Well, before that can happen, there's a lot of silent film to watch—and to accompany!

After a little half-time break from performing, next up for me will be an unusual 'Salute to Canada' double feature at the Somerville Theater down in Somerville, Mass.

What's the occasion? Well, July 1 is Canada Day, roughly the equivalent of Independence Day (July 4) here in the U.S.

And we knew of not one but two 35mm prints of silent features set in Canada that our friends at the Library of Congress would let us borrow if we asked very, very nicely. 

And so, as they would say in Quebec, "Voila!" 

Calling all Canadians as we salute our fine neighbor to the north. Not sure if the theater will sell maple syrup products at the concession stand, but we will invite Canadian Premier Justin Trudeau to put in an appearance. 

For lots more info, check out the press release below. See you on the other side—at the Somerville on Sunday, July 9 for Clara Bow in 'Mantrap' (1926) and Thomas Meighan in 'The Canadian' (1926).

*    *    *

 

Clara Bow on the hunt, in a manner of speaking, in 'Mantrap' (1926).

MONDAY, JUNE 26, 2023 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Head north! Clara Bow, Thomas Meighan star 'Salute to Canada' vintage double feature at Somerville Theatre

Classic battle-of-the-sex comedy 'Mantrap' plus outdoorsy drama 'The Canadian' (1926) to be shown in 35mm with live music on Sunday, July 9

SOMERVILLE, Mass.—Once early Hollywood learned the value of shooting on location, it wasn't long before filmmakers ventured north to Canada, where they found some of the world's most spectacular outdoor settings.

See for yourself with a special 'Salute to Canada' double feature of two early silent-era films set north of the border on Sunday, July 9 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.'

First up at 2 p.m. is 'Mantrap' (1926), in which  silent-era "It" girl Clara Bow stars in a battle-of-the-sexes comedy about a big city divorce lawyer hoping to get away from it all at a Canadian wilderness retreat.

Thomas Meighan and Mona Palma in a vintage still from 'The Canadian' (1926).

Then, at 3:40 p.m., it's 'The Canadian' (1926), a drama starring Thomas Meighan in the tale of a pioneering couple homesteading in Alberta, where they battle bad weather and financial woes.

Tickets for the double feature are $20; tickets for one film only are $16; seniors/children $12.

Both films will be screened with live music by Jeff Rapsis, a New Hampshire-based composer who specializes in accompanying silent films.

The movies will be shown via 35mm film prints on loan from the Library of Congress.

The Somerville Theatre's on-screen salute to Canada was inspired in part by Canada Day on July 1, which celebrates the anniversary of the Canadian Confederation established on July 1, 1867

"Seeing both these films today, on the big screen and with live music, is a great way to appreciate silent film's timeless ability to connect with audiences," said Ian Judge, the Somerville Theatre's creative director and general manager.

In reviving the two Canadian-set movies, the Somerville 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 Jeff Rapsis, who will accompany the film. "Recreate those conditions, and classics of early Hollywood 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.

The Somerville Theatre's ongoing 'Silents, Please!' schedule features a broad range of titles, from well-known classics to obscure films rarely seen since their release, which in some cases was more than a century ago.

All films in the series will be shown using 35mm prints, with most on loan from the U.S. Library of Congress.

A roster of upcoming films in the 'Silents, Please!' series includes:

• Sunday, Sept. 10, 2023, 2 p.m.: 'The Fire Brigade' (1926). MGM’s blockbuster production stars Charles Ray as the youngest in a long line of fearless Irish American firefighters. Things get complicated when he falls in love with the daughter (May McEvoy) of a crooked building contractor. Spectacular fire sequences with hand-colored effects included in this recent Library of Congress restoration.

• Sunday, Nov. 12, 2023, 2 p.m.: 'The Big Parade' (1925) starring John Gilbert, Renée Adoree. We salute Veterans Day with this sweeping saga about U.S. doughboys signing up and shipping off to France in 1917, where they face experiences that will change their lives forever—if they return. MGM blockbuster directed by King Vidor; one of the biggest box office triumphs of the silent era.

'Mantrap' (1926), a battle-of-the-sexes silent comedy starring Clara Bow, will be shown on Sunday, July 9 at 2 p.m., followed by Thomas Meighan in 'The Canadian' (1926) at 3:40 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass. Both films will be shown in 35mm with live music.

Tickets for the double feature are $20; tickets for one film only are $16; seniors/children $12. For more information and to purchase tickets, visit www.somervilletheatre.com or call the box office at (617) 625-5700.

Sunday, May 7 in Somerville, Mass.: Buster Keaton 'Boats and Trains' double feature, 'Steamboat Bill Jr.' (1928) and 'The General' (1926) both in 35mm

Buster perched on a railroad engine's 'cowcatcher' in 'The General' (1926). 

What's better than a Buster Keaton film? How about two Buster Keaton films, both shown on the big screen using 35mm prints?

That's what you'll get at a "Boats and Trains" Buster Keaton double feature on Sunday, May 7 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.

Here's the line-up: Keaton's 'Steamboat Bill Jr.' (1928) will screen at 2 p.m., while his masterpiece 'The General' (1926) runs at 3:30 p.m. I'll be doing live musical accompaniment for both films.

You can buy a ticket for one feature at $16 per person, or see both for the bargain price of $20. Lots more information in the press release pasted in below.

For now, a little bit more about the 35mm prints we're using. 

A vintage lobby card promoting 'The General' (1926). 

The Somerville Theatre is among very few first-run moviehouses in our area that maintained their 35mm projectors when the industry converted to digital projection about 10 years ago.

So it has the ability to show 35mm prints, and even augmented its capacity a few years ago to handle 70mm prints, which it occasionally screens.

So when it's time to see a film on actual film (as was done for more than 100 years before the advent of digital projection), the Somerville can still do it. 

Although exhibition of first-run movies is almost exclusively digital now, many cinephiles insist on the authenticity (and in some cases, superiority) of actual film.

In some ways its similar to what's been happening with audio recordings on vinyl records. The format was nearly wiped out by the transition to compact discs in the 1980s, but never quite went away.

And vinyl LP's are now undergoing something of a renaissance, with sales surpassing CDs last year for the first time in decades. (Of course far more music is heard via streaming services these days, but vinyl seems to be winning the battle for physical media.)

Where does one get 35mm prints of films from nearly a century ago? In the case of the Somerville, they often come from the U.S. Library of Congress, which maintains a catalogue of circulating 35mm prints of a wide range of titles.

Booking them for a screening is just like borrowing from your town library: if a print is available, all you do is pay for shipping, and then return it promptly.

So did you recently file your federal income tax return, and are you left wondering what you really get for all that money?

Well, one tangible result is the availability of Buster Keaton's classic comedies in 35mm prints we're showing this weekend. 

Hope you'll be able to join us, as in a small way you already helped make the show possible!

*  *  *

A vintage lobby card promoting 'Steamboat Bill, Jr.' (1928).

MONDAY, APRIL 24, 2023 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Buster Keaton stars in 'Boats & Trains' comedy double feature at Somerville Theatre

Classic comedies 'Steamboat Bill Jr.' and 'The General' to be shown in 35mm with live music on Sunday, May 7

SOMERVILLE, Mass.— 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 'Boats & Trains' double feature of two of Keaton's best films on Sunday, May 7 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.'

First up at 2 p.m. is 'Steamboat Bill, Jr.' (1928), in which Keaton plays the effete college-educated son of a rough-hewn riverboat captain who must help his father fight a domineering businessman.

Then, at 3:30 p.m., it's 'The General' (1926), Buster's Civil War-era masterpiece that tells the story of a Confederate railroad engineer whose train is hijacked by Northern spies.

Tickets for the double feature are $20; tickets for one film only are $16; seniors/children $12.

Both films will be screened with live music by Jeff Rapsis, a New Hampshire-based composer who specializes in accompanying silent films.

Both movies will be shown via 35mm film prints on loan from the Library of Congress.

Buster Keaton plays a Civil War-ear railroad engineer in 'The General' (1926).

'Steamboat Bill Jr.' and 'The General' show Keaton at the peak of his career as a filmmaker and 1920s star. They also highlight his talent for creating large-scale physical comedy with big machines.

"Seeing both these films today, on the big screen and with live music, is a great way to appreciate Keaton's timeless ability to connect with audiences," said Ian Judge, the Somerville Theatre's creative director and general manager.

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. 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 both 'Steamboat Bill Jr.' and 'The General.'

'Steamboat Bill Jr.' contains the famous scene in which the front of a two-story building falls directly onto Keaton, who remains unharmed thanks to an open window.

Buster Keaton and Ernest Torrence as son and father in 'Steamboat Bill, Jr.' (1928).

In reviving Keaton's comedies, the Somerville 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 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.

The Somerville Theatre's ongoing 'Silents, Please!' schedule features a broad range of titles, from well-known classics to obscure films rarely seen since their release, which in some cases was more than a century ago.

Several programs are double bills on a common theme, such as a July program saluting 'Canada Day' with two films set in the Canadian West. All films in the series will be shown using 35mm prints, with most on loan from the U.S. Library of Congress.

A roster of upcoming films in the 'Silents, Please!' series includes:

• Sunday, July 9, 2023, 2 p.m.: 'Salute to Canada' Double Feature! To mark "Canada Day" (July 1), we salute our neighbors with a double helping of vintage cinema set north of the border. In 'Mantrap' (1926), silent-era "It" girl Clara Bow stars in a battle-of-the-sexes comedy about a big city divorce lawyer hoping to get away from it all at a Canadian wilderness retreat. 'The Canadian' (1926) stars Thomas Meighan in the tale of a pioneering couple homesteading in Alberta, where they battle bad weather and financial woes.

• Sunday, Sept. 10, 2023, 2 p.m.: 'The Fire Brigade' (1926). MGM’s blockbuster production stars Charles Ray as the youngest in a long line of fearless Irish American firefighters. Things get complicated when he falls in love with the daughter (May McEvoy) of a crooked building contractor. Spectacular fire sequences with hand-colored effects included in this recent Library of Congress restoration.

• Sunday, Nov. 12, 2023, 2 p.m.: 'The Big Parade' (1925) starring John Gilbert, Renée Adoree. We salute Veterans Day with this sweeping saga about U.S. doughboys signing up and shipping off to France in 1917, where they face experiences that will change their lives forever—if they return. MGM blockbuster directed by King Vidor; one of the biggest box office triumphs of the silent era.

'Steamboat Bill Jr.' (1928), a silent comedy starring Buster Keaton, will be shown on Sunday, May 7 at 2 p.m., followed by Keaton's 'The General' (1926) at 3:30 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass. Both films will be shown in 35mm with live music.

Tickets for the double feature are $20; tickets for one film only are $16; seniors/children $12. For more information and to purchase tickets, visit www.somervilletheatre.com or call the box office at (617) 625-5700.

A late night preview of 'Annie Laurie' in 35mm, with a little 'Cocaine Bear' thrown in

An original lobby card for 'Annie Laurie' (1927) starring Lillian Gish.

Coming up on Sunday, March 5: I'll do live music at the Somerville Theatre for a double feature of two silents shown via 35mm prints from the Library of Congress.

The pair are 'Annie Laurie' (1927) a little-known-but-big-budget MGM historical epic starring Lillian Gish, and an early screen adaptation of 'Cinderella' (1914) starring Mary Pickford.

The fun begins on Sunday at 2 p.m. at the Somerville, 55 Davis Square, Somerville, Mass. You'll find more details on our 'Women's History Month' program, and the Somerville's whole 'Silents, Please!' program, in the press release below.

The thing about 'Annie Laurie' is that it's one of those silent titles that's very difficult to see. It's never been released for home viewing in any format, nor are any versions floating around the Internet, bootleg or otherwise.

So to see 'Annie Laurie,' you really have to get a print of the film and run it, which is what we're doing on Sunday. The Library of Congress happens to have a circulating 35mm print, and that's what's being used for the Somerville's screening. (The film itself is now in the public domain as of Jan. 1, 2023.)

Because I'd never seen it, projectionist David Kornfeld offered to arrange an advance screenings some night this week, after the Somerville's last first-run movie showings. So last night I headed down to the theater, arriving at about 9:45 p.m., just in time to see the last 10 minutes of 'Cocaine Bear.' (Not really my type of picture, but hey...)

A selfie taken up in the Somerville's balcony while waiting for projectionist David Kornfeld to set up 'Annie Laurie' (1927).

After that, David prepped 'Annie Laurie' high up in the projection booth, and then joined us in what's called 'House 1' (the Somerville's main theater) for the screening, shown without music.

I'm pleased to report that the print itself looks great. About 10 minutes into it, David proclaimed it "gorgeous" and I agree. As for the movie, it's quite a hoot. I don't want to spoil it for you, but 'Annie Laurie' is a riot of historical epic-itis, or inflammation of the historical epic. 

The costumes, the settings, the story, the emotions, the stereotypes—everything is over the top. But it works, as it only can in silent film, I think. 

If you're in the mood to lose yourself in another world, 'Annie Laurie' works doubly well, as it transports a viewer to early 18th century Scotland and also 1920s Hollywood—at this point, an equally exotic place.

As the accompanist, I was especially grateful for a chance to preview the film as it's filled with music on screen. 

As you'd expect, there's quite a lot of bagpipe playing to accompany ceremonies, marching, games, dancing, and personal hygiene routines. I estimate at least a quarter of the film has bagpipes playing on screen. (The image at left, taken during the screening, is a typical intertitle.)

But there's also a surprising amount of lute music. Turns out Annie Laurie (the gal, not the movie) inspires a great deal of singing by others, always (it seems) accompanied by a guitar-like stringed instrument that I'll call a lute, although it's probably not. 

For most films, I wouldn't mind playing music for them "cold," or without the chance to see them beforehand. This happens once in awhile, and an experienced accompanist ought to be able to "sight read" a film in real time and come up with appropriate music on the fly. 

However, with 'Annie Laurie' being a big budget extravaganza, and with the Somerville charging a good price for tickets ($20 to see both films), I wanted to get a sense of what was in it so as to plan out any complicated sequences.

I'm glad I did, because music can really make a difference with this kind of film, and there's no way I would have anticipated or caught many of the moments without a look beforehand. Thank you, David!

So this Sunday, I encourage you to head to the Somerville and check out 'Annie Laurie.' It's a rare chance to see a big budget epic as originally intended—on the big screen, with live music, and with an audience. (That's where you come in. Literally!) More details in the press release below.

And thanks to last night's sneak preview, I'll be prepared for the all the various ways that music plays an important role in the picture, both on-screen and as underscoring.

I just have to go find a set of bagpipes and a lute before Sunday afternoon.

*   *   *

Lillian Gish in one of her more sedate costumes in 'Annie Laurie' (1927).

THURSDAY, FEB. 23, 2023 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Ladies first: Pair of pioneering female filmmakers spotlighted in silent double feature at Somerville Theatre

'Annie Laurie' starring Lillian Gish and Mary Pickford's 'Cinderella' to be shown in 35mm with live music on Sunday, March 5 for Women's History Month

SOMERVILLE, Mass.—What they did would make a good movie.

Lillian Gish and Mary Pickford, both iconic stars of early cinema, achieved fame and fortune in cinema's chaotic early days despite working in a new industry largely controlled by male businessmen.

Both were able to leverage their star power and public popularity to call their own shots, build successful careers, and have a lasting influence on the emerging movie business.

To honor their achievements, and to salute 'Women's History Month,' on Sunday, March 5 at 2 p.m. the Somerville Theatre will run a double feature of two rarely screened silent films starring Gish and Pickford.

First up at 2 p.m. is 'Annie Laurie' (1927), starring Lillian Gish as the female lead in a big budget MGM historical epic about warring Scottish clans.

Then, at 3:45 p.m., it's 'Cinderella' (1914), an early screen version of the famous tale starring Pickford in the title role.

Both films will be screened with live music by Jeff Rapsis, a New Hampshire-based composer who specializes in accompanying silent films.

Both films will be shown via 35mm prints on loan from the Library of Congress.

By the way they built their careers in early Hollywood, Gish and Pickford are often cited as models for female entrepreneurs.

"These two ladies were not just movie stars," Rapsis said."They both used their influence to shape early Hollywood behind the scenes, making sure performers and artists were given credit for their work and also fairly compensated for it."

Pickford, dissatisfied with studio production deals that failed to reflect the value of her immense box office appeal, co-founded United Artists. This enabled her to control all aspects of her film work as well as her career.

Pickford went on to co-found the Motion Picture Academy of Arts and Sciences, which awards the annual Oscars.

Gish, hugely popular due to her starring role in early D.W. Griffith epics such as 'Way Down East' (1920) and 'Orphans of the Storm' (1921), parlayed that fame into a lucrative contract with MGM that gave her creative control within the tightly-run studio.

Gish went on to a lengthy career in film, stage, and television, in later life making appearances on shows such as the 'The Love Boat' in 1981.

"Seeing both these films today, on the big screen and with live music, is a great way to appreciate the appeal of these two great female stars as they were building their careers in early Hollywood," said Ian Judge, the Somerville Theatre's creative director and general manager.

The Somerville Theatre's ongoing 'Silents, Please!' schedule features a broad range of titles, from well-known classics to obscure films rarely seen since their release, which in some cases was more than a century ago.

Several programs are double bills on a common theme, such as a July program saluting 'Canada Day' with two films set in the Canadian West. All films in the series will be shown using 35mm prints, with most on loan from the U.S. Library of Congress.

A roster of upcoming films in the 'Silents, Please!' series includes:

• Sunday, May 7, 2023, 2 p.m.: Buster Keaton 'Boats and Trains' Double Feature! Two Keaton classics in which Buster creates large-scale comedy with big machines. In 'Steamboat Bill, Jr.' (1928), Buster plays the effete college-educated son of a rough-hewn riverboat captain who must help his father fight a domineering businessman—who just happens to be the father of Buster's girlfriend. In 'The General' (1926), Buster's Civil War-era masterpiece tells the story of a Confederate railroad engineer whose train is hijacked by Northern spies.

• Sunday, July 9, 2023, 2 p.m.: 'Salute to Canada' Double Feature! To mark "Canada Day" (July 1), we salute our neighbors with a double helping of vintage cinema set north of the border. In 'Mantrap' (1926), silent-era "It" girl Clara Bow stars in a battle-of-the-sexes comedy about a big city divorce lawyer hoping to get away from it all at a Canadian wilderness retreat. 'The Canadian' (1926) stars Thomas Meighan in the tale of a pioneering couple homesteading in Alberta, where they battle bad weather and financial woes.

• Sunday, Sept. 10, 2023, 2 p.m.: 'The Fire Brigade' (1926). MGM’s blockbuster production stars Charles Ray as the youngest in a long line of fearless Irish American firefighters. Things get complicated when he falls in love with the daughter (May McEvoy) of a crooked building contractor. Spectacular fire sequences with hand-colored effects included in this recent Library of Congress restoration.

• Sunday, Nov. 12, 2023, 2 p.m.: 'The Big Parade' (1925) starring John Gilbert, Renée Adoree. We salute Veterans Day with this sweeping saga about U.S. doughboys signing up and shipping off to France in 1917, where they face experiences that will change their lives forever—if they return. MGM blockbuster directed by King Vidor; one of the biggest box office triumphs of the silent era.

'Annie Laurie' (1927), a silent drama starring Lillian Gish, will be shown on Sunday, March 5 at 2 p.m., followed by 'Cinderella' (1914) starring Mary Pickford at 3:45 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass. Both films will be shown in 35mm with live music.

Tickets for the double feature are $20; tickets for one film only are $16; seniors/children $12. For more information and to purchase tickets, visit www.somervilletheatre.com or call the box office at (617) 625-5700.