Leavitt Theatre opens silent film season with 'Girl Shy' (1924) on Saturday, May 16; D.W. Griffith's 'America' provides a surprisingly satisfying afternoon at the movies

Silent film comedian Harold Lloyd showing his aggressive side in 'Girl Shy' (1924).

Up next: it's Harold Lloyd's 'Girl Shy' (1924), which I'm accompanying on Saturday, May 16 at 7 p.m. at the Leavitt Theatre in Ogunquit, Maine.

More info on the film and this screening, which opens the 2026 silent film series at the historic venue, in the press release pasted in below. 

But first, a report on an unusual screening yesterday: D.W. Griffith's rarely shown Revolutionary War epic 'America' (1924), which I did music for at the Town Hall Theatre in Wilton, N.H.

The screening was part of a week-long celebration of the nation's upcoming 250th birthday, organized just a bit early so Wilton wouldn't have to compete with other towns as we get closer to the 4th of July.

I had never done 'America' before, and really wasn't aware of the film until longtime Town Hall Theatre proprietor Dennis Markevarich asked if it would work as part of the town's event schedule that weekend.

How would I know? Only one way to find out...

A poster promoting D.W. Griffith's epic 'America' (1924).

And what happened followed a pattern. With every D.W. Griffith film I've ever done, the same thing happens. Previewing it by myself, I always come away thinking "How is an audience going to buy this?"

Hoaky plots. Cardboard characters. Obvious plots. Cornpone humor. Moralizing intertitles. Stodgy film technique. And with 'America,' we don't even get stalwart Griffith leading lady Lillian Gish, but instead Carol Dempster, who is many things, but is not Lillian Gish. 

It would all add up, I thought, to a long and unsatisfying afternoon at the movies. 

But then, when you DO put a Griffith epic in front of audience, as the film was intended to be shown, it somehow comes to life. Audiences respond, just as they did in Griffith's heyday. The technique, though primitive, still works.

And that's what happened with 'America' on Sunday in Wilton, N.H. About 60 people became quickly engrossed in the movie, and stayed "in the zone" for the full 2½ hours. They laughed at the comic relief. They cheered when villain Lionel Barrymore finally met his end. It worked!

It was the shared experience of silent film at its best—afterwards, attendees came up to say they thoroughly enjoyed it. And so did I! Overall, it made for a very satisfying afternoon at the movies. So bravo, Mr. Griffith.

In fact, it was so successful, it made me curious about another lesser-known Griffith film starring Neil Hamilton and Carol Dempster: 'Isn't Life Wonderful' (1924). I now plan to program it next year to see if it holds up as well when presented as intended: on a big screen, in a theater, with live music, and with an audience.

Speaking of the big screen: that's where you can see Harold Lloyd's comedy 'Girl Shy' (1924) on opening night of this year's silent film series at the Leavitt Theatre in Ogunquit, Maine.

More info and details below. See you Saturday by the seaside! 

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 Harold Lloyd and co-star Jobyna Ralston in 'Girl Shy' (1924).

WEDNESDAY, MAY 6, 2026 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Leavitt Theatre to screen Harold Lloyd comedy 'Girl Shy' with live music on Saturday, May 16

Classic comedies, action-packed dramas highlight 2026 Silent Film Series schedule for historic Ogunquit venue's 101st anniversary season

OGUNQUIT, Maine—Classics of the silent film era return to the big screen this summer at Ogunquit's Leavitt Theatre, which is planning another season of vintage cinema with live music in the historic venue.

The series gives area film fans a chance to see movies from the pioneering days of cinema as they were intended to be shown—on the big screen, with an audience, and accompanied by live music.

The Leavitt, located at 259 Main St. Route 1 in Ogunquit, is celebrating its 101sst anniversary, having served the community continuously since 1925.

The silent film season starts on Saturday, May 16 at 7 p.m. with 'Girl Shy' (1924), a classic silent comedy starring Harold Lloyd. Admission is $18 per person.

Live music will be provided by Jeff Rapsis, a New Hampshire-based musician and composer who specializes in accompanying silent film screenings.

'Girl Shy' (1924) stars Harold Lloyd as a timid young man from a small town who pens a book about imaginary female conquests.

Trouble begins when bashful Harold falls in love for real, and then must rescue his beloved from marrying the wrong man in the big city.

Harold's dilemma prompts a climactic race to the altar that stands as one of the great chases in all of cinema. The sequence was so successful that MGM used it as a model for the famous chariot race in the original silent film version of 'Ben Hur' (1925).

The film is bursting with visual comedy typical of the silent era, but the romantic storyline was strong enough to act as a counterweight, creating a new hybrid genre now known as the romantic comedy, or "rom-com."

The Leavitt, a summer-only moviehouse, opened in 1925 at the height of the silent film era, and has been showing movies to summertime visitors ever since.

More recently, the Leavitt has added restaurant and bar service, and has expanded its entertainment schedule to include live music and special events.

The silent film series honors the theater's long service as a moviehouse that has entertained generations of residents and visitors to the seaside resort community, in good times and in bad.

"These movies were intended to be shown in this kind of environment, and with live music and with an audience," said Max Clayton, the Leavitt's manager. "Put it all together, it's great entertainment that still has a lot of power to move people."

Following 'Girl Shy' (1924) on Saturday, May 16, other programs in this year's Leavitt silent film series include:

•  Friday, June 19, 2026, 6:30 p.m.: "Three Ages" (1923) starring Buster Keaton. Keaton's first feature-length comedy interweaves tales of romance from three epochs: the Stone Age, the Roman Empire, and "Modern Times," meaning 1920s California. See why Buster is regarded as one of the great clowns of the silent era. 

• Wednesday, Sept. 9, 2026, 7 p.m.: "Beau Geste" (1926) starring Ronald Colman. Michael "Beau" Geste leaves England in disgrace and joins the infamous French Foreign Legion. He is reunited with his two brothers in North Africa, where they face greater danger from their own sadistic commander than from the rebellious Arabs. 

• Thursday, Oct. 15, 2026, 7 p.m.: "The Cat and the Canary" (1927); Leavitt Theatre, 259 Main St. Route 1, Ogunquit, Maine; (207) 646-3123. Can a group of distant relatives survive the night in a haunted house to learn the secret of a madman's will? Find out in the original Gothic thriller from silent film director Paul Leni. Just in time for Halloween!

Harold Lloyd's classic silent comedy 'Girl Shy' (1924) will lead off this season's silent film series on Saturday, May 16 at 7 p.m. at the Leavitt Fine Arts Theatre, 259 Main St. Route 1, Ogunquit, Maine; (207) 646-3123; admission is $18 per person, general seating.

For more information, visit www.leavittheatre.com.

 

Celebrate our 250th birthday (a little early) with D.W. Griffith's 'America' (1924) on Sunday, May 10

A poster promoting 'America' (1924) and highlighting the Midnight Ride of Paul Revere, which is depicted in the film.

This weekend, I'll be at the keyboard to accompany a screening of D.W. Griffith's historical epic 'America' (1924), a drama set during the American Revolution.

The film, which I've never scored before, will be shown on Sunday, May 10 at 2 p.m. at the Town Hall Theatre in Wilton, N.H. 

The screening is part of the town's slightly early multi-day celebration of the nation's upcoming 250th birthday. For more info about all of this weekend's events, visit https://www.wiltonnh250.com/.

(The showing of 'America' is described as "a silent film masterpiece meets a powerful live piano score." Well, I'll do my best.)

The fact that Sunday, May 10 is Mother's Day...well, I don't how that might affect attendance. Celebrate Mom's Big Day by taking her to a film about the War for Independence! 

But before moving ahead, here's a quick look back in the rear view mirror at recent screenings.

Selfie in front of Brandon (Vt.) Town Hall and Community Center.

Saturday, May 2 saw this year's Silent Film Series at the Brandon (Vt.) Town Hall and Community Center open with a screening of the MGM historical epic 'Annie Laurie' (1927) starring Lillian Gish and with live music by me.

I've worked up some strong material, I think, for this film, which is set in Scotland and includes lots of on-screen bagpipe playing. It's a challenge to create music that evokes the sound of bagpipes when called for, but also speaks to the story line which under pins it all. 

About 75 people enjoyed the program, which made for a strong start to this year's season of monthly silent film screenings, which runs through November. 

We saw an equally strong turnout for Buster Keaton's 'Steamboat Bill, Jr.' (1928), which I accompanied on Sunday, May 3 at the Town Hall Theatre in Wilton, N.H.

Audience reaction was strong throughout—I guess we could all use a laugh these days. But people were so into the experience, spontaneous applause and cheers erupted at two scenes: when a two-story building front falls onto Buster, who is saved by an open window; and when he pilots a riverboat into a floating structure to rescue his father. 

More shows coming up later in May. But for now, I hope you'll join us for a rare screening of D.W. Griffith's 'America' (1924) on Sunday, May 10 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H. More details in the press release below.

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D.W. Griffith directing actors in costume during the filming of 'America' (1924).

MONDAY, APRIL 27, 2026 / FOR IMMEDIATE RELEASE
Contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

D.W. Griffith's epic 'America' (1924) to screen on Sunday, May 10 at Town Hall Theatre

In honor of the nation's 250th birthday! Revolutionary War drama to be shown with live music at historic venue in downtown Wilton, N.H.

WILTON, N.H.—It was among Hollywood's first attempts to bring the story of the American Revolution on the big screen.

It was 'America' (1924), a sprawling epic directed by D.W. Griffith, which thrilled audiences by recreating Paul Revere's midnight ride, the Boston Tea Party, and Washington's encampment at Valley Forge.

In honor of the nation's upcoming 250th birthday, the rarely screened film will be shown on Sunday, May 10 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

The program is free and open to the public; a donation of $10 per person is suggested to support the Town Hall Theatre's silent film programming. The screening is part of the town's commemoration of the upcoming 250th anniversary of the signing of the Declaration of Independence in July 1776.

Live music will be provided by Jeff Rapsis, a New Hampshire-based silent film accompanist who performs regularly at silent film screenings around the nation.

The show is intended to give area movie-goers the opportunity to experience early cinema as it was intended: on the big screen, with live music, and with an audience.

Adapted from a 1905 novel 'The Reckoning' by Robert W. Chambers, 'America' tells the heroic story of events during the American Revolutionary War. The plot mainly centers on the Northern theatre of the war, with romance spliced into individual movie scenes.

'America' resulted from a 1923 petition by the Daughters of the American Revolution to Motion Picture Production Association President Will H. Hays to make a historical epic about the American Revolution. Hays convinced D.W. Griffith to direct the film. 'America' was produced by Griffith's New York-based studio and released by United Artists.

Griffith prepared for the film by visiting historic battlefields and meeting with historical societies such as the DAR, the Sons of the Revolution, the Smithsonian Institution, the New York Public Library, the Lexington Historical Society, the Mount Vernon Ladies' Association, and the Massachusetts Historical Society.

The first half of the film portrays the struggle of the under-armed, under-manned colonists against the British Redcoats at Lexington, Bunker Hill and Valley Forge. Other landmarks of the American Revolution shown include the Boston Tea Party, Paul Revere's midnight ride and Patrick Henry's inflammatory speeches to the VIrginia House of Burgesses. 

The battles of Lexington and Concord were staged with a wealth of authentic detail and enhanced by skillful editing. During the filming of a recreation of the Battle of Bunker Hill, a 19-year-old soldier's arm was blown off while reloading a cannon.

The second half dwells on the bloody Indian War of Mohawk Valley, and is highlighted by a "race to the rescue" action sequence, a Griffith specialty.

The film concludes with the surrender of Lord Cornwallis at the Siege of Yorktown in 1781 and the first inauguration of George Washington as president of the United States in 1789.

The parts are tied together by the troubled romance between a young patriot, Nathan Holden (played by Neil Hamilton) and Nancy Montague (Carol Dempster), the daughter of a Tory Judge.

Hamilton, a popular silent-era leading man, would many years later achieve fame as "Commissioner Gordon" in the 1960s 'Batman' television series.

Also in the cast is Lionel Barrymore, who plays an English Loyalist; decades later, he would play 'Old Man Potter' in Frank Capra's 'It's a Wonderful Life' (1946).

After completion, the film was screened to President Calvin Coolidge before its release, and the U.S. Army used it for recruitment purposes.

However, 'America' was not as successful as Griffith's previous films. Costing nearly $1 million to produce, box office for 'America' was a disappointing $1.8 million. Changing public tastes in the Roaring '20s meant this would be Griffith's last big-budget historical epic.

A battle scene from D.W. Griffith's 'America' (1924).

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

Rapsis will create the accompaniment on the spot, improvising music as the movie unfolds to enhance the action on the screen as well respond to audience reactions. He will perform the music on a digital synthesizer 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. "Because most films at the time weren't released with sheet music or scores, studios depended 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.

D.W. Griffith's epic drama 'America' (1924) will be screened with live music on Sunday, May 10 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

The program, in honor of the nation's 250th birthday, is free and open to the public. A donation of $10 per person is suggested to support the Town Hall Theatre's silent film programming. For more information, call (603) 654-3456. 

Up next: Greta Garbo in 'Wild Orchids' on Wednesday, Jan. 29 in Manchester, N.H.

A photo showing the Alton Bay Ice Runway in 2015.

It's so cold in New Hampshire that for the first time in three years, the Alton Bay Ice Runway has opened!

That's right: the only FAA-approved ice runway in the lower 48 states—in an inlet of New Hampshire's Lake Winnipesaukee—was declared open last week when the ice reached the requisite 12 inches of thickness.

So it's been perfect weather for a screening 'Way Down East' (1920), the D.W. Griffith melodrama in which Lillian Gish winds up on ice floes in the Connecticut River—not that far from the Alton Bay Ice Runway, as the crow flies.

If the story was set a little later in the development of aviation, Richard Barthelmess could have rescued Ms. Gish by taking off from the ice runway in his trusty Sopwith Camel and swooping down to whisk her to safety.

Well, it's a thought.

At our screening on Sunday afternoon at the Town Hall Theatre in Wilton, N.H., 'Way Down East' proved once again Griffith's ability to lay out a story that pulls an audience along the same way the on-screen ice floes carry Lillian Gish to the edge of the mighty waterfall.

It's a fun film to accompany. It's such a hokey story, and yet the audience reaction in far-off 2025 was every bit as lively, I imagine, as audiences when the film was brand new. People of course cheered at the waterfall rescue, and the triple wedding that ends of the film produced genuine gales of laughter.

Looking ahead: a chance to warm up comes in the form of a screening of 'Wild Orchids' (1929), a steamy romantic thriller starring Greta Garbo that I'll accompany on Wednesday, Jan. 29 at 7 p.m. at the Rex Theatre, 23 Amherst St. in downtown Manchester, N.H. 

It's one of the last MGM silents, made long after the studio had otherwise converted to talkies. But execs were worried that Garbo's heavily accented voice would ruin her box office appeal, and so kept her silent for as long as possible. 

Well, surprise! Turns out Garbo's husky delivery actually added to her mystique, and her career sailed on uninterrupted. Until, that is, she started turning up in places like a David Letterman Top 10 List.

But the good thing about this was that we got a whole additional year's worth of silent pictures out of Garbo, made at a time when silent filmmaking was at its peak, technically speaking. 

See for yourself—and warm yourself up while you're at it— with a screening of 'Wild Orchids' this Wednesday night. More details in the press release below.

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Greta Garbo and Nils Asther star in 'Wild Orchids' (1929).

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

Greta Garbo stars in steamy silent film thriller on Wednesday, Jan. 29 at Rex Theatre

'Wild Orchids' (1929), one of MGM's final silent film releases, to be screened with live music at downtown Manchester, N.H. venue

MANCHESTER, N.H.—Chase away the mid-winter chill with a steamy movie featuring early Hollywood icon Greta Garbo.

Warm up with 'Wild Orchids' (1929), an intense romantic thriller starring Garbo, to be screened with live music at the Rex Theatre, 23 Amherst St., Manchester, N.H.

'Wild Orchids,' one of the last silent films of MGM studios, will be shown on Wednesday, Jan. 29, 2025 at 7 p.m.

General admission is $10 per person; tickets are available at the door or online at www.palacetheatre.org.

 

Live music will be provided by silent film accompanist Jeff Rapsis.

A tale of forbidden romance, 'Wild Orchids' opens with an older businessman (John Lewis) taking his young wife (Greta Garbo) on a business trip to the South Pacific.

Aboard ship, she witnesses a wealthy passenger (Nils Asther) brutally whipping a servant. The violent man notices Garbo and resolves to meet her.

Things get complicated, however, when the man turns out to be a royal heir crucially important to the business affairs of Garbo's husband.

Emotions boil over in the tropical heat, leading to a dramatic showdown in the jungle over Garbo's ultimate fate.

An original trade publication ad promoting 'Wild Orchids' (1929).

Released during the movie industry's chaotic transition from silent film to synchronized dialogue, 'Wild Orchids' proved a hit.

The silent film earned $1.1 million, making it one of the year's top 10 box office attractions.

Although MGM was already releasing talking pictures, the studio kept starring Garbo in silent pictures due to concerns about her heavy accent.

Originally from Sweden, in Hollywood Garbo quickly rose to silent film stardom based on her acting ability and her unique look.

Garbo spoke English, but with a Scandinavian accent, causing concerns that the public would reject her in talking pictures.

When she finally spoke on-screen, Garbo's distinctive delivery and husky accent added to her popularity, to the great relief of studio bosses.

Nils Asther and Greta Garbo in a scene from 'Wild Orchids' (1929).

A live musical score for 'Wild Orchids' will be performed by silent film accompanist Jeff Rapsis.

Rapsis specializes in creating music to help silent films connect with modern-day audiences.

"As one of the last commercial silent films produced, 'Wild Orchids' shows how fluent Hollywood had become at telling stories visually, rather than through dialogue," Rapsis said.

"These films were intended to be seen on the big screen, with live music, and—most importantly—with an audience. Put it all back together, and films like 'Wild Orchids' really leap back to life."

'Wild Orchids' (1929) will be shown on Wednesday, Jan. 29 at 7 p.m. at the Rex Theatre, 23 Amherst St., Manchester, N.H.

General admission is $10 per person; tickets are available at the door or online at www.palacetheatre.org. 

For more information, call (603) 668-5588.

Report from Cleveland: 'The Lost World' (1925) highlights sci-fi marathon. Next up: 'Way Down East' on Sunday, Jan. 26 in Wilton, N.H.

Rules are posted prominently at the Case Western Reserve University Film Society's annual science-fiction marathon.

Cleveland may have the Rock 'n' Roll Hall of Fame, but it also has the Case Western Reserve University Film Society. 

And Rock 'n' Roll may be about rebellion, but I'm here say that this past weekend, the real rebels in Cleveland attended the CWRU Film Society's annual Science Fiction Marathon—all 30 hours of it.

It being the event's 50th year, steps were taken to commemorate this remarkable milestone. One of those steps: including a silent film with live music in the line-up.

That's where I came in: on Saturday afternoon, after the 1951 sci-fi classic 'The Day The Earth Stood Still' (with its Bernard Herrmann score), I had the privilege of doing live music for 'The Lost World' (1925).

And let me tell you—nothing compares to the audience response of several hundred hardcore sci-fi buffs for this kind of film. Everyone supplying dinosaur noises was just the start. People reacted to everything and anything. Comments were shouted at the screen throughout the movie.

To a silent film accompanist, it's a special experience—one worth driving 700 miles one-way for, which is what I did this weekend. (What do silent film accompaniment and long-haul trucking have in common?)

I've scored silent films for previous editions of the marathon, so arrival and set-up followed a well-established pattern: driving onto the Case Western campus sidewalks to reach the back entrance of the Strosacker Auditorium; unloading my gear and staging it in a back hallway; waiting for the previous film to wrap, then helping attendees relocate their inflatable mattresses and whatever else might be in the way; setting up and plugging in all my stuff.

It takes about 15 minutes, and before I know it, the lights go down and off we go! First up was "Koko in 1999," an 'Out of the Inkwell' cartoon from 1927 that was a new one to me. In it, Koko the Clown gets chased by Father Time all the way to the far-off future year of 1999, where he experiences robotic barbering, a mechanized wedding, and futuristic marital strife. 

I used a modest pipe organ sound for Koko, but switched to full orchestra for 'The Lost World.' 

And it really was quite a ride. Right from the start, there was no shortage of marathon attendees ready to pile on with "witty" shouted commentary. And then there was the "dinosaur noises," which started with one person, but soon everyone was doing it. It never let up. 

Another thing was clapping. If I played using any kind of regular rhythmic pattern, people would start clapping. This happened during the opening titles, and for the remainder of the film I tried to avoid triggering a similar reaction.

It was all good-natured, of course—but then, what effect does the clapping and shouting have on the film, which itself is from "a lost world?"

Sometimes I say that I accompany an audience as much as the film on screen—that the audience influences how the music unfolds. But that definitely wasn't the case with 'The Lost World.' Because of the over-the-top audience reaction, I felt it was important to play the film straight, to plow through the  audience reactions, to give the film a fighting chance.

I think it worked. As the film progressed, you could tell that people were following it and buying it. The noise never quite let up, but it seemed to fade over time. To the film's credit, it does a solid job storytelling in a way that causes viewers to let it in, even after all these years.

So I tried hard to accompany the film without reference to the audience, and in the end everyone got a great experience: those at the marathon got to contribute dinosaur noises, while I was created a score that supported the film and kept things together.

Next up is the great D.W. Griffith melodrama, which I'm accompanying on Sunday, Jan. 26 at 2 p.m. at the Town Hall Theatre, Wilton, N.H.

Press release is pasted in below. Hope to see you at the movies!

Jeff R.

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Original promotional art for 'Way Down East' (1920).

MONDAY, JAN. 6, 2025 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film classic 'Way Down East' at Town Hall Theatre on Sunday, Jan. 26

D.W. Griffith blockbuster starring Lillian Gish, filmed partly in New England, to be screened with live music

WILTON, N.H. — The iconic image of actress Lillian Gish trapped on an ice floe and headed straight for a waterfall will once again fill the big screen when 'Way Down East' (1920) is revived on Sunday, Jan. 26, 2025 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

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

The movie, a blockbuster melodrama directed by D.W. Griffith, is set in old-time rural New England, and was partly filmed on location in New Hampshire and Vermont. It stars Gish in an acclaimed performance as a wronged woman trying to make her way in an unforgiving world. Can she find love and redemption, or will she ride to her doom on the raging river's ice floes?

In 'Way Down East,' Gish stars as a poor New England country girl who travels to Boston to visit her rich relatives in the hopes of getting financial help. While there, she's dazzled by upper class society and romanced by a rich womanizer (Lowell Sherman) who takes advantage of her innocence by tricking her into bed with a fake marriage ceremony.

Lillian Gish on the ice-bound Connecticut River in 'Way Down East' (1920).

Convinced she's found the husband of her dreams, Gish returns home to the country, only to be abandoned. She informs her faux husband she's pregnant; he orders her to get an abortion. Instead, Gish goes into exile to have the baby, finds herself persecuted for giving birth out of wedlock, and flees into the rural countryside to seek refuge. The film was noteworthy in its time for addressing such topics as abortion and women's rights.

Modern critics hail 'Way Down East' for Gish's performance, which continues to mesmerize audiences nearly a century after the film's release. "Gish provides an abject lesson in screen acting and brings home the importance and effectiveness of seeing a film in a theater with a crowd," wrote Paul Brenner on www.filmcritic.com in 2007. "If you are not moved at the scene of Gish baptizing her dead baby, then you should check the obituaries of your local paper to see if you are listed."

The film also stars silent era heartthrob Richard Barthelmess. In the film's climax, Barthelmess must dash to rescue Gish from being carried away on the ice floes.

Lillian Gish on location near White River Junction, Vt.

Much of the acclaimed ice floe sequence was filmed in March 1920 on location on the Connecticut River in New Hampshire and the White River in Vermont, as the winter pack ice was breaking up. No process shots or post-production special effects were available to filmmakers at the time, so Griffith and his crew had no choice but to stage and shoot it all on a real river, with the players out on the ice. To get the floes to break up and float down the river, Griffith's crew dynamited pack ice upstream.

Gish later said that she suffered frostbite by following director Griffith's command to always keep one hand in the water during the shooting.

Despite such hardships, 'Way Down East' cemented Gish's reputation as one of the silent era's major stars. Gish would continue to work in films and, later, television, until the 1980s. She died in 1993 at age 99.

Accompanist Jeff Rapsis specializes in creating music that bridges the gap between an older film and the expectations of today's audiences. Using a digital synthesizer that recreates the texture of a full orchestra, he improvises scores in real time as a movie unfolds, so that the music for no two screenings is the same.

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

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

"Films such as 'Way Down East' were created to be shown on the big screen to large audiences as a communal experience," Rapsis said. "With an audience and live music, silent films come to life in the way their makers intended. Not only are they entertaining, but they give today's audiences a chance to understand what caused people to first fall in love with the movies."

D.W. Griffith (in bowler hat) directs the cast of his blockbuster melodrama 'Way Down East' (1920).

'Way Down East' was based on a popular stage drama, for which director Griffith paid the then-astounding sum of $175,000 to turn into a movie. The picture proved to be a huge moneymaker, taking in $4.5 million, making it the fourth-highest grossing movie of the silent film era. 

'Way Down East' would be the last of Griffith's great blockbusters; tastes changed as the 1920s rolled on and Griffith's Victorian style fell out of favor. Receipts from 'Way Down East' kept Griffith's studio afloat during a subsequent series of box office flops.

"This picture was a monster hit when it was released," Rapsis said, "and it still holds up well today. As a melodrama, it's a great film for an audience to cheer on the good folks and boo and hiss the bad guys. But there's an additional level of interest now because the film captured a way of life that's long since disappeared."

'Way Down East' will be shown with live music on Sunday, Jan. 26 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

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

Off to Cleveland to accompany 'The Lost World' at Case Western Reserve's 50th annual sci-fi marathon; then 'Way Down East' in Wilton, N.H.

Original poster art for 'The Lost World' (1925).

This weekend takes me to the fair city of Cleveland, Ohio, where I'll accompany 'The Lost World' (1925) at this year's annual Sci-Fi Marathon at Case Western Reserve University.

It's the 50th annual edition of the Case Western Film Society's marathon, at which diehard movie buffs spend a mid-winter weekend watching sci-fi films of all types 30 to 36 hours non-stop.

And next month, I get to do music for a silent film at a similar event: the Boston Sci-Fi Marathon, also celebrating its 50th year on Presidents Day Weekend at the Somerville Theatre in Somerville, Mass.

The Boston folks have programmed an unusual title this time around: 'Algol: A Tragedy of Power' (1921), a German silent that I've never accompanied before.

I've done films at earlier editions of both marathons. What I love about them is that the audience is always so engaged. They may get into a "Mystery Science Theatre 3000" groove sometimes, but overall you won't find a more enthusiastic crowd than the sci-fi marathon audience.

If you're in the Cleveland area this weekend, I understand the Case Western marathon lets you buy tickets for individual screenings. 

Although I encourage you to take in the experience in its entirety, if you'd like to attend just 'The Lost World,' it's scheduled to run on Saturday, Jan. 18 at 3 p.m. (Start time subject to change due to the ebb and flow of the marathon schedule.)

For more information about attending, check out the marathon's webpage. 

Looking ahead: after a quiet start to 2025, things perk up with a cluster of screenings in late January and early February. 

I'm accompanying 'Way Down East' (1920) on Sunday, Jan. 26 in Wilton, N.H.; 'Wild Orchids' (1929) on Wednesday, Jan. 29 in Manchester, N.H.; 'Straight is the Way (1921) in Campton, N.H.; 'The Flying Ace' (1921) on Sunday, Feb. 2 in Somerville, Mass.; and 'Nanook of the North' (1922) on Monday, Feb. 3 in Greenfield, Mass.

Hoping for a good turnout for 'Way Down East,' as I've found a crowded theater always helps the Griffith films "click" with modern audiences.

Seen in isolation, the early pioneering features directed by D.W. Griffith really seem to drag. But shown with an audience, they spring to life. 

I think this has something to do with what Griffith did prior to the movies. For many years, he staged and directed melodramas for theatrical troupes that toured through small towns.

Back then, if you didn't entertain people, they'd throw things at you—or worse. So Griffith got very skilled at telling stories that would grab an audience early and then not let go. 

I believe that more than anything else, this was Griffith's superpower: to be able tell a story in such a way that an audience can't stop watching. 

Find out for yourself by being part of the experience when I accompany 'Way Down East' later this month at the Town Hall Theatre in Wilton, N.H. More details in the press release pasted in below.

*    *    *

Original promotional art for 'Way Down East' (1920).

MONDAY, JAN. 6, 2025 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film classic 'Way Down East' at Town Hall Theatre on Sunday, Jan. 26

D.W. Griffith blockbuster starring Lillian Gish, filmed partly in New England, to be screened with live music

WILTON, N.H. — The iconic image of actress Lillian Gish trapped on an ice floe and headed straight for a waterfall will once again fill the big screen when 'Way Down East' (1920) is revived on Sunday, Jan. 26, 2025 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

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

The movie, a blockbuster melodrama directed by D.W. Griffith, is set in old-time rural New England, and was partly filmed on location in New Hampshire and Vermont. It stars Gish in an acclaimed performance as a wronged woman trying to make her way in an unforgiving world. Can she find love and redemption, or will she ride to her doom on the raging river's ice floes?

In 'Way Down East,' Gish stars as a poor New England country girl who travels to Boston to visit her rich relatives in the hopes of getting financial help. While there, she's dazzled by upper class society and romanced by a rich womanizer (Lowell Sherman) who takes advantage of her innocence by tricking her into bed with a fake marriage ceremony.

Lillian Gish on the ice-bound Connecticut River in 'Way Down East' (1920).

Convinced she's found the husband of her dreams, Gish returns home to the country, only to be abandoned. She informs her faux husband she's pregnant; he orders her to get an abortion. Instead, Gish goes into exile to have the baby, finds herself persecuted for giving birth out of wedlock, and flees into the rural countryside to seek refuge. The film was noteworthy in its time for addressing such topics as abortion and women's rights.

Modern critics hail 'Way Down East' for Gish's performance, which continues to mesmerize audiences nearly a century after the film's release. "Gish provides an abject lesson in screen acting and brings home the importance and effectiveness of seeing a film in a theater with a crowd," wrote Paul Brenner on www.filmcritic.com in 2007. "If you are not moved at the scene of Gish baptizing her dead baby, then you should check the obituaries of your local paper to see if you are listed."

The film also stars silent era heartthrob Richard Barthelmess. In the film's climax, Barthelmess must dash to rescue Gish from being carried away on the ice floes.

Lillian Gish on location near White River Junction, Vt.

Much of the acclaimed ice floe sequence was filmed in March 1920 on location on the Connecticut River in New Hampshire and the White River in Vermont, as the winter pack ice was breaking up. No process shots or post-production special effects were available to filmmakers at the time, so Griffith and his crew had no choice but to stage and shoot it all on a real river, with the players out on the ice. To get the floes to break up and float down the river, Griffith's crew dynamited pack ice upstream.

Gish later said that she suffered frostbite by following director Griffith's command to always keep one hand in the water during the shooting.

Despite such hardships, 'Way Down East' cemented Gish's reputation as one of the silent era's major stars. Gish would continue to work in films and, later, television, until the 1980s. She died in 1993 at age 99.

Accompanist Jeff Rapsis specializes in creating music that bridges the gap between an older film and the expectations of today's audiences. Using a digital synthesizer that recreates the texture of a full orchestra, he improvises scores in real time as a movie unfolds, so that the music for no two screenings is the same.

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

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

"Films such as 'Way Down East' were created to be shown on the big screen to large audiences as a communal experience," Rapsis said. "With an audience and live music, silent films come to life in the way their makers intended. Not only are they entertaining, but they give today's audiences a chance to understand what caused people to first fall in love with the movies."

D.W. Griffith (in bowler hat) directs the cast of his blockbuster melodrama 'Way Down East' (1920).

'Way Down East' was based on a popular stage drama, for which director Griffith paid the then-astounding sum of $175,000 to turn into a movie. The picture proved to be a huge moneymaker, taking in $4.5 million, making it the fourth-highest grossing movie of the silent film era. 

'Way Down East' would be the last of Griffith's great blockbusters; tastes changed as the 1920s rolled on and Griffith's Victorian style fell out of favor. Receipts from 'Way Down East' kept Griffith's studio afloat during a subsequent series of box office flops.

"This picture was a monster hit when it was released," Rapsis said, "and it still holds up well today. As a melodrama, it's a great film for an audience to cheer on the good folks and boo and hiss the bad guys. But there's an additional level of interest now because the film captured a way of life that's long since disappeared."

'Way Down East' will be shown with live music on Sunday, Jan. 26 at 2 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

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

Mid-winter melodrama: Lillian Gish stars in 'Way Down East' on Thursday, 2/4 in Plymouth, N.H.

 A poster for the French release of 'Way Down East' (1920).

This is the one that helped me understand what D.W. Griffith accomplished.

Yes, the film is justly famous for its climactic sequence. But what about all that stuff—more than two hours of antique hokum—leading up to it?

About 10 years ago, I was preparing to score this warhorse for the first time. As I watched it at home, without music, I kept wondering how anyone could take this movie seriously.

The one-dimensional characters. The cornpone humor. The slow pace. 

But at show time, was I ever surprised. We were blessed with a heavy turnout, and the crowd was with it right from the start. 

Really! They were hooting and hollering even during Griffith's moralistic introductory titles, laden as they are with long-outmoded Victorian sentiment.

And it never let up. Long sequences that I felt played at a glacial pace suddenly snapped to life. 

The missing ingredient, of course, was the audience. Griffith knew what he was doing: he knew how to tap into what is essentially mob psychology and engage a large group right from the start. And he knew how to keep everyone watching all the way through.

We may wear different clothes today, and have different gadgets, and be different in a hundred different ways. But we're still human, and in very elemental ways we respond just as humans have for thousands of years. 

Griffith understood that dynamic, and harnessed it to make pictures that would grab an audience's attention and then never let go. That was his big accomplishment!

Why? Because more than anyone in early cinema, I think, Griffith showed that movies could tell tales on a grand scale—tales that could be engineered to keep an audience spellbound for three hours at a time. 

See for yourself when I accompany 'Way Down East' on Thursday, Feb. 4 at the Flying Monkey Moviehouse and Performance Center in Plymouth, N.H. Part of the film was made close by, on the Connecticut River! Details and more information in the press release below.

Hope to see you there!

*   *   *

Lillian Gish on the Connecticut River near White River Junction, Vt.

MONDAY, JAN. 18, 2021 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film classic 'Way Down East' at Flying Monkey on Thursday, Feb. 4

D.W. Griffith blockbuster starring Lillian Gish, filmed partly in New England, to be screened with live music

PLYMOUTH, N.H. — The iconic image of actress Lillian Gish trapped on an ice floe and headed straight for a waterfall will once again fill the big screen when 'Way Down East' (1920) is revived on Thursday, Feb. 4 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 Main St., Plymouth, N.H.

General admission is $10 per person.

The movie, a blockbuster melodrama directed by D.W. Griffith, is set in old-time rural New England, and was partly filmed on location in New Hampshire and Vermont. It stars Gish in an acclaimed performance as a wronged woman trying to make her way in an unforgiving world. Can she find love and redemption, or will she ride to her doom on the raging river's ice floes?

'Way Down East' will be screened with live music by Jeff Rapsis, a New Hampshire-based silent film accompanist.

At the Flying Monkey, accommodations are in place to keep patrons safe in the Covid-19 era.

Face-coverings are required to enter the theater, and should remain on at all times until movie-goers take their seats. Capacity is limited to 50 percent; audience members are asked to observe social distancing in choosing seats.

In 'Way Down East,' Gish stars as a poor New England country girl who travels to Boston to visit her rich relatives in the hopes of getting financial help. While there, she's dazzled by upper class society and romanced by a rich womanizer (Lowell Sherman) who takes advantage of her innocence by tricking her into bed with a fake marriage ceremony.

Convinced she's found the husband of her dreams, Gish returns home to the country, only to be abandoned. She informs her faux husband she's pregnant; he orders her to get an abortion. Instead, Gish goes into exile to have the baby, finds herself persecuted for giving birth out of wedlock, and flees even further into the country to seek refuge. The film was noteworthy in its time for addressing such topics as abortion and women's rights.

Modern critics hail 'Way Down East' for Gish's performance, which continues to mesmerize audiences nearly a century after the film's release. "Gish provides an abject lesson in screen acting and brings home the importance and effectiveness of seeing a film in a theater with a crowd," wrote Paul Brenner on www.filmcritic.com in 2007. "If you are not moved at the scene of Gish baptizing her dead baby, then you should check the obituaries of your local paper to see if you are listed."

The film also stars silent era heartthrob Richard Barthelmess. In the film's climax, Barthelmess must dash to rescue Gish from being carried away on the ice floes.

Much of the acclaimed ice floe sequence was filmed in March 1920 on location on the Connecticut River in New Hampshire and the White River in Vermont, as the winter pack ice was breaking up. No process shots or post-production special effects were available to filmmakers at the time, so Griffith and his crew had no choice but to stage and shoot it all on a real river, with the players out on the ice. To get the floes to break up and float down the river, Griffith's crew dynamited pack ice upstream.

Gish later said that she suffered frostbite by following director Griffith's command to always keep one hand in the water during the shooting.

Despite such hardships, 'Way Down East' cemented Gish's reputation as one of the silent era's major stars. Gish would continue to work in films and, later, television, until the 1980s. She died in 1993 at age 99.

Accompanist Jeff Rapsis specializes in creating music that bridges the gap between an older film and the expectations of today's audiences. Using a digital synthesizer that recreates the texture of a full orchestra, he improvises scores in real time as a movie unfolds, so that the music for no two screenings is the same.

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

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

"Films such as 'Way Down East' were created to be shown on the big screen to large audiences as a communal experience," Rapsis said. "With an audience and live music, silent films come to life in the way their makers intended. Not only are they entertaining, but they give today's audiences a chance to understand what caused people to first fall in love with the movies."

'Way Down East' was based on a popular stage drama, for which director Griffith paid the then-astounding sum of $175,000 to turn into a movie. The picture proved to be a huge moneymaker, taking in $4.5 million, making it the fourth-highest grossing movie of the silent film era. 'Way Down East' would be the last of Griffith's great blockbusters; tastes changed as the 1920s rolled on and Griffith's Victorian style fell out of favor. Receipts from 'Way Down East' kept Griffith's studio afloat during a subsequent series of box office flops.

"This picture was a monster hit when it was released," Rapsis said, "and it still holds up well today. As a melodrama, it's a great film for an audience to cheer on the good folks and boo and hiss the bad guys. But there's an additional level of interest now because the film captured a way of life that's long since disappeared."

'Way Down East' will be shown on Thursday, Feb. 4 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 Main St., Plymouth, N.H. General admission is $10 per person. For more info, visit www.flyingmonkeynh.com or call (603) 536-2551.

Next week: 'The Storytellers,' five days of film that pioneered the full-length motion picture

Showing on Tuesday, Jan. 12: D.W. Griffith's 'Intolerance' (1916).

I've known of D.W. Griffith as 'The Father of Film' since at least the 1970s, when I'd eagerly await my monthly Blackhawk Films catalog in the mail.

But for many years, I just didn't understand his work. The films—either the short dramas for Biograph, or the longer features—either weren't interesting, or left me cold. 

Okay, I thought: Griffith is the father of film. But as a teenager, I'd rather run my Super-8 print of Keaton's 'Cops' (1922) for the 80th time rather than sit through 'Way Down East' (1920), the legendary Griffith melodrama. (That's Lillian Gish on the ice floes below, at the climax of 'Way Down East.')

My first sense of what I was missing, however, came thanks to the Kansas Silent Film Festival, which I began attending back in 2000. Every year, they'd run at least one Griffith title (usually one of the Biograph shorts) in honor of his role as an industry pioneer.

So I got to see some of Griffith's work on the big screen, with an audience, and with live music—in other words, the way it was intended to be shown. And I found that under those circumstances, the Griffith films had a certain elemental quality that I hadn't picked up on until then.

By elemental, I mean they could hold a crowd. Through simple, basic stories, they got your attention quickly, and then held it.

Later, when I began accompanying silent film programs, I found a curious thing: the Griffith films—even the famous ones regarding as classics—seemed really lame when viewed in isolation to prepare for a screening. 

But in front of an audience in a theater, they leaped to life. People would hoot and holler at what they saw. They'd stamp their feet, totally engaged in what they were seeing unfold in front of them.

As I learned more about Griffith's background and career, I realized what as going on. Griffith was the father of film, yes, but not for technical innovations such as close-ups and such. It was because of his ability to lay out a story to get an audience's attention right away, and then keep them on the edge of their seats.

That, as demonstrated more or less throughout his work, I feel was Griffith's most valuable contribution to cinema. He showed how full-length feature films could hold an audience's attention throughout an entire evening-long narrative journey.

And he did it so well that the films still work today, if you can show them as intended. 

The big "Ancient Babylon" set for Griffith's 'Intolerance.'

I remember once when we ran 'Birth of a Nation' (1915), Griffith's incredibly racist blockbuster set in post-Civil War America. The film climaxes with the Ku Klux Klan riding to the rescue,  and I remember of friend of mine saying afterwards, "You're like, 'Yes, ride to the rescue,' and then 'But no, it's the Klan!' " Such was (and is) the elemental narrative power of Griffith's tales.

Of course this is evident only if one experiences the films as intended, of which there are precious few opportunities these days. But not next week, when the Town Hall Theatre in Wilton, N.H. presents 'The Storytellers,' a five-day festival of early films that still keep audiences on the edge of their seats.

The festival includes two big Griffith films: 'Intolerance' (1916) and 'Way Down East' (1920). We're also running two early films made in Germany by Fritz Lang: 'Destiny' (1921) and 'The Spiders' (1919).

For details, check out this info sheet for the series. 

Or you can peruse the press release below. Either way, I hope you'll join us for some or all of the series. It's a rare chance to see some terrific cinema that still holds up well if you experience it as intended—in a theater, with live music, and with an audience.

*    *    *

 

A scene from Fritz Lang's 'Destiny' (1921), being shown Monday, Jan. 11.

MONDAY, JAN. 4, 2021 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Week-long film series at Town Hall Theatre turns spotlight on early directors, great stories

'The Storytellers,' Jan. 11-15, highlights talent of D.W. Griffith, Fritz Lang to mesmerize movie audiences with terrific tales

WILTON, N.H.—Everyone loves a good story.

In early cinema, a talent for story-telling was a key factor in popularizing feature-length movies.

Pioneering directors such as D.W. Griffith in the U.S. and Fritz Lang in Germany helped transform the motion picture from a sideshow novelty into a major art form—and a big business.

See for yourself when the Town Hall Theatre presents a week-long series, 'The Storytellers,' designed to highlight filmmakers who told tales that kept early movie-goers coming back for more.

With programs every evening from Monday, Jan. 11 to Friday, Jan. 15, 'The Storytellers' will showcase five spectacular full-length movies that helped build the audience for feature films.

Two are directed by Griffith: the mega-epic 'Intolerance' (1916) and the melodrama 'Way Down East' (1920). Two are from Lang: the afterlife drama 'Destiny' (1921) and action-adventure film 'The Spiders' (1919).

Although produced in Germany, the Lang films will be shown with titles translated into English.

The series finishes with Wall Street comedy 'The Saphead' (1920), the first feature-length film starring Buster Keaton. (There's a poster at right, although without Buster in it.)

All shows in 'The Storytellers' begin each night at 7:30 p.m. Each screening will be accompanied by live music by Jeff Rapsis, a New Hampshire-based silent film musician.

Admission is free; a donation of $10 per person is suggested to support the Town Hall Theatre's silent film series.

The Town Hall Theatre ordinarily programs the latest first-run feature films. But the ongoing pandemic, plus Hollywood's resistance to releasing new material to theaters, has prompted the highly regarded venue to focus on alternative programming.

The aim of 'The Storytellers' is to highlight a factor in the rapid growth of the movie business that's often overlooked: the power of the narrative.

Early directors such as D.W. Griffith and Fritz Lang are often noted for their technical innovations or sense of visual design, which helped establish the basic grammar of cinema.

But another major factor in audiences returning for more was the story itself.

"In early cinema, the best directors had a knack for laying out a story that could keep people on their edges of their seats for an entire evening," Rapsis said. 

"Up until the mid 1910s, most movies were 10 or 20 minutes long," Rapsis said. "Griffith and Lang were among the directors who led the way to feature-length films, and their stories were the foundation of their success."

'The Storytellers' aims to highlight this enduring quality of the tales that brought cinema from a carnival sideshow attraction to an art form that would dominate the 20th century.

A scene from Fritz Lang's action-adventure 'The Spiders' (1919).

"The films were so well built with audience reaction in mind that they still work when shown as intended: on the big screen, with live music, and in a darkened theatre with other people joining in a shared experience," Rapsis said.

Among early directors, Griffith was uniquely positioned to understand how to engage an audience for an evening of story-telling.

Prior to his motion picture work, Griffith spent two decades directing stage melodramas in small towns across the U.S., where keeping an audience occupied was an essential skill.

"In Griffith's stage experience, if you didn't hook the crowd right away, and keep them hooked, they'd throw things at you—or worse," Rapsis said.

This experience honed his story-telling skills, which became essential when creating movies in studios where no audience was present during the filming and editing.

"Griffith knew in his bones how large crowds would react to a story, and built that into his most popular films," Rapsis said.

"His ability to hold an audience was based on a profound understanding of human nature, and how people react, especially when part of a crowd," Rapsis said. "Because of this, his films still work today when presented as intended, which we'll do at the Town Hall Theatre."

Lang exploited a similar knack for story-telling to expand the scope of full-length movies in his native Germany.

Lang was among the first to exploit the ability of cinema to take viewers to exotic places or to travel in time. This helped him craft stories that showed early audiences the power of cinema. 

A scene from Lang's 'Destiny' (1921), screening on Monday, Jan. 11.

'The Storytellers' will focus on five early feature films. It's a rare chance to experience them as intended: on the big screen, with live music, and in a darkened theater with an audience present:

• Monday, Jan. 11 at 7:30 p.m.: Fritz Lang's 'Destiny' (1921). Years before his classic 'Metropolis,' German director Fritz Lang brought this ground-breaking expressionist fantasy to the big screen. It's a powerful tale in which human lives are each represented by a candle, and a figure representing 'Death' grants a woman three chances to rescue her lover from a premature demise.

• Tuesday, Jan. 12 at 7:30 p.m.: D.W. Griffith's 'Intolerance' (1916). D.W. Griffith's early blockbuster about man's inhumanity to man weaves together four stories spanning four eras of civilization. Filmed on a vast scale, setting a new standard for Hollywood extravagance, and new levels of editing fluency in pulling together four story climaxes simultaneously. A movie made for the big screen.

• Wednesday, Jan. 13 at 7:30 p.m.: Fritz Lang's 'Spiders' (1919). Early Lang opus that anticipates Indiana Jones by three generations. An intrepid explorer looking for an Incan diamond must stay ahead of a criminal syndicate known as 'The Spiders,' which seeks it for nefarious purposes.

• Thursday, Jan. 14 at 7:30 p.m.: Griffith's 'Way Down East' (1920). One of the most popular films of the silent era features Lillian Gish as a wronged woman in old-time New England who can't escape her past. Still-thrilling climax on ice floes heading towards the falls was filmed on location on the Connecticut River.

• Friday, Jan. 15 at 7:30 p.m.: Buster Keaton in 'The Saphead' (1920). Buster Keaton's debut in a feature-length picture, although not a Keaton film. Rather, a stage adaptation in which the comedian was hired to play a role originated by Douglas Fairbanks Sr. A rare chance to see this seldom-screened landmark picture on the big screen.

The Town Hall Theatre continues to observe procedures to comply with all state and CDC public health guidelines, including reduced seating capacity.

For complete information about safety protocols, visit www.wiltontownhalltheatre.com

'The Storytellers,' a five-day series of early motion pictures from directors D.W. Griffith and Fritz Lang, will run from Monday, Jan. 11 through Friday, Jan. 15 at the Town Hall Theatre, 40 Main St., Wilton, N.H. Screenings start at 7:30 p.m.; live music will accompany each film. Admission is free; a donation of $10 per person is suggested to support the Town Hall Theatre's silent film series.

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

Why isn't this film more highly regarded? Thoughts on Griffith's 'Hearts of the World'

Sheet music to go with D.W. Griffith's WWI drama 'Hearts of the World' (1918).

Wow!

That's the reaction of an audience of about 70 people to 'Hearts of the World' (1918), a seldom-screened D.W. Griffith drama that I accompanied yesterday at the Town Hall Theatre in Wilton, N.H.

The picture really blew our collective socks off. Really! Like Griffith's other pictures fro the same time, it held the screen and then some. And having both Gish sisters, Lillian AND Dorothy, in major roles, didn't hurt.

Again: Wow!

And an added element of edge-of-your-seat suspense came when I previewed the film just prior to the screening, and the disc we were using (the only one I had) began freezing and pixellating in the climactic final 15 minutes. Youch!

I found I could get it to run in a Blu-ray machine rather than the old DVD player I use in my office, but still... At the theater, we really didn't know if the movie would play all the way through, but it did, adding an extra note of triumph.

So one more time: Wow!

I was wondering if 'Hearts of the World' would work 100 years after its release, and the answer was a resounding YES. It's cut from the same cloth as Griffith's other big melodramas: a story that hooks an audience early, intense emotional confrontations, a thrilling race-to-the-finish climax, and scenes of Lillian Gish losing her mind.

Robert Harron prepares to shoot his sweetheart, Lillian Gish, rather than allow her to fall into the hands of the Huns, in 'Hearts of the World.'

As with most of the early Griffith features, it took time to really get going. But once underway, the two-hour picture (short for Griffith at this time) played like a house afire. Our audience applauded, cheered, and reacted strongly throughout.

So the question is: why isn't this film more highly regarded? Why isn't it better known? Griffith made it right after 'Birth of a Nation' (1915) and Intolerance (1916), and just before 'Broken Blossoms' (1919) and 'Way Down East' (1920), all acknowledged as among his greatest achievements.

I'd have to guess that it's partly due to the reputation of 'Hearts of the World' as a propaganda film. And true, it WAS made at the request of the British government, which allowed Griffith access to the front lines in France. And it's true, the Germans are portrayed as animals, but that's no different from the heavies in other Griffith melodramas.

Also, from what I've read, good and complete prints of the film have been hard to come by. (The version we used, which seemed to be complete, was a transfer of a 16mm print to DVD by Grapevine Video of Phoenix, Ariz.)

But now, a full century after its release, maybe it's time to reassess 'Hearts of the World.' Maybe it's time to move beyond the textbooks (which largely ignore 'Hearts' anyway) and give it credit for being a prime example of Griffith during his peak as an influential director.

I'd never encountered it before. And at yesterday's screening, I asked for a show of hands from those who'd already seen it. Not one!

So to our fresh eyes, the film was able to make a very strong impression. Griffith's knowledge of how to structure a story and manipulate the collective emotions of an audience was very much in evidence.

Also, it was another example of how difficult it is to know how a silent film will play unless you screen it the way it was intended to be shown: in a theater, on a big screen, with live music, and with an audience.

The British connection: D.W. Griffith greeted by British Prime Minister David Lloyd George.

So, rediscovery? Well, not solely on the basis of one very successful screening in a small theater in rural New Hampshire, even though quite a few people came up to afterwards to say how much they enjoyed the experience.

But I have to say, I would say 'Hearts of the World' holds its own against any of the other big Griffith blockbusters of the era. It has all the ingredients in place to pull along an audience with an inevitability not unlike the ice floe in 'Way Down East' that carries Lillian Gish to the waterfall.

If you get a chance to see it in a theater, do so! Just make sure the disc gets checked before the show.

This is my final post of 2018, so let me extend thanks to all whom I've encountered this year in the ongoing adventure of creating live music for screenings of silent films.

Looking forward to a 2019 filled with further discoveries as I continue collaborating with people both dead and alive. (Cue the joke about sometimes not being to tell the difference. Har!)

Even as we move further in time from the era when cinema did not include a recorded soundtrack or dialogue, interest in the films from that time continues to persist, and even seems to be growing.

So thank you to all who play a role in supporting and enjoying the art of silent film with live music.

See you next year!