Next up: Lillian Gish stars in 'Annie Laurie' (1927) on Sunday, April 26 at Natick, Mass.

An original lobby card promoting 'Annie Laurie' (1927).

More than a month since I last posted anything on this blog. Wow!

I've still been accompanying as many films as ever. It's just that I've gone through a period where real life exceeded my capacity for writing about it.

But here I am again. And we'll pick up with a preview of an upcoming screening: the MGM epic 'Annie Laurie' (1927), starring Lillian Gish, which I'm accompanying this afternoon in at the Center for the Arts in Natick, Mass.

The Natick venue is a converted firehouse, which is appropriate, because this is one hot picture! Seriously—I think the climax (which, yes, involves fire) ranks right up there with Gish's near-death experience on the ice floes in 'Way Down East' (1921) a few years earlier. 

Lots more info in the press release pasted in below. Hope you'll be able to join us on Sunday, April 26 at 4 p.m. for a grand experience from the silent era. And I'll be back with more thoughts and reports before long. 

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Lillian Gish stars in 'Annie Laurie' (1927), an MGM epic about Scottish clan battles.

MONDAY, APRIL 20, 2026 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

New restoration of MGM blockbuster 'Annie Laurie' at Natick Center for the Arts on Sunday, April 26

Lillian Gish stars in title role as Scottish clans do battle in epic historical drama on the big screen; accompanied by live music

NATICK, Mass.— Return to the days of warring Scottish clans with 'Annie Laurie,' a rarely screened MGM epic featuring silent-era megastar Lillian Gish.

A newly restored and remastered version of 'Annie Laurie' will be screened on Sunday, April 26 at 4 p.m. at TCAN Center for the Arts, 14 Summer St., Natick, Mass.

The screening, the latest in the Center for the Art's silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Admission is $12 per person for members; $14 for non-members. Tickets are available online at www.natickarts.org or at the door.

In 'Annie Laurie,' Lillian Gish plays a diplomat's daughter caught in the violent 17th-century feud between the Scottish Campbell and MacDonald clans. 

Gish, a Campbell, falls in love with rival clan chief Ian MacDonald (Norman Kerry) complicating peace efforts between the two warring sides.

As the clans prepare for battle, the romance forces Gish to choose between loyalty to her family or to warn the rival MacDonalds in advance of the infamous Massacre of Glencoe. 

 

This intertitle from 'Annie Laurie' provides an clue about what kind of music you'll be hearing during the screening.

The film's spectacular climax features Gish in a dramatic "race to the rescue" sequence filmed in an early version of Technicolor.

'Annie Laurie,' a major 1927 release for top studio MGM, has not been available for public viewing since its original release. In 2024, the U.S. Library of Congress transferred a pristine 35mm print in their collection to digital media, doing restoration work when needed.

The story of 'Annie Laurie' takes place in the late 1690s amid a backdrop of clans battling fiercely for supremacy in the years before Scotland joined England to form the United Kingdom.

To tell the tale on an epic scale on screen, MGM director John S. Robertson pulled out all the stops, staging enormous battle scenes set among the craggy Scottish landscape.

Sumptuous period costumes (yes, including men in kilts!) are a highlight of the 'Annie Laurie,' which was released at the peak of silent film artistry, just prior to the introduction of talking pictures.

At the time, Gish was among MGM's biggest stars, having arrived at the studio after playing iconic leading roles in early D.W. Griffith features including 'The Birth of a Nation' (1915), 'Way Down East' (1920), and 'Orphans of the Storm' (1921).

 

Lillian Gish and Norman Kerry in a strange background-less still promoting 'Annie Laurie' (1927).
 

Leading man Norman Kerry was a popular silent-era performer who often played the heroic dashing swashbuckler or the seductive lothario. He was extremely popular with female fans and was at the peak of his career in 'Annie Laurie.'

Among those in the large cast of supporting players was a very young John Wayne in one of his earliest roles as an extra.

'Annie Laurie' is the latest in TCAN's silent film series, in which classic motion pictures from Hollywood's silent film era are screened with live music.

"It's a great way for audiences to experience the magic of silent film in the way it was intended: on the big screen, in restored editions, with live music, and with an audience," said Jeff Rapsis, who provides live musical accompaniment for each program.

"Early movie-making was a shared experience that took place in a theater," Rapsis said. "Filmmakers at the time created motion pictures with that in mind—and when you can present them the way they were intended, their impact remains uniquely powerful."

'Annie Laurie' (1927) starring Lillian Gish and Norman Kerry will be shown with live music on Sunday, April 26 at 4 p.m. at TCAN Center for the Arts, 14 Summer St., Natick, Mass.

Admission is $12 per person for members; $14 for non-members. Tickets available online at www.natickarts.org or at the door. For more info, call (508) 647-0097.

Up next: back to the future with 'Metropolis' on Sunday, Dec. 8 at Natick Center for the Arts

Who has time for holiday shopping when you can take in a screening of 'Metropolis'?

This weekend brings a chance to see the great futuristic fantasy 'Metropolis' (1927) on the big screen and with live music.

The screening takes place on Sunday, Dec. 8 at 4 p.m. at the Natick Center for the Arts, 14 Summer St., in Natick, Mass. 

More information about the film and the screening is in the press release pasted in below. 

Year after year, 'Metropolis' remains one of the most-requested silent film titles, at least in my experience. 

I guess even if an audience isn't into silent film, 'Metropolis' has such a novelty appeal (a silent film about the future!) that people want to experience it, which is great.

If given a chance, I try to explain that the film really needs to be seen in the context of the era that produced it.

Director Fritz Lang and screenwriter Thea von Harbou weren't just spinning a futuristic tale. They were attempting to address big questions faced by Germans in the Wiemar Republic.

What kind of a society did Germans want to create? With Bolshevism and collectivism to the east, and Gilded Age capitalism to the west, what direction should the German people take?

What role should religion and spirituality take? Both are important elements of the German culture. Lang and Harbou knew this—hence the film's final climax takes place on the roof of a cathedral, of all places.

Essentially, their message was specific to the times, but also happens to be timeless: that choices we make today will have important consequences for tomorrow.

We all know now that Germany chose abysmally in the ensuring years. 

In the century since 'Metropolis' was filmed, political systems have come and gone. But the film's power endures and has a lot to say to us today.

See for yourself at our screening on Sunday, Dec. 8 at 4 p.m. at the Natick Center for the Arts in Natick, Mass. More details below!

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Mad scientist gesture 101: a scene from 'Metropolis' (1927).

MONDAY, DEC. 2, 2024 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Restored classic sci-fi epic 'Metropolis' to screen in Natick on Sunday, Dec. 8

Landmark early futuristic fantasy, with half-hour of rediscovered footage, to be shown with live music at Center for the Arts

NATICK, Mass.—A silent film hailed as the grandfather of all science fiction fantasy movies will be screened with live music at the Center for the Arts in Natick, Mass.

'Metropolis' (1927), an epic adventure set in a futuristic world, will be shown on Sunday, Dec. 8 at 4 p.m. at the TCAN Center for the Arts, 14 Summer St., Natick, Mass.

The screening, the latest in the Center for the Art's silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating music for silent films.

Admission is $12 per person for members; $14 for non-members. Tickets are available online at www.natickarts.org or at the door. Tickets are available online at www.natickarts.org or at the door.

'Metropolis' (1927), regarded as German director Fritz Lang's masterpiece, is set in a society where a privileged elite pursue lives of leisure while the masses toil on vast machines and live in poverty.

The film, with its visions of futuristic factories and underground cities, set new standards for visual design and inspired generations of dystopian fantasies from Ridley Scott's 'Blade Runner' to Terry Gilliam's 'Brazil.'

In reviving 'Metropolis' and other great films of cinema's early years, the Center for the Arts aims to show silent movies as they were meant to be seen—in high quality prints, on a large screen, with live music, and with an audience.

"All those elements are important parts of the silent film experience," said Rapsis, who will improvise an original live score for 'Metropolis' on the spot. "Recreate those conditions, and the classics of early cinema leap back to life."

Oh my god! Did I forget to set my clock back last month?

In 'Metropolis,' the story centers on an upper class young man who falls in love with a woman who works with the poor. The tale encompasses mad scientists, human-like robots, underground spiritual movements, and industrial espionage, all set in a society divided between haves and have-nots.

The version of 'Metropolis' to be screened at the Center for the Arts is a newly restored edition that includes nearly a half-hour of missing footage cut following the film's premiere in 1927. The lost footage, discovered in 2008 in an archive in Argentina, has since been added to the existing 'Metropolis,' allowing plot threads and characters to be developed more fully.

When first screened in Berlin, Germany on Jan. 10, 1927, the sci-fi epic ran an estimated 153 minutes. After its premiere, the film's distributors (including Paramount in the U.S.) drastically shortened 'Metropolis' to maximize the film's commercial potential. By the time it debuted in the U.S. later that year, the film was only about 90 minutes long.

Even in its shortened form, 'Metropolis' became a cornerstone of science fiction cinema. Due to its enduring popularity, the film has undergone numerous restorations in the intervening decades in attempts to recover Lang's original vision.

Restoration work continues to this day. In 2008, the curator of the Buenos Aires Museo del Cine discovered a 16mm dupe negative of 'Metropolis' that was considerably longer than any existing print.

It included not merely a few additional snippets, but 25 minutes of "lost" footage, about a fifth of the film, that had not been seen since its Berlin debut.

The discovery of such a significant amount of material called for yet another restoration, a 2½-hour version that debuted in 2010 to widespread acclaim. It's this fully restored edition that will be screened at the Center for the Arts.

" 'Metropolis' stands as an stunning example of the power of silent film to tell a compelling story without words, and reach across the generations to touch movie-goers from the real future, which means us," said accompanist Jeff Rapsis, who provides live music for silent film screenings throughout New England and beyond.

To accompany a silent film, Rapsis uses a digital synthesizer to recreate the texture of the full orchestra. The score is created live in real time as the movie is screened. Rather than focus exclusively on authentic music of the period, Rapsis creates new music for silent films that draws from movie scoring techniques that today's audiences expect from the cinema.

The restored 'Metropolis' will be shown on Sunday, Dec. 8 at 4 p.m. at the TCAN Center for the Arts, 14 Summer St., Natick, Mass. Admission is $12 per person for members; $14 for non-members. Tickets are available online at www.natickarts.org or at the door.

CRITIC'S COMMENTS on ‘METROPOLIS’

“'Metropolis' does what many great films do, creating a time, place and characters so striking that they become part of our arsenal of images for imagining the world.”
—Roger Ebert, 2010, The Chicago Sun-Times

“If it comes anywhere near your town, go see it and thank the movie Gods that it even exists. There’s no star rating high enough.”
—Brian Tallerico, Movieretriever.com

On your marks: My annual Halloween marathon of spooky silent film screenings starts this Sunday

John Barrymore stars in 'Dr Jekyll & Mr. Hyde' (1920) on Sunday, Oct. 17 at the Center for the Arts in Natick, Mass.

This weekend marks start of the annual "Silent Film Halloween Marathon"—a spooky steeplechase of screenings that will take us through the end of the month and beyond.

On Sunday, Oct. 17, I'll be in Natick, Mass. to do music for the 1920 version of 'Dr. Jekyll & Mr. Hyde' at the Center for the Arts. Showtime is 4 p.m. and lots more info in the press release below.

After that, it's a dozen screenings of classic silents with live music, most intended to scare up some fun in advance of Halloween. (There's a railroad program in there as well!)

It all culminates in two "big time" gigs in the Boston area: live music for 'Dracula' (1931) at the Somerville Theatre on Sunday, Oct. 31, and then 'Nosferatu' (1922) at the Coolidge Corner Theatre.

I'll report on the marathon as it progresses. For now, hope to see you at 'Dr. Jekyll & Mr. Hyde' in Natick this Sunday...

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Original artwork promoting the 1920 version of 'Dr. Jekyll & Mr. Hyde.'

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

Natick Center for the Arts to screen 1920 silent film version of 'Dr. Jekyll & Mr. Hyde'

Early adaptation of Robert Louis Stevenson classic features John Barrymore in title role; shown with live music on Sunday, Oct. 17

NATICK, Mass.— It was first a best-selling novel, then an immensely popular stage play. So it was just a matter of time before the movies tackled 'Dr. Jekyll & Mr. Hyde,' Robert Louis Stevenson's classic tale of a man tortured by two personalities—one thoroughly good and the other completely evil.

Just in time for Halloween, an early (and eerie) silent film version of the 'Dr. Jeykll & Mr. Hyde' released in 1920 will be shown with live music on Sunday, Oct. 17 at 4 p.m. at the Center for the Arts, 14 Summer St., Natick, Mass.

Tickets are $12; Center for the Arts members $10.

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

Starring iconic actor John Barrymore, the film was a huge early hit for Paramount Pictures. It helped establish the "thriller" genre and showed the potential of the movies to vividly tell disturbing and creepy stories.

Dr. Jekyll, a London physician and philanthropist, becomes fascinated with the dual nature of man after the profligate Sir George Carew exposes him to temptation. When Jekyll invents a potion that separates the good from the evil in a person, he decides to live both roles and names the evil persona Mr. Hyde.

Jekyll is in love with Millicent, the daughter of Sir George; meanwhile, Hyde prowls the poorer districts of London, debases and discards Theresa, a dance hall performer. Jekyll's control over Hyde weakens gradually to the point where his alter ego resorts to murder, forcing Hyde into a showdown to save his loved ones and reign in the evil he himself has spawned.

The film put Barrymore, a noted stage actor, on the cinematic map. Following 'Dr. Jekyll & Mr. Hyde,' Barrymore would go on to be one of the biggest stars of early cinema. His handsome visage, dubbed "the great profile," was instantly recognizable to movie-goers of the time, who flocked to see Barrymore in later films such as 'Sherlock Holmes' (1922), 'Don Juan' (1926), and 'The Beloved Rogue' (1927).

Barrymore's performance in 'Dr. Jekyll & Mr. Hyde' is noteworthy in part because, in an era of limited special effects, his portrayal of the early stages of Jekyll's transformation was done using only facial expressions and gestures. Make-up was only used later in the film following the full transformation of the Hyde character.

Stevenson's story has been refilmed many times, including versions in 1931 and 1941, and was most recently remade in 2008 as a TV movie starring Dougray Scott.

In screening the original 'Dr. Jekyll & Mr. Hyde,' the Natick Center for the Arts aims to recreate all essential elements of silent film experience: high quality prints shown on a large screen, with live music and an audience.

"These films caused people to fall in love with the movies for a very good reason," said Jeff Rapsis, who will improvise a musical score during the screening. "They were unique experiences, and if you can recreate the conditions under which they were shown, they have a great deal of life in them.

"Though they're the ancestors of today's movies, silent film is a very different art form than what you see at the multiplex today, so it's worth checking out as something totally different," Rapsis said.

Rapsis performs on a digital synthesizer that reproduces the texture of the full orchestra and creates a traditional "movie score" sound.

The silent film version of 'Dr. Jeykll & Mr. Hyde' (1920) will be screened with live music on Sunday, Oct. 17 at 4 p.m. at the Center for the Arts, 14 Summer St., Natick, Mass.

Tickets are $12; Center for the Arts members $10. Tickets must be purchased in advance online at www.natickarts.org. For more information, call the Center box office at (508) 647-0097 or visit www.natickarts.org.

At the Center for the Arts in Natick, Mass.: 'Sunrise' in late afternoon on Sunday, May 2; plus, the 'real' mystery of Paul Leni's 'The Last Warning'

George O'Brien and 'The Other Woman' in 'Sunrise' (1927).

Random thoughts as we slowly emerge from the ongoing pandemic. 

- At a screening of 'The Last Warning' (1928) today in Wilton, N.H., I made my usual remarks about how we'll all putting the silent film experience back together: the theater, the big screen, the live music, and the audience. 

But then I added this thought, which only just occurred to me: the last major pandemic we endured was during the silent era, so we've got that going for us, too.

Well, so we do. We also have a booming stock market, so there's that, too. All we have to do now is ban alcohol and the atmosphere will be complete.

Sometimes I talk too much.

- 'The Last Warning' was our choice for the "half-way to Halloween" screening. Hey, they celebrate Christmas in July, so why not Halloween in late April? 

It was the first time I've done music for 'The Last Warning,' which was certainly worth running. The last film of director Paul Leni before his untimely death, it's filled with startling images and memorable sequences.

However...the restoration Universal did in 2016 seems to be missing material that would better explain the plot. 

An actor is murdered during a play and the body disappears. The theater is then closed for five years and considered haunted. Okay, I'm with you so far.

But then suddenly the theater is being opened and the cast members are rounded up for a reenactment. Great, but it's just not clear how this all comes about, why its being done, and what's at stake. 

Carrie Daumery's close encounter with cobwebs makes for a memorable image in 'The Last Warning.'

Why do all the performers return to a theater when they're clearly all terrified to be there? How is it possible for the producer to be someone no one has ever heard of? And how do the detectives force the production to go on when the theater owners would clearly object? And so on.

Running times for 'The Last Warning' are listed as long as 89 minutes. The Universal restoration clocks in at 78 minutes. I know length is subject to variables such as projection speed. But from what we saw on screen this afternoon, clearly there's footage missing that might answer some of the questions.

Where it is? Perhaps that's the real mystery of 'The Last Warning.'

- I'm pleased to announce that starting in July, I'll be accompanying a new series of silent films with live music at the Rex Theatre in Downtown Manchester, N.H. 

And this past week I was invited to accompany films at the recently relaunched 'Buster Keaton Celebration' next September in Iola, Kansas.

And this summer will see reinstated series (all canceled last year) at the Leavitt Theatre in Ogunquit, Maine; at Brandon Town Hall in Brandon, Vt., and other venues.

So maybe this whole pandemic thing really is loosening up. I get my follow-up Moderna shot on Thursday, May 6 but will observe precautions as long as the CDC guidance calls for it. Hope everyone stays healthy.

- Random rant: why, why, WHY does no Web site ever "remember me" despite me always checking the box when I enter my password and type in the authentication code and recite the Hebrew alphabet backwards to prove who I am?

- Next up: 'Sunrise' (1927) at the Natick Center for the Performing Arts, which I'm accompanying on Sunday, May 2 at 4 p.m. More details in the press release below.

I did this film some years ago, and the screening was attended by a friend who had somehow mixed it up with 'Metropolis,' I think. Afterwards, he asked me what kind of futuristic city has an amusement park where pigs slide down a chute?

You can see those same pigs, and a whole lot more, by seeing 'Sunrise' at the somewhat counter-intuitive time of 4 p.m. It's like showing 'London After Midnight' at high noon.

Anyway, hope to see you there!

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Janet Gaynor and George O'Brien in 'Sunrise' (1927).

MONDAY, APRIL 19, 2021 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Academy Award-winning drama 'Sunrise' to be screened on Sunday, May 2 at Center for the Arts in Natick

Silent film won three honors at first-ever Academy Awards, including 'Best Actress'; show features live musical accompaniment

NATICK, Mass.—Silent film on the big screen with live music returns to the Center for the Arts in Natick with the Academy Award-winning romantic drama 'Sunrise' (1927) on Sunday, May 2 at 4 p.m.

The screening of 'Sunrise,' starring Janet Gaynor and George O'Brien, will feature music by silent film composer Jeff Rapsis, who will accompany the film live at the venue, which is located at 14 Summer St., Natick.

Tickets are $18; Center for the Arts members $15, with limited seating due to Covid-19 capacity restrictions.

Gaynor, a popular female star of the silent film era, won the first-ever Academy Award for Best Actress for her performance in 'Sunrise.' The movie took top honors in cinematography and was also recognized for "Unique and Artistic Production" at the inaugural awards.

"It's a great way to follow the annual Academy Awards, which take place the week before on Sunday, April 25," said Rapsis, who creates live original scores for TCAN's silent film series. "If you've never experienced silent film with live music in a theater, 'Sunrise' is a good opportunity to check it out."

'Sunrise' tells the story of a young country couple (played by Gaynor and O'Brien) whose marriage is threatened by the presence of a woman from the city (Margaret Livingston) who convinces the man to abandon his wife. Will the young husband go through with a plan to kill his wife? Will true love overcome the obstacles of temptation and the promise of short-term pleasure?

'Sunrise' was made by F. W. Murnau, a German director and one of the leading figures in German Expressionism, a style that uses distorted art design for symbolic effect. 'Sunrise' was made when Murnau was invited by studio chief William Fox to make an Expressionist film in Hollywood.

The resulting movie features enormous stylized sets that create an exaggerated, fairy-tale world. The city street set alone reportedly cost over $200,000 to build, a huge sum at the time. Much of the exterior shooting was done at Lake Arrowhead, Calif.

Full of cinematic innovations, the groundbreaking cinematography (by Charles Rosher and Karl Struss) featured moving cameras and impressive tracking shots. Titles appear sparingly, with long sequences of pure action and most of the story told in Murnau's signature visual style. The extensive use of forced perspective is striking, particularly in a shot of the city with normal-sized people and sets in the foreground and smaller figures in the background by much smaller sets.

The story of 'Sunrise' is told as a visual allegory with few specific details. The characters have no names, and the setting is not named in order to make the tale more universal and symbolic.

With a full title of 'Sunrise: A Song of Two Humans,' the film is regarded as one of the high points of the silent cinema. In 1988, it was selected for preservation in the National Film Registry of the U.S. Library of Congress for films that are "culturally, historically, or aesthetically significant." The Sight and Sound poll of 2012 for the British Film Institute named 'Sunrise' the fifth-best film in the history of motion pictures by critics, and 22nd by directors.

Critics continue to hail 'Sunrise' as one of the best films of all time.

"F.W. Murnau's 'Sunrise' conquered time and gravity with a freedom that was startling to its first audiences," wrote Roger Ebert in 2004. "To see it today is to be astonished by the boldness of its visual experimentation.

Rapsis, who uses original themes to improvise silent film scores, said great silent film dramas such as 'Sunrise' used their lack of dialogue to create stories that concentrated on the "big" emotions such as Love, Despair, Anger, and Joy. Because of this, audiences continue to respond to them in the 21st century, especially if they're presented as intended — with a live audience and live music.

"Dramas such as 'Sunrise' were created to be shown on the big screen as a communal experience," Rapsis said. "With an audience and live music, they still come to life as their creators intended them to. So the screenings at Natick's Center for the Arts are a great chance to experience films that first caused people to fall in love with the movies," he said.

'Sunrise' will be shown on Sunday, May 2 at 4 p.m. at the Natick Center for the Arts, 14 Summer St., Natick, Mass.

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

What if Disney's songwriting duo the Sherman brothers had been born in Beijing, not NYC?

I've been remiss in updating my silent film adventures due to a big grant-writing deadline.

But now, before heading off to London to accompany a screening of 'The Cat and the Canary' at the Kennington Bioscope next week, it's time to catch up.

Since returning from the Kansas Silent Film Festival, I've had the pleasure of doing live music for two very different motion pictures: one a familiar warhorse, and the other completely unknown to me.

The former: 'Wings' (1927), the grand epic of the skies that won Best Picture at the very first Academy Awards.

The latter: 'The Stormy Night' (1925), a Chinese silent comedy/drama that was considered lost until just recently.

With 'Wings,' I was on familiar ground. (Har!)

Booked by the Center for the Arts in Natick, Mass. for an afternoon screening on Sunday, Feb. 24, it was intended as a warm-up for that evening's Oscars ceremony.

For me, the circumstances were hard to beat. That morning, I had flown from Kansas City through Detroit and then into Manchester, N.H., arriving in plenty of time to swing down to Natick and load in my gear for the 4 p.m. show.

So what better prep for 'Wings' than flying not one but two commercial flights right before the screening?

We enjoyed a healthy turnout, and a pre-show poll found most people new not only to 'Wings' but also the silent film experience. (And the theater, managed by Josh Valentine and Nicola Anderson, always does such a great job promoting the screenings, putting up vintage posters to build excitement.)

Located in a beautifully refurbished firehouse, the Center for the Arts boasts a gleaming Yamaha grand piano in its upstairs performance space, where movies are shown.

It's been beckoning me since I started performing in Natick. One of these days I'll use it, but so far all the films in Natick have been better served by digital synthesizer, I think.

This time around I found the piano up on the risers that constitute the "stage." And even though I wasn't going to use it, I couldn't resist opening the lid and playing a bit...and then realized that it was at the perfect height for me to use while standing up!

Now there's an idea! It's sitting down at a desk bad for you? Isn't the human body designed to function most efficiently in a standing position?

So why do people sit at a piano to play it? Wouldn't it make more sense for the player to stand?

We have stand-up comedians. Why not stand-up pianists?

Quick, get me a patent lawyer so I can protect my innovative new "pedal extendeder," which allows you to easily convert an old-fashioned sit-down piano into a modern, up-to-date, ergonomically superior STAND UP PIANO!

Order before midnight tonight and we'll throw in a VHS bootleg tape of Buster Keaton's 'The General'!

And then...

Last Saturday I had the privilege (and the challenge) of creating music for a newly rediscovered Chinese silent film that's been making the rounds of elite film venues.

In this case, it was for a screening of 'The Stormy Night' (1925) at the Harvard Film Archive.

The film, a light-hearted comedy/drama about the upper classes in pre-Maoist China, had been missing since its release.

This was par for the course. As the Harvard Film Archive notes tell us:

More than 650 films were reportedly made in China between 1921 and 1931, yet no more than twenty have survived the wars that followed. The serendipitous rediscovery of Zhu Shouju’s 1925 film 'The Stormy Night' gives us a rare opportunity to learn about this significant yet forgotten era of Chinese silent cinema.

That's a pretty rotten record, even for silent film!

But yes, a nearly complete print of 'The Stormy Night' was discovered some years back in a Japanese archive. After repatriation to China, it was restored by Shi Chuan, a Shanghai-based film scholar. It's now available for screening for the first time in nearly a century.

A special treat for this screening was an introduction by Shi Chuan himself, with translation by Jie Li of Harvard's Department of East Asian Languages and Civilizations.

A scene from 'The Stormy Night' (1925).

Unsurprisingly, the audience was packed with Chinese students. Surprisingly, the accompanist was an occidental of Irish-Lithuanian-French-Canadian extraction with no cultural connection to the film's milieu short of an appetite for General Tso's chicken.

But I looked at it as a challenge: how could I create appropriate music for a film made in a completely different cultural context compared to my own?

This, after all, was not the Chinatown riot sequence from Buster Keaton's 'The Cameraman' (1928). Nor was it the seedy faux Chinese opium den depicted in Raymond Griffith's 'Paths to Paradise' (1925).

With cultural references like those in his head, what's an accompanist to do?

My approach was to back off and keep it light. It was a comedy, after all. And it seems to me no matter what the cultural context, with comedy, less is more.

Also, I tried to use a musical language that was separate from the familiar Western/classical harmonies and chord progressions.

Melody, yes. But not the way you'd encounter it in Mozart or Beethoven. More like a modal sound,

My overriding attitude was this question: "What would it sound like if Disney songwriters Robert B. and Richard M. Sherman had been born in Beijing instead of New York?" That's what I was going for.

Songwriting brothers Richard M. and Robert B. Sherman with their patron, Walt Disney.

(I think the Sherman brothers were among the best songwriters of all time, and I'll fight anyone who disagrees.)

But back to pre-Maoist China. To help get my mind in the right place for this, I opted for a synthesizer texture that was light and airy and heavy on the strings and harp.

Just by hitting a single note, you could hear we were in a different place. But it wasn't the plinkety-plink of xylophones or the tired and not-very-exotic crash of a gong. It was more of clean sweep, giving me implicit license to work in a fresh style.

That's what I was going for. And from the reaction to the film, I think I wasn't too far off.

I mean, people actually laughed at this formerly lost comedy from a lost world. It engaged them, drew them in, and they enjoyed it.

Thus I'm really glad I didn't go with my original plan, which was to play variations on 'Chopsticks' for 90 minutes.

Thanks to Haden Guest and Karin Kolb of the Harvard Film Archive for continuing to program a wide variety of silents with live music.

And special thanks to Shi Chuan for rescuing this rare film from oblivion, and for coming all the way to Boston to share it with us!

Coming up next: 'The Man Who Laughs' on Wednesday, 10/25 at the Regent Theatre

Conrad Veidt and Olga Baklanova in 'The Man Who Laughs.'

Coming up next: live music for 'The Man Who Laughs' (1928), one of the truly great silent films for Halloween.

Nothing wrong with perennial favorites 'Nosferatu' and 'Phantom.' But if I had my way, 'The Man Who Laughs' would screen just as often.

Never seen it? You chance is coming this week: it's playing on Wednesday, Oct. 25 at 7 p.m. at the Regent Theatre in Arlington, Mass.

More details in the press release below.

Actually, I think 'The Man Who Laughs' is a great film for any time of the year. It's a truly skillful adaptation of an underrated Victor Hugo novel.

And the title character seems tailor-made for silent film: a man whose disfigured face forces him to display an insane grin no matter what tragedy befalls him. Talk about visuals!

The film's principle drawing card for today's audiences is that the make-up job for the title character, played by Conrad Veidt, inspired the look of Batman's nemesis, the Joker.

But 'The Man Who Laughs' is not just a make-up job. It's full of strong performances, starting with Veidt, who gives it his all in a role that must have been a challenge to realize.

The supporting cast is equally strong, and generously salted with odd-ball character actors that director Paul Leni often employed.

Even Mary Philbin, as the blind Dea, redeems herself from her 'Phantom' over-acting with a remarkably nuanced performance.

And the story really taps into the big emotions that drive the greatest silent films: love with a capital L, fear, jealousy, joy, greed, and so much more.

So I invite you to join us for 'The Man Who Laughs' at the Regent, a fantastic neighborhood theater and performance space that's an ideal venue for silent film to be seen at its best.

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A few notes from the road.

Lately, if my life were a Dr. Seuss book, it would be "Oh, The Places You'll Go!"

Really: with Halloween coming up fast, the past five days have taken me to silent film screenings in all kinds of venues.

How about a town office complex in Jacksonville, Vermont?

Or the Tuscan Opera House, a ramshackle function hall just down the road from an enormous paper mill complex in Rumford, Maine? (On the program: 'The Man Who Laughs.'

And Brandon Town Hall in Brandon, Vt., where I accompanied the silent version of 'Dr. Jekyll and Mr. Hyde.'

And how about the newly renovated Natick Center for the Arts in Natick, Mass.?

In a break from the Halloween programming, the folks in Natick opted for a Charlie Chaplin comedy program to launch what's hoped to be a regular silent film/live music series.

It's about the right size, and the projection system is top notch.

So I hope a series comes to pass, as it's an excellent venue for silent film. As a bonus, it has a brand spanking new Yamaha concert grand piano right in the hall:

I didn't make use of it as I had already set up my digital synthesizer for the Chaplin program. But I spent some time getting to know the Yamaha, and it's like driving a Porsche. I look forward to working with it for future programs if the opportunity arises.

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TUESDAY, OCT. 10, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'The Man Who Laughs' (1928) to screen with live music on Wednesday, Oct. 25 at Regent Theatre

Just in time for Halloween: Creepy silent film thriller inspired the look of Batman's nemesis 'The Joker'

ARLINGTON. Mass.—'The Man Who Laughs' (1928), a classic silent film thriller, will be screened with live music on Wednesday, Oct. 25 at 7 p.m. at the Regent Theatre, 7 Medford St., Arlington, Mass.

General seating admission is $12 per person in advance or day of show.

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

'The Man Who Laughs,' directed by Paul Leni and starring Conrad Veidt, is a silent thriller about a disfigured man forced to wear an insane grin all his life.

The movie was a popular and ground-breaking silent film adaptation of a sprawling Victor Hugo novel set in 17th century England.

Veidt stars as Gwynplaine, a child born of English nobility. After his father is executed, a cruel King James II orders a royal surgeon to hideously disfigure young Gwynplaine's face into a permanent smile, so that he may always laugh at his father's foolishness.

Abandoned and shunned, young Gwynplaine is left to make his way on his own. He learns to conceal his face from strangers, befriending Dea, a blind girl who is not aware of his disfigurement.

The pair are then adopted and put to work by a travelling impresario, who makes use of Gwynplaine's startling face in his theatrical productions.

Gwynplaine and Dea grow to adulthood and eventually fall in love, but complications arise when Gwynplaine's noble lineage is revealed, entitling him to his father's estate—provided he marry another woman of noble birth.

Veidt, who starred earlier in the German expressionist horror classic 'The Cabinet of Dr. Caligari' (1919), played the role of Gwynplaine by using a prosthetic device inside his mouth to force his face into a hideous grin and display outsized teeth.

This striking look was later adapted by Batman creator Bob Kane as a model for the physical appearance of iconic villain 'The Joker.'

Critics have praised 'The Man Who Laughs' for its dark visual style and daring story content.

"'The Man Who Laughs' is a melodrama, at times even a swashbuckler, but so steeped in Expressionist gloom that it plays like a horror film," wrote Roger Ebert in 2004. "The film is more disturbing than it might have been because of Leni's mastery of visual style."

Director Leni, originally trained as an artist, made ample use of shadows and darkness in 'The Man Who Laughs,' which set the stage for many legendary Universal horror classics soon to follow, including 'Dracula' (1931) and 'Frankenstein' (1931).

Upcoming programs of silent film with live music at the Regent include:

• Friday, Jan. 26 at 7 p.m., 'The Wizard of Oz' (1925). Early silent film version of Frank L. Baum's immortal tales features silent comedian Larry Semon in a slapstick romp that also casts Oliver Hardy as the Tin Man and takes extreme liberties with the beloved classic tales and characters. Oz as you've never seen it before!

'The Man Who Laughs' (1928) will be screened on Wednesday, Oct. 25 at 7 p.m. at the Regent Theatre, 7 Medford St., Arlington, Mass.

General seating admission is $12 per person in advance or day of show. Tickets may be booked online at www.regenttheatre.com. For more information, call the theater at (781) 646-4849.

For more information on the music, visit www.jeffrapsis.com.

The annual pre-Halloween marathon continues, but with Charlie Chaplin detour this weekend

Chaplin and Coogan on a poster promoting 'The Kid.'

Wednesday night it was Vermont. Last night it was Massachusetts.

And tonight it's Maine, and Saturday night it's Vermont again.

In what's become an annual tradition, the latter half of October finds me bombing all over rural (and urban) New England, presenting spooky silent film programs with live music in libraries, theaters, and community halls.

On the plus side, peak foliage is lingering a bit this year. So my windshield is filled with scenes like this, on Route 101 in Dublin, N.H.:

And the down side? Well, there is no down side. I love doing this—as an outlet for creativity that provides immediate feedback, it's become my therapy.

This year's pre-Halloween marathon does have one odd detour: a Chaplin program on Sunday, Oct. 22 at the Center for the Arts in Natick, Mass.

It's a new venue for me, and possibly the start of a new series. Despite it being high 'Nosferatu' season, organizers felt the best way to open was with Chaplin. So we're running the original release version of 'The Kid' (1921).

I suppose there is a Halloween connection to this film, as Chaplin's young costar Jackie Coogan would later play a prominent role as "Uncle Fester" in the ghoulish 'Addams Family' sitcom.

If you're in the Boston area and need a break from the run-up to Halloween, consider joining us. A press release is below.

And now, I hope you'll excuse me as I prepare to head north to paper mill country for tonight's screening of 'The Man Who Laughs' (1928) in the Tuscan Opera House in Dixfield, Maine.

For true groupees, check out my complete schedule by clicking "Upcoming Silent Film Screenings" at upper right.

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Chaplin, Coogan, and Cop in 'The Kid' (1921).

MONDAY, SEPT. 25, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Charlie Chaplin's 'The Kid' to screen on Sunday, Oct. 22 at Natick's Center for the Arts

Landmark silent film comedy/drama about Little Tramp raising an orphan to be presented with live music

NATICK, Mass.—Silent film with live music comes to the Center for the Arts with a screening of Charlie Chaplin's classic comedy/drama 'The Kid' (1921) on Sunday, Oct. 22 at 7:30 p.m. Tickets are $12 for the general public, $10 for members.

The special program will be presented with live music by silent film accompanist Jeff Rapsis.

Presented by the Center of the Arts, 14 Summer St., the program enables audiences to experience silent film in the way its makers originally intended: on the big screen, with live music, and with an audience.

The program is family-friendly and suitable for audience members of all ages.

Chaplin was already the world's most popular comedian and filmmaker when he produced 'The Kid,' his first feature-length project.

The movie, with its daring mix of intense drama and slapstick comedy, proved an instant sensation and marked one of the high points of Chaplin's long career.

'The Kid' follows the story of a tramp (Chaplin) who attempts to raise an orphaned boy on his own. It includes several classic scenes, and is highlighted by a sequence in which Chaplin battles authorities attempting to return the child to an orphanage.

Co-starring with Chaplin in 'The Kid' is five-year-old Jackie Coogan, who turned in what many critics rank as the best child performance of the entire silent film era. Chaplin himself worked closely with the young Coogan for more than a year to develop the youngster's acting abilities.

Coogan went on to a long career that much later included the role of "Uncle Fester" in the popular 1960s Addams Family television show.

The screening of 'The Kid' provides local audiences the opportunity to experience silent film as it was intended to be shown: on the big screen, in restored prints, with live music, and with an audience.

"If you can put pieces of the experience back together again, it's surprising how these films snap back to life," said Rapsis, a New Hampshire-based silent film accompanist who creates music for silent film screenings at venues around the country. "By showing the films under the right conditions, you can really get a sense of why people first fell in love with the movies."

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

'The Kid' will be preceded by 'A Dog's Life' (1918), one of Chaplin's earlier short comedies that helped establish his worldwide popularity.

'The Kid' (1921) starring Charlie Chaplin and Jackie Coogan, will be screened with live music on Sunday, Oct. 22 at 7:30 p.m. at The Center for Arts in Natick, 14 Summer St., Natick, Mass.

For more info, call (508) 647-0097 or visit www.natickarts.org.

For more info about the music, visit www.jeffrapsis.com.