Showing posts with label Tol'able David. Show all posts
Showing posts with label Tol'able David. Show all posts

Monday, September 11, 2017

This week, four screenings in four states:
silent film with live music in NH, MA, VT, CT

We enjoyed a great turnout of about 250 people on Sunday, Sept. 10 for the Boston premiere of the rediscovered 'Sherlock Holmes' (1916), which was shown in 35mm at the Somerville Theatre.

But I'm already looking ahead to a crowded week of screenings that takes me to four different states in five days.

Luckily, our states in New England are small, so they're all easy day trips.

Okay, rounding them up in order, which is how Holmes would have approached it:


Wednesday, Sept. 13 finds me doing music for Mary Pickford in 'The Little American' (1917) at the Cheshire County Historical Society in Keene, N.H.

They're running it because the patriotic film played Keene exactly 100 years ago, after the U.S. had entered what we now call World War I.

Keene State College Prof. Larry Benaquist will lead a discussion on issues ranging from the film's propaganda value to Pickford's role as one of the pioneering women in cinema.

The program starts at 7 p.m. and is free and open to the public. More information is online.

Richard Barthelmess and Ernest Torrence battle in 'Tol'able David.'

Thursday, Sept. 14 gives me the chance to revisit an early favorite: Richard Barthelmess in 'Tol'able David' (1921), Henry King's evocative rural drama.

Shot in the Virginia countryside where King grew up, the film captures a way of life that hadn't changed in generations, but which now has completely vanished.

In addition, the film boasts a great story and a fine cast, headed by Barthelmess (who Lillian Gish called "the most beautiful man" she'd ever worked with) and also including stalwart character actor Ernest Torrence playing one of the creepiest roles of his career.

See it all for yourself at the Capitol Theatre in Arlington, Mass. The show starts at 8 p.m., and there's plenty more info in the press release pasted in below.

Harry Houdini leaves little to the imagination in 'Terror Island.'

Saturday, Sept. 16 sees me hauling myself up to Brandon, Vermont for the latest in our monthly silent film series at the Brandon Town Hall.

This time it's a double feature of rarely screened adventure thrillers starring none other than Harry Houdini!

The titles: 'Terror Island' (1920) and 'The Man From Beyond' (1922).

Yes, it's the same Harry Houdini known as the "Handcuff King," the legendary illusionist who amazed audiences around the globe with daring stunts and seemingly impossible escapes.

Houdini, like many performers of the era, had a fling with the new-fangled flickers, starring in several silent thrillers designed to showcase his good looks, magnetic personality, and athletic prowess.

The result was a kind of embryonic mixture of Indiana Jones-type adventure with mysticism, James Bond-style gadgetry, dangerous stunts, and anything else the plots demanded.

Houdini eventually gave up on the movies in favor of live performance. But came to Brandon and you'll see what he was up to.

Show starts at 7 p.m. No admission charged, but free will donations are welcome to support ongoing Town Hall renovations.

Lots more info in the press release, which I'm pasting at the end of this post.

Promotional art for Vernon and Irene Castle.

Sunday, Sept. 17 brings me to Connecticut, where I'll present an unusual silent film program as part of a Vintage Dance Weekend taking place in and around Hartford.

Featured attraction is 'The Whirl of Life' (1915), an obscure early drama but one starring no less than Vernon and Irene Castle, the ballroom dance sensation of the decade!

I hadn't known much about the Castles until the organizers of this screening asked me to run this title as the featured attraction.

Turns out the Castles were quite the shooting stars, rocketing to fame in 1914 in the first-ever Broadway musical by an up-and-coming composer named Irving Berlin.

Among other accomplishments, they popularized the foxtrot, and of course the film has scenes of them doing the dance that remains a ballroom staple. Okay, everyone: Slow, slow, quick quick!

Preceding 'Whirl' is a classic Charley Chase farce, 'Mighty Like a Moose' (1926), which also has some dancing in it, plus a lot of other great stuff.

Should be a fun program at Hartford's Charter Oaks Cultural Center, and it's actually open to the public—even to non-vintage-dance folks.

If you'd like to attend, there's more info at this Constant Contact page.

Okay, a busy week beckons. But first, let me follow through with the promised press releases, first for 'Tol'able David' and then for the Houdini program. Hope to see you at one or two—or perhaps you'll attempt to collect all four!

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WEDNESDAY, AUG. 30, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rip-roaring rural drama at Arlington's Capitol Theatre on Thursday, Sept. 14


'Tol'able David' (1921), ground-breaking silent coming-of-age drama filmed entirely on location, to be screened with live music

ARLINGTON, Mass.—A film that helped Hollywood understand the power of location shooting will continue this season's silent film series at the Capitol Theatre in Arlington, Mass.

'Tol'able David' (1921), a coming-of-age drama starring Richard Barthelmess, will be shown on Thursday, Sept. 14 at 8 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.

Barthelmess plays the title role of David Kinemon, an adolescent eager to prove to the community that he's a man. He gets his chance when three escapees from jail come to town and menace the local residents.

When push comes to shove, who will emerge on top?

Based on a 1919 short story by author Joseph Hergesheimer, 'Tol'able David' was directed by Henry King, then at the start of a long Hollywood career that would go on include such later classics as 'Twelve O'Clock High' (1949) and 'The Gunfighter' (1950), both starring Gregory Peck.

Boyish leading actor Barthelmess, one of the silent era's superstars and the Leonardo DiCaprio of his day, won praise for his realistic portrayal of a 15-year-old, although he was 25 at the time the film was made.

The cast also features character actor Ernest Torrence, who transformed the role of Luke Hatburn into what some critics have called one of the most sinister villains in all of cinema.

For 'Tol'able David,' director King insisted the film be shot on location in rural Virginia, where the story was set and where he grew up in the 1890s.

Much of 'Tol'able David' was filmed in the countryside within a few miles of the director's boyhood home in Staunton, Va., and as a result was infused with the spirit and details of a vanishing way of life that King knew so well.

The film is full of the simple rituals of small-town life as it was lived a century ago, when most people lived on subsistence farms ruled by the rhythms of nature and without modern conveniences.

It was also a time when there was no greater responsibility than driving the mail wagon into town—just as it appears in 'Tol'able David.'

To create a musical score for 'Tol'able David,' Rapsis will improvise using material assembled 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 nearly a century old, and the musical expectations of today's audiences."

'Tol'able David' 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,” Rapsis said.

“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, Oct. 19, 2017, 8 p.m.: 'Der Golem' (1922). Prepare for Halloween with one very weird flick! In 16th-century Prague, a rabbi creates a giant creature from clay, called the Golem. Using sorcery, he brings the creature to life in order to protect the Jews of Prague from persecution. Early German fantasy film anticipates Frankenstein story.

Richard Barthelmess and Ernest Torrence star in 'Tol'able David' (1921), to be shown on Thursday, Sept. 14 at 8 p.m. at The Capitol Theatre, 204 Massachusetts Ave., Arlington, Mass. Admission $12 adults, $10 kids and seniors.

For more info, call (781) 648-6022 or visit www.capitoltheatreusa.com.

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Houdini and crew on location at Niagara Falls for 'The Man From Beyond' (1922).

MONDAY, AUG. 28, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rare Harry Houdini films with live music at Brandon Town Hall on Saturday, Sept. 16


Legendary 'Handcuff King' escape artist starred in a series of stunt-filled early silent adventure movies

BRANDON, Vt.—He reigned for decades as the legendary "Handcuff King," famous for his daring and impossible escapes staged around the world.

But Harry Houdini also had a brief career in the movies, starring in a series of silent adventure films that showed off his athletic prowess as his talent for illusion, stunts, and escape.

See Houdini back on the big screen with a double feature of two of his surviving films on Saturday, Sept. 16 at 7 p.m. at Brandon Town Hall and Community Center, Route 7, in Brandon, Vt.

Admission is free, with donations welcome. All proceeds support ongoing restoration of the Town Hall, which dates from 1860 and is being brought up to modern standards as funds allow.

The screening is sponsored by an Anonymous Donor.

The rarely screened Houdini films will be shown with live musical accompaniment by Jeff Rapsis, a New Hampshire-based performer regarded as one of the nation's leading silent film musicians.

Houdini made only a handful of movies in the 1910s and 1920s, and much of his film work is lost.

But enough of it escaped oblivion to provide a glimpse of the world-renowned escape artist at the peak of his worldwide fame.

In 'Terror Island' (1920), Houdini stars as a swashbuckling inventor who steers his high-tech submarine to a forbidden tropical isle to rescue the woman he loves.

The film includes underwater sequences designed to show off Houdini's ability to survive being submerged for long periods of time.

'Terror Island' was an ambitious production for Houdini; the film was directed by James Cruze and released by Paramount.

Existing copies are missing about 20 minutes of footage but the story remains easy to follow.

In 'The Man From Beyond' (1922), Houdini plays a man frozen 100 years in the Arctic who returns to civilization to reclaim his reincarnated love.

Once thawed out, Houdini tries to straighten out the lives of the descendants of his old friends and lost loves. The film includes a daring climax filmed at Niagara Falls.

Although Houdini's films were well-received, he eventually abandoned his movie career, preferring to concentrate on live performance.

Houdini, born Erik Weisz, was a Hungarian-born, American-Jewish illusionist and stunt performer noted for his sensational escape acts.

He first attracted notice in vaudeville in the U.S. and then as "Harry Handcuff Houdini" on a tour of Europe, where he challenged police forces to keep him locked up.

Soon he extended his repertoire to include chains, ropes slung from skyscrapers, straitjackets under water, and having to escape from and hold his breath inside a sealed milk can with water in it.

In 1904, thousands watched as he tried to escape from special handcuffs commissioned by London's Daily Mirror, keeping them in suspense for an hour.

Another stunt saw him buried alive and only just able to claw himself to the surface, emerging in a state of near-breakdown.

In 1913, Houdini introduced the Chinese Water Torture Cell, in which he was suspended upside-down in a locked glass-and-steel cabinet full to overflowing with water, holding his breath for more than three minutes. He would go on performing this escape for the rest of his life.

Houdini died prematurely in 1926, at age 52, of peritonitis following a burst appendix that may have been caused by blows received to the abdomen by a visitor backstage at a performance in Montreal.

Following his death, Houdini's reputation as a legendary performer continued to make his name a household world in the decades that followed.

Although not well known as a film actor, Houdini's work in motion pictures was not forgotten. In a posthumous ceremony on Oct. 31, 1975, Houdini was given a star on the Hollywood Walk of Fame at 7001 Hollywood Blvd.

Houdini is one of several "big name" performers featured on this year's silent film program at Brandon Town Hall.

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

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

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

Other upcoming shows in this year's Brandon silent film series include:

• Saturday, Oct. 21: Chiller Theatre, 'Dr. Jekyll and Mr. Hyde' (1920). John Barrymore plays both title roles in the original silent film adaptation of the classic novella by Robert Louis Stevenson. A spook-tacular performance that helped establish Barrymore as one of the silent era's top stars. Sponsored by an Anonymous Donor and Heritage Family Credit Union.

A 'Harry Houdini Double Feature' will be shown with live music on Saturday, Sept. 16 at 7 p.m. at Brandon Town Hall and Community Center, Route 7, in Brandon, Vt. Admission is free; free will donations are encouraged, with proceeds to support ongoing renovation of the town hall. For more information, visit www.brandontownhall.org.

Friday, July 15, 2011

Dramas and westerns and epics, oh my!

Entering a busy stretch of accompanying some very different types of silent film, and here's a few notes.

• Screened double feature of 'Tol'able David' (1921) and 'Hell's Hinges' (1916) last night at the Flying Monkey Moviehouse in Plymouth, N.H. Small mid-summer turnout, mostly because of competing events, including a big music festival. But those on hand saw a terrific pair of movies.

Spoiler alert! Of the two films, 'David' is the tougher to score at the climax, primarily because of the frequent cross-cutting that takes place between the battle in the cabin and scenes at the town store where people are innocently waiting for the mail hack. The sequence has the potential for immense power if the music is on top of the cuts. But if it's off even just a little, it draws attention to itself and the whole thing collapses, I think. The task is complicated further when Esther arrives in town and a posse starts forming. This means the town music needs to then start stirring up its own drama, but it needs to be separate from the music that follows David's battle out in the cabin and then his courageous ride into town. And then it all has to come together when David arrives. It worked okay last night, but I'm looking forward to other chances to do this film later this month, in Brandon, Vt. and Ogunquit, Maine.

'Hell's Hinges' is a real "what you see is what you get" film, meaning there's not a lot of layers or subtlely to it, so scoring can be pretty straightforward. The movie produced five themes: a religious hymn associated with the pastor, a "love" melody for his sister, a syncopated signature for the saloon owner (and for general debauchery), a motif for William S. Hart, and some seductive music for the gal who preys upon the minister. And that was enough to build a film score in real time -- one that I thought helped bring it to life in a way that surprised even me.

What happened was as the film played, I found all of the themes combining in unexpected ways that helped move the drama forward. For instance, the minister and his sister riding the stagecoach to his new post worked well with a rhythmic "horse trot" version of the religious hymn. Their arrival is the first time William S. Hart lays eyes on the sister, and so both those themes got worked in, even as the religous hymn's chord structure was still underneath. And then the reaction of the crowd made use of the saloon owner's syncopation, which broke apart as they realized that Hart wasn't going to scare the bejesus out of the newcomers. All that in just a small sequence!

Another part that came together really well was near the end, when the town's religious people flee into the country and meet with Hart, returning from afar. They tell him what's happened, and the look on Hart's face is amazing. He then leaps onto his horse in fine early movie fashion and rides off the to the rescue. The mixture of desperation and heroic action, using primarily the religious hymn and Hart's motif, helped the sequence jump to life in the same way Hart did on the screen!

• I have an interesting challenge this Sunday, July 17 in doing music for 'A Throw of Dice' (1929), a rare epic silent film from India that we're showing at the Wilton (N.H.) Town Hall Theatre at 4:30 p.m. (If you're in the area, please come!) It's interesting because the main characters (two princes competing for the woman) look very much alike to me, so much so that I had trouble following the plot when I first watched it. Not sure what that says about my cultural sensitivity, but I have to assume others will have the same problem. The solution? Music! I plan to use completely different textures for each of the two guys, which I hope will eliminate any potential confusion, as long as I can keep the characters straight myself.

Will it work? Come by and see for yourself. Should be a fun screening of a rarely seen film that looks fantastic in the restoration we have. The story of the film's making, and how it contributed to the foundation for today's massive Bollywood industry, is equally interesting, and my colleague Dan Szczesny will be on hand to talk a bit about that.

And finally, as an added treat for the screening on Sunday, July 17, we have an unannounced film that's a good example of Hollywood's depiction of the Indian subcontinent in the 1920s. Guess I shouldn't worry too much about my own cultural sensitivity, but you'll see. All I can say is thank God it's a comedy and you're supposed to laugh.

• Finally, a review of our screening of 'Seven Chances' (1925) at the Somerville (Mass.) Theatre on Sunday, July 10 has been posted online. Writer Jay Seaver covered it in two gulps. His blog has a write-up of the shorts, while the Web site www.efilmcritic.com has a longer analysis of 'Seven Chances' with some insights I hadn't seen before. Thanks, Jay!

Monday, July 11, 2011

This month: 'Tol'able David' and 'Hell's Hinges'

Next up is a pair of silent dramas that I think make a good double feature: 'Tol'able David' (1921) starring Richard Barthelmess and 'Hell's Hinges' (1916) starring William S. Hart. They're both films that can generate a surprising amount of dramatic intensity, and because they're both rural dramas filmed largely on location, they have the added dimension of showing today's audiences what ordinary life looked like a century ago or more.

The 'or more' part is especially relevant in the case of 'Tol'able David,' which was filmed in a remote and rural Virginia valley not far from where director Henry King grew up. In the film, the place looks like life hadn't changed much since colonial days. It's a landscape full of split rail fences, horse-drawn hacks and buggies, subsistence and tenant farming, and brush-like fans (or fan-like brushes) used at dinner time to keep flies off the food. All of it adds a layer of interest that probably wasn't there in 1921, and is one reason silent film is worth watching today, I think.

'Hell's Hinges,' though a little creakier, is like a well-made mousetrap. Once it lures you in, there's no escaping, and you're carried along to the climax of this film, which can be so intense as to be unbelieveable. I first saw this film at the Kansas Silent Film Festival some years ago, and was surprised to find such power in a movie from 1916, which is still relatively early.

I'm looking forward to doing music for both of these. The challenge will be to create two different scores in one evening, without borrowing from each other. I think I'll try to do a "strings only" texture for 'Tol'able David,' which will fit nicely with the open country old-timey rural feel of the movie. And then we'll amp things up to the full orchestral palette for 'Hell's Hinges,' and maybe uncork some snarling brass for the big ending.

I'll do the program on Thursday, July 14 at the Flying Monkey Moviehouse in Plymouth, N.H., then on Saturday, July 23 at Brandon (Vt.) Town Hall, then on Sunday, July 24 at the Leavitt Theatre in Ogunquit, Maine. For details, check out the "Upcoming Silent Film Screenings" page at right.

I'm also working up music for 'A Throw of Dice' (1929), a fascinating silent feature from India that's a distant ancestor of today's vibrant Bollywood film industry. We're screening it on Sunday, July 17 at 4:30 p.m. at the Wilton (N.H.) Town Hall Theatre. More on that in a bit. For now, here's the press release about this month's touring program. Hope to see you at a screening!

TUESDAY, JULY 5, 2011 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film double feature, live music at Flying Monkey on Thursday, July 14

Backwoods drama 'Tol'able David' paired with gritty Western 'Hell's Hinges'

PLYMOUTH, N.H. — The countryside of rural America a century ago will return to life when the silent film 'Tol'able David' (1921), one of the top movies of its era, is revived the big screen on Thursday, July 14 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center in Plymouth, N.H. Admission is $10 per person.

The movie, part of silent film double feature, will be paired with a gritty early Western, 'Hell's Hinges' (1916), starring William S. Hart. Hart was credited with popularizing Westerns in Hollywood's early days; his stoic 'tough guy' persona was a forerunner of characters played later by John Wayne and other actors.

Both films will be screened with live music played by Jeff Rapsis, a New Hampshire-based silent film accompanist who performs at venues across New England. Rapsis provides music for the Flying Monkey's monthly silent film series, which aims to honor the recently renovated venue's historic roots as a local moviehouse.

"These films were created to be shown on the big screen to large audiences as a sort of communal experience," Rapsis said. "With an audience and live music, they come to life in the way their makers intended them to. The Flying Monkey screenings are a great chance for people to experience films that first caused people to first fall in love with the movies."

In 'Tol'able David,' actor Richard Barthelmess plays the title role, an adolescent eager for a chance to prove to his town that he's an adult and a man. His big chance arrives when three shady escapees from jail set up shop in the community and menace the local residents. When push comes to shove, who will emerge on top?

Barthelmess, one of the silent era's superstars, won praise for his realistic portrayal of a 15-year-old, although he was 25 at the time the film was made. The cast also features actor Ernest Torrence, playing what some critics have called the most sinister villian in all of cinema.

For 'Tol'able David,' director Henry King insisted the film be shot on location in rural Virginia, where the story was set and where he grew up in the 1890s. Much of 'Tol'able David' was filmed in the countryside within a few miles of the director's boyhood home in Staunton, Virginia, and the movie infused with the spirit and details of a vanishing way of life that King knew well.

Accompanist Jeff Rapsis has written new musical material to help capture the film's rural atmosphere and also bring out the dramatic power of the story.

"This picture was a big hit when it was released, and it still holds up well today," Rapsis said. "But there's an additional level of interest now because the film captured a way of life that's long since disappeared. With the passage of time, it's now almost like a historical photograph come to life. Plus, it's a great film with a powerful climax."

'Hell's Hinges,' set in a lawless frontier town, stars Hart as a loner with a bad reputation who falls for the sister of a new and untested preacher. Will Hart's tender feelings be enough for him to renounce his past and take on the town's injustices? What price will be paid to rid the town of lawlessness and immorality?

The film, shot almost entirely on location, caused a sensation when it was first released, and is now widely regarded as Hart's masterpiece. Viewers today are still mesmerized by the intensity of the film's climactic scenes.

'Tol'able David' and 'Hell's Hinges' will be shown on Thursday, July 14 at 6:30 p.m. at the Flying Monkey Moviehouse and Performing Arts Center, 39 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.

• Review of 'Tol'able David':
"Beautifully crafted...the finale is a rip-roaring piece of movie story-telling."
—Leonard Maltin

In 2007, 'Tol'able David' was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

• Review of 'Hell's Hinges':
"...perhaps the finest movie Western made before John Ford's 1939 'Stagecoach' ...as emotionally powerful as any American film of the teens, except for the masterpieces of D.W. Griffith and Erich Von Stroheim."
—Michael Wilmington, Chicago Tribute, 1994

In 1994, 'Hell's Hinges' was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."