Mildred Davis and Harold Lloyd in 'A Sailor Made Man' (1921), which I'm accompanying at the Wilton (N.H.) Town Hall Theatre on Sunday, May 1.
It's been an interesting week, with much of it spent dealing with the aftermath of a car break-in while I was down in Boston last Saturday.
But now performances beckon. First up: I'm doing music for a Harold Lloyd program on Sunday, May 1 at 4:30 p.m. at the Wilton (N.H.) Town Hall Theatre. Hope to see you there!
After that, I welcome British silent film expert Amran Vance to the Manchester (N.H.) City Library on Tuesday, May 3. I'm accompanying a double bill that evening of 'The Cheat' (1915), an early Cecil B. Demille melodrama, and 'Shattered Dreams' (1918), a bizarre anti-Bolshevist propaganda film.
And then I head out to San Francisco, where I'm guest accompanist at the Niles Essanay Silent Film Museum on Saturday, May 7. On the program: 'The Square Deal Man' (1917), a Western starring William S. Hart as professional gambler Jack O'Diamonds. Not expecting much subtlety in this one, pardner.
But before all of this, here's an update on what happened in Boston on Saturday, April 23. Looking back, I kinda wish William S. Hart had been on hand for it.
Where's William S. Hart when you need him?
That day I drove to Boston for some non-silent-film business in the Kenmore Square area. It was such a beautiful early spring day, so I decided in advance that I would go for a run along the Charles River.
One reason for this: I'm pursuing a long-term project to run a minimum of 10K (or 6.2 miles) in all 50 states. I've been getting at least one each month since last December. So to keep the streak alive, I decided to tackle nearby Massachusetts this month, as I didn't expect to be going out-of-state otherwise.
And one more option: that night was the final concert of the 2015-16 season of the Boston Symphony Orchestra. So if I didn't feel like the run, another option was heading over to Symphony Hall and snagging a rush ticket to this gala affair. Maybe. We'll see.
So I ran my errand in Kenmore Square, then I returned to my car, which was parked on Bay State Road, a busy street right off Commonwealth Avenue. It was too nice not to go for a run. So I fed the meter through to 6 p.m.
And off I went, noting the dashboard clock time of 4:05 p.m., and taking only my keys and the moisture-wicking shirt on my back. (Yes, shorts and shoes too.) A knapsack in which I had my wallet, cellphone, and other things was stowed down under the front passenger seat. I also put my black satchel (a.k.a. my "man purse") in the same place.
I should mention that my Subaru Forester was crammed with all my musical gear: a full-size digital workstation and keyboard, a crate filled with cabling, two speakers, and other equipment. A big performance was coming up the next night, so I'd already loaded what I needed.
I made my way to the Mass. Ave. bridge and then down onto the Esplanade, a narrow park that runs along the south bank of the Charles, which at this point functions like a spectacular urban lake separating Boston and Cambridge.
And it was one of those days that everything about Boston looked and felt just perfect: bright sun, blue sky, sailboats crowding the Charles, the paths filled with people holding hands, pushing strollers, walking dogs, walking with walkers: the whole circle of life!
What the Esplanade looks like in spring. Photo by Ingfbruno.
The classy brick townhhouses of Back Bay rose just beyond the trees, which were just beginning to flower and bud. Further beyond rose the city's glass towers, lending a multi-layered feel to the dense urban landscape.
"You know," I thought, plodding downriver towards the Museum of Science. "You can go all around the globe and see the world's great cities. But on a day like this, Boston stands up to any of them!"
I actually laughed out loud. I felt giddy. How fortunate to be here on this beautiful day! I felt young, although I was easily at least twice the age of everyone around me.
This state of mild ecstasy kept me going for 8 miles—turning around at the Museum of Science, then all the way up to Harvard and doubling back.
Returning to where I started, I hauled myself over the Mass. Ave. bridge, eager to reach the oasis of my car. For one thing, I had stowed an egg bagel with olive and pimento spread in the glove compartment, and felt I really needed it. Plus some water. Plus my feet hurt.
I reached Bay State Road maybe about 5:30 p.m.—I'd know for sure when I checked the dashboard clock for my official "end" time. Ahead of me stretched the curving row of parked cars, al hugging the street. Striding forward, I pressed 'Unlock' on my key fob, expecting to hear the beep of my car's response.
Where I parked the car. Click to enlarge.
Nothing. Funny—but it's a busy city street. So I walk a but further, try again. Still no beep.
Hmm, I think—I must have parked further up than I thought. Sometimes a long run will do that to you.
Only when I reached the end of the block did I first get a sinking sense that my car might not actually be where I left it. And that it might not be there at all.
Almost by reflex, I rejected this absurd notion. I crossed the street, thinking I must have somehow gotten turned around and that the car was on the other side.
But it wasn't there either. From here, I scanned the area across the street where I now definitely remembered parking. The car just wasn't there.
It was gone!
And everything in it—my wallet, my phone, my credit cards, my camera, my driver's license, and so much else. And all the music equipment, with a performance scheduled for the very next day.
And me standing there, sweating and in running clothes, with just a set of keys, like some ape who just blundered into civilization.
I don't know who may read this. But whoever you are, I hope you don't ever have to experience the short but memorable sense of helpless panic that washed over me at that point. I really almost fainted right there on the street.
But again reflex took over: even as I marched back across Bay State Road, I somehow switched to "get 'er done" mode, perhaps as a defense mechanism to keep my mind off the huge questions of what had happened, where my stuff was, and if I'd ever see it again.
Okay, no car. Two young guys were standing on the sidewalk, chatting not far from where I thought my car was.
I apologized for butting in, but did they see anything unusual on this street in the past hour or so? Was there any action, like...well, I don't know, but my car is gone.
After what seemed to me like a very loooooong moment (but which probably wasn't), one said the magic word: YES.
Yes, a police cruiser was here for awhile, and they towed a car from right over there, he said, pointing to pieces of glass scattered along the curb.
Glass? I didn't have time to imagine how that came to be, as the other guy knew which police precinct covered the area and was already calling.
Within a minute I was on his phone with a Boston police dispatcher who confirmed that, yes, my car had indeed been towed.
Why? I fed the meter, I thought, still not able to put it all together.
Someone had smashed the passenger side front window, I was told. Also, a witness had left a note saying the guy had taken two bags from the car and fled the scene on a bicycle.
She even took this picture, which I got later on but will paste in now:
The thief from behind, right after the break-in. (Not the guy on the left walking towards the camera.
And my music equipment? The dispatcher said he'd check, then came back on the line to say he didn't know, but the car was driveable, though missing a window.
So I'd have to come down to the station to retrieve the car.
While on hold, I found myself thinking that I was fortunate to have connected with exactly the right police precinct so quickly.
With no ID, and no money, and ready to keel over after a long run, I might have quickly descended into lunacy at all the uncertainty.
The guy with the phone then let me call my wife back home in New Hampshire, who said she'd just gotten off the phone regarding a fraud alert on one of our credit cards.
About an hour earlier, she said, someone had charged about $610 at the Macy's store in downtown Boston, and then tried to pay for a $47 cab fare, which was declined and triggered the alert.
Could I explain what was going on?
I sure could. Somewhat.
There were other credit cards, but in my name only and all paperwork was at my office. So we'd just have to wait to find out if they'd been used.
For me, the first task was to get to the police station, which turned out to be in South Boston, rather far away: 650 Harrington Ave., a street I'd never heard of.
The phone guy showed me on a map: about 2 miles. There was some talk of buying me an MBTA pass, but I said I'd just walk it.
I got the directions fixed in my head, thanked them, and then marched off towards Mass. Ave.—me and my sweaty running clothes and keys.
A lot remained uncertain, but adrenaline was kicking in. There was a good chance my music stuff hadn't been taken, which was great. A guy on a bike can't easily carry a 70-lb. synthesizer.
On the other hand, I began to realize what was lost if my bags were indeed stolen. Besides the valuables, he got a journal with a year's worth of personal writing, a checkbook with five blank checks in it, the textbook of a college class I teach, some student papers, a day book in which I plan my life six months out, and a lot of other stuff.
On foot, it took seemingly forever to reach the Boston Police Department District 4 station. By the time I arrived, the sun was going down and a chill was in the air.
The officer who responded to the scene happened to be there (another lucky break), and she told me my musical stuff was still in the car.
Well, thank God!
In fact, that's why they had it towed. Sporting a broken window, they didn't want to leave it unattended and risk further larceny.
The bad news, however, was that the car wasn't at the police station. It was actually at a tow lot way out in Brighton, Mass.
So I'd need to get out there. Didn't I have a ride? No, I said—I had nothing.
But then another minor miracle—the officer asked me to go outside and meet her out back, and I'd get to the tow lot.
My escort to the tow lot.
So I did, and there she was, pulling up in a cruiser. I had to get in the back, which turned out to have plastic seats with a small amount of liquid sloshing around in them!
"It's just rain water," she said, seeing me hesitate. "The windows were left open when it rained."
So I lowered myself into an unnatural position, trying to keep my running shorts from coming into contact with the "water."
It didn't work. Every time the cruiser slowed for a stop, the water (which was cold) soaked into my shorts. Oh well, I thought. This too shall pass.
By now it was past 7:30 p.m. We were heading up Huntington Avenue when I realized we would go right by Symphony Hall—and there it was, on the left!
The view from a police cruiser.
Crowds of well-dressed people were arriving for the evening's gala concert, the finale of the 2015-16 season.
And I was present as well—passing Symphony Hall in the back of a police cruiser, exhausted and cold, and sitting in a puddle of cold water.
Nice! I thought back to high school, when I pondered being a creator of music. If you had told me then that at age 52 I would pass Symphony Hall in a police cruiser with a wet butt, I would have laughed. Ha ha!
And so I laughed now. The officer asked what was funny. "Nothing," I replied.
The tow yard was quite a ways out in Brighton on Soldiers Field Road. It was on a dismal street with the amazing name of "Goodenough Road." It was dark by the time we got there, but I was never so relieved as to see my vehicle, sporting a smashed window but otherwise looking okay.
Then more bad news: A woman barricaded in a trailer said it would cost $129 to get the car released. Cash only. No checks or credit cards.
So I was stuck. She did me call home to New Hampshire, and I told my wife she'd have to come down after all.
I looked over the car. The front seat was covered with shards of broken glass, which made sense because he smashed in the window.
Also, there was a handwritten note from Jenny, a BU student who witnessed what happened.
I began picking up what I could, depositing it carefully into a nearby dumpster but still getting one nasty glass splinter. Ouch!
And then I waited. With it getting cold, I started the car and turned on the heat. With cool air coming in through the open window, it kind of felt like camping out.
The wait was made bearable by two things: the discovery that the bagel was still in my glove compartment, and also the Boston Symphony concert being broadcast live on WCRB-FM.
So I settled in, listening to the BSO while sitting in a tow yard in a seat with glass still on it. But I didn't care.
My wife arrived about 9:30 p.m., bailed me out, and then we hit the road to New Hampshire. On Route 3, the roar of cold air blasting competed with the BSO playing Ravel's 'La Valse.'
That night, I went right to my office and stopped all the other cards. Fortunately, none had been used.
The next day I spoke with Jenny, and she sent me the photo. What surprised her, she said, was that people were walking right past, as if nothing out of the ordinary was happening!
I thanked her for her willingness to get involved.
In the days that followed, I worked my way through the hassle of replacing my credit cards, getting a new driver's license, and so on.
I even put up notices online in the unlikely event the thief might be interested in the idiot he robbed, or if someone found my stuff in a ditch somewhere. So far, no takers.
I also talked with Boston police detectives, who told me "it's like a field day" for car break-ins around Kenmore Square.
But because of the photo, they've taken an interest in the case and are working with Macy's to try to get a better image.
We'll see. But it's unlikely that I'll ever see any of my stuff again.
I was actually hoping to go down the next day and cruise the area, looking to see if he'd dumped the bags somewhere, but wasn't able to.
Altogether, I'm out about $1,000, plus the time and hassle of dealing with this. As for insurance: the car window doesn't exceed the deductible on my auto policy, and the value of the stolen items doesn't exceed the deductible on my homeowner's policy. Oh well.
But on balance, I find myself still so thankful that the car itself wasn't stolen, and that everything in it (besides the bags) was untouched.
I'm also glad there are people like the gal who witnessed the break-in and called police. Thank you! And two guys willing to let a sweaty stranger use their phone—thank you.
Thanks also to the outpouring of support from so many people.
And I have to say, dealing with the Boston Police really exceeded my expectations.
When I first realized my car was actually gone, I had no idea what it would be like to deal with the police department of a big city. I was steeling myself for—well, something less than Sheriff Andy Taylor of the Mayberry P.D.
But everyone—from the guy who first answered the phone at District 4 to the detectives still working the case—has been great to deal with.
On balance, I would have preferred to skip the whole experience. But all these people I encountered made it a lot easier to take than it might have been.
Saturday, April 30, 2016
Sunday, April 24, 2016
A quick message to whoever it was
who broke into my car in Boston today
This is a message to whomever smashed the passenger side window of my car this afternoon while it was parked near Kenmore Square in Boston, stealing a bag with my wallet, phone, and some other things in it. Because you know my name, you might be curious enough to check www.jeffrapsis.com.
Here I am, a real person!
If you're here: In the bag you took was a journal that contained more than a year's worth of writing. If you read this and somehow still have the journal, I would really like to have it just sent to my home address, which you know, but I'll put it here anyway: 49 County Road, Bedford, NH 03110. As you know, there was enough in the wallet to cover the postage.
Speaking of the wallet: the one irreplaceable thing in it was an old photo of a dog from my childhood. If you somehow still have the wallet, it would be great if you could send that along, too. Worth a shot asking. She was a great dog and would mean nothing to you.
Thank you for leaving the bagel in my car, which I found after paying $129 to have it released from the lot out in Brighton where the police had it towed after you smashed in the window. A nice lady witnessed the whole affair, by the way. Looks like you hit right after I left. Broad daylight! Well, that's life in the big city, I suppose.
P.S. If you're wondering, the Austrian currency you took is no longer legal tender. It's only exchangeable (for Euros) at the Österreichische Nationalbank in Vienna.
Here I am, a real person!
If you're here: In the bag you took was a journal that contained more than a year's worth of writing. If you read this and somehow still have the journal, I would really like to have it just sent to my home address, which you know, but I'll put it here anyway: 49 County Road, Bedford, NH 03110. As you know, there was enough in the wallet to cover the postage.
Speaking of the wallet: the one irreplaceable thing in it was an old photo of a dog from my childhood. If you somehow still have the wallet, it would be great if you could send that along, too. Worth a shot asking. She was a great dog and would mean nothing to you.
Thank you for leaving the bagel in my car, which I found after paying $129 to have it released from the lot out in Brighton where the police had it towed after you smashed in the window. A nice lady witnessed the whole affair, by the way. Looks like you hit right after I left. Broad daylight! Well, that's life in the big city, I suppose.
P.S. If you're wondering, the Austrian currency you took is no longer legal tender. It's only exchangeable (for Euros) at the Österreichische Nationalbank in Vienna.
Wednesday, April 20, 2016
Chico at the piano: 'I can't think of the finish!'
Groucho: 'Funny, I can't think of anything but!
To paraphrase the Talking Heads song 'Once in a Lifetime':
And you may find yourself being asked to be Chico Marx.
And you may ask yourself: How did I get here?
The answer: not by letting the days go by, but doing silent film accompaniment at a Centennial Gala this Sunday at the Regent Theatre in Arlington, Mass.
I didn't expect to play Chico Marx as part of this—in fact, I found out only last night I'd be doing so.
Of course I said yes. A silent film accompanist has to be ready for anything, after all.
Plus, a chance to channel Chico is a great honor, as the piano-playing Marx was one of my big early influences.
Seriously! Watching the brothers on TV as a child, and seeing Chico cavort at the keyboard, made me first want to pound the horseteeth, as they say.
Plus, I liked how he alone seemed to be able to confound Groucho with a mixture of deliberate misunderstanding, illogic, and ethnic stereotype.
Chico and Groucho match wits in 'Horsefeathers' (1932).
Hey, role models weren't exactly easy to come by for me!
So playing Chico Marx is an unexpected bonus to this event, which is part vaudeville and part silent film screening.
As part of the live show, I'm accompanying performer (and Groucho impersonator) Jerry Bisantz in 'Samovar the Lawyer,' a patter song from the 'Day in Hollywood, Night in the Ukraine' stage musical.
By the way: we ran through the music last night (which was when I found out I was playing Chico) and Jerry really does a great job with it!
But the main reason I'm on hand for the Centennial Gala is to accompany a screening of Mary Pickford in 'Rags,' a 1916 melodrama.
Mary Pickford and friend in 'Rags' (1916).
'Rags' was the very first film shown at the Regent—the main attraction on opening night, actually.
So in planning the Centennial Gala, Leland Stein and his colleagues at the Regent decided to include 'Rags' as a way of celebrating a century of showbiz and entertainment.
Fortunately, the film exists—not the case with most silent films. What's more, it was recently restored by the Mary Pickford Foundation, which supplied the film to the Regent.
So attendees of Sunday's event will get to see a pretty nice-looking edition of this rarelyscreened film, which I've never played for before.
The Gala, which is on Sunday, April 24 at 7 p.m. is packed with a lot of other entertainment, including jugglers, comedians, and more.
But don't take my word for it. Just check out the poster:
I understand seats are still available. So if you want to see 'Rags' in a theater with live music and an audience, please come join us!
You'll also get to see me as Chico Marx, and other performance including burlesque artist "Busty" Keaton.
The Regent is location on 7 Medford St. in Arlington, Mass. For more information, check them out online at www.regenttheatre.com.
At-sa fine, boss!
Labels:
Chico Marx,
Jeff Rapsis,
Jerry Bisantz,
Mary Pickford,
Rags,
Regent Theatre
Saturday, April 16, 2016
'Metropolis' at Aeronaut Brewing Co.
show SOLD OUT on Sunday, April 17
Not sure whether to celebrate this or offer regrets, but our screening of 'Metropolis' (1927) at the Aeronaut Brewing Co. on Sunday, April 17 is sold out.
I wanted to post that here so that anyone planning to travel to Somerville, Mass. for this show is aware.
Of course I don't like the idea of turning anyone away, but the Aeronaut has a strict limit to its occupancy permit and as of now, they're full up.
If you're a fan who really planned on coming down to take in this screening, please call me at (603) 236-9237 and we'll see what we can do.
Also, because of the overwhelming response to this event, the folks at the Aeronaut are considering an encore screening at some point. I'll post info here as soon as we know.
Sorry to disappoint anyone, but there will be other chances to catch this amazing movie. Thanks for understanding!
Labels:
Aeronaut Brewery,
Jeff Rapsis,
Metropolis,
Somerville
Friday, April 15, 2016
Celebrate Tax Day with gangster movie
'Underworld' at Red River on Friday, 4/15
Clive Brook and Evelyn Brent on a poster for 'Underworld.'
When programming a silent film series, I sometimes look for occasions to celebrate.
If a screening is around July 14 (Bastille Day), then that's a good reason to run 'Orphans of the Storm' (1922), D.W. Griffith's French Revolution epic.
So in putting together this year's schedule for Red River Theatres in Concord, N.H., I saw one of the dates was April 15.
April 15? Well, there's a day that's well-known to all U.S. residents, as it's the deadline for federal income tax filings.
What silent film would be appropriate for that? There's none about IRS agents that I can think of.
So I settled for a picture that would be something of a catharsis: a movie in which people battle government agents.
It's 'Underworld' (1927), a Josef von Sternberg drama set in the world of 1920s urban gangsters.
They're always one step ahead of the law, of course. What's more, the movie has extended shoot-outs with federal agents.
So what better way to blow off some steam after ponying up to the federal government to pay your share for all it does?
Clive Brook and Evelyn Brent in 'Underworld.'
Plus, it's one of those pictures I put in the category of "mature" silent film: the really polished productions that were hitting theaters in the last three or four years before talkies took over.
Well worth a look see. So pull the trigger and come join us this evening at Red River Theatres for 'Underworld.' You're sure to get a bang out of it.
More details? Check out the press release I've included below.
* * *
A color-enhanced still for 'Underworld.'
THURSDAY, APRIL 7, 2016 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
Oscar-winning silent crime drama directed by Josef von Sternberg was forerunner of Hollywood 'gangster' movies
CONCORD, N.H.—'Underworld' (1927), a silent drama that spurred a boom in 'gangster' movies, will be screened with live music on Friday, April 15 at 7 p.m. at Red River Theatres, 11 South Main St., Concord, N.H.
The film will be accompanied live by silent film musician Jeff Rapsis. Admission is $10 per person.
'Underworld,' directed by Josef von Sternberg and starring George Bancroft, is notable for being the first major motion picture to portray a criminal in a sympathetic light instead of as a villain. Its popularity touched off a Prohibition-era boom in Hollywood gangster pictures that reached its peak following the stock market crash of 1929.
"We figured a fitting way to mark the date our taxes are due was to screen a picture full of people battling federal agents," Rapsis said.
The story of 'Underworld' follows gangster Bull Weed (George Bancroft), who becomes entangled in a love triangle involving a reformed drunkard, “Rolls Royce” (Clive Brook) whom he takes on as his right-hand man, and Bull’s girlfriend “Feathers” (Evelyn Brent). Bull Weed's imprisonment leads to a dramatic climax.
Bancroft's performance in 'Underworld' set the stage for memorable characterizations of gangster protagonists by Jimmy Cagney ('Public Enemy,' 1931), Paul Muni ('Scarface,' 1932), and Edward G. Robinson ('Little Caesar,' 1930), which all follow directly on from the model created by 'Underworld.'
The film's script, by Chicago newspaperman Ben Hecht, earned an Oscar for Best Screenwriting at the first-ever Academy Awards. The film is also noted for director von Sternberg's innovative use of black-and-white photography, which presaged many film noir techniques in following decades.
Director Von Sternberg was obsessed by light, and developed methods of “painting” his compositions with the arrangements of lamps, scrims, and reflectors on the set. Today he is remembered most for having used that skill in a series of films he made with Marlene Dietrich, starting with 'The Blue Angel' (1930) and continuing in six more star vehicles made in Hollywood, including 'Morocco' (1930) and 'Shanghai Express' (1932).
'Underworld' will be accompanied by live music by Jeff Rapsis, a New Hampshire-based silent film accompanist who performs at venues across the region and beyond.
Using a digital synthesizer to reproduce the texture of the full orchestra, Rapsis will improvise the score on the spot during the screening.
"Films such as 'Underworld' were created to be shown on the big screen and in a theater as a shared experience," Rapsis said. "With an audience and live music, they still come to life in the way their makers intended them to.
"So Red River's silent film screenings are a great chance for people to experience films that caused people to first fall in love with the movies," he said.
'Underworld' is the latest in an monthly series of great silent films with live music at Red River. Upcoming programs include:
• Friday, May 13: 'The Golem' (1920), a pioneering German fantasy in which a rabbi brings a statue to life protect the Jews of 16th century Prague from persecution.
• Friday, June 10: 'The General' (1927), Buster Keaton's classic comic adventure epic of an Southern engineer and his locomotive during the U.S. Civil War.
• Friday, July 15: 'Bardelys the Magnificent' (1926) starring John Gilbert in a big MGM historical swashbuckling adventure thought lost for decades until a print was found recently in France.
Red River Theatres, an independent cinema, is a non-profit 501(c)(3) organization dedicated to screening a diverse program of first-run independent films, cult favorites, classics, local and regional film projects, and foreign films.
The member-supported theater’s mission is to present film and the discussion of film as a way to entertain, broaden horizons and deepen appreciation of life for New Hampshire audiences of all ages.
'Underworld' (1927) will be shown at Red River Theatres, 11 South Main St., Concord, N.H. on Friday, April 15 at 7 p.m. in the Jaclyn Simchik Screening Room at Red River Theatres, 11 South Main St., Concord, N.H. Admission is $10 per person; for more info, call (603) 224-4600 or visit www.redrivertheatres.org. For more information about the music, visit www.jeffrapsis.com.
When programming a silent film series, I sometimes look for occasions to celebrate.
If a screening is around July 14 (Bastille Day), then that's a good reason to run 'Orphans of the Storm' (1922), D.W. Griffith's French Revolution epic.
So in putting together this year's schedule for Red River Theatres in Concord, N.H., I saw one of the dates was April 15.
April 15? Well, there's a day that's well-known to all U.S. residents, as it's the deadline for federal income tax filings.
What silent film would be appropriate for that? There's none about IRS agents that I can think of.
So I settled for a picture that would be something of a catharsis: a movie in which people battle government agents.
It's 'Underworld' (1927), a Josef von Sternberg drama set in the world of 1920s urban gangsters.
They're always one step ahead of the law, of course. What's more, the movie has extended shoot-outs with federal agents.
So what better way to blow off some steam after ponying up to the federal government to pay your share for all it does?
Clive Brook and Evelyn Brent in 'Underworld.'
Plus, it's one of those pictures I put in the category of "mature" silent film: the really polished productions that were hitting theaters in the last three or four years before talkies took over.
Well worth a look see. So pull the trigger and come join us this evening at Red River Theatres for 'Underworld.' You're sure to get a bang out of it.
More details? Check out the press release I've included below.
A color-enhanced still for 'Underworld.'
THURSDAY, APRIL 7, 2016 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
'Underworld' to screen with live music at Concord's Red River Theatres on Friday, April 15
Oscar-winning silent crime drama directed by Josef von Sternberg was forerunner of Hollywood 'gangster' movies
CONCORD, N.H.—'Underworld' (1927), a silent drama that spurred a boom in 'gangster' movies, will be screened with live music on Friday, April 15 at 7 p.m. at Red River Theatres, 11 South Main St., Concord, N.H.
The film will be accompanied live by silent film musician Jeff Rapsis. Admission is $10 per person.
'Underworld,' directed by Josef von Sternberg and starring George Bancroft, is notable for being the first major motion picture to portray a criminal in a sympathetic light instead of as a villain. Its popularity touched off a Prohibition-era boom in Hollywood gangster pictures that reached its peak following the stock market crash of 1929.
"We figured a fitting way to mark the date our taxes are due was to screen a picture full of people battling federal agents," Rapsis said.
The story of 'Underworld' follows gangster Bull Weed (George Bancroft), who becomes entangled in a love triangle involving a reformed drunkard, “Rolls Royce” (Clive Brook) whom he takes on as his right-hand man, and Bull’s girlfriend “Feathers” (Evelyn Brent). Bull Weed's imprisonment leads to a dramatic climax.
Bancroft's performance in 'Underworld' set the stage for memorable characterizations of gangster protagonists by Jimmy Cagney ('Public Enemy,' 1931), Paul Muni ('Scarface,' 1932), and Edward G. Robinson ('Little Caesar,' 1930), which all follow directly on from the model created by 'Underworld.'
The film's script, by Chicago newspaperman Ben Hecht, earned an Oscar for Best Screenwriting at the first-ever Academy Awards. The film is also noted for director von Sternberg's innovative use of black-and-white photography, which presaged many film noir techniques in following decades.
Director Von Sternberg was obsessed by light, and developed methods of “painting” his compositions with the arrangements of lamps, scrims, and reflectors on the set. Today he is remembered most for having used that skill in a series of films he made with Marlene Dietrich, starting with 'The Blue Angel' (1930) and continuing in six more star vehicles made in Hollywood, including 'Morocco' (1930) and 'Shanghai Express' (1932).
'Underworld' will be accompanied by live music by Jeff Rapsis, a New Hampshire-based silent film accompanist who performs at venues across the region and beyond.
Using a digital synthesizer to reproduce the texture of the full orchestra, Rapsis will improvise the score on the spot during the screening.
"Films such as 'Underworld' were created to be shown on the big screen and in a theater as a shared experience," Rapsis said. "With an audience and live music, they still come to life in the way their makers intended them to.
"So Red River's silent film screenings are a great chance for people to experience films that caused people to first fall in love with the movies," he said.
'Underworld' is the latest in an monthly series of great silent films with live music at Red River. Upcoming programs include:
• Friday, May 13: 'The Golem' (1920), a pioneering German fantasy in which a rabbi brings a statue to life protect the Jews of 16th century Prague from persecution.
• Friday, June 10: 'The General' (1927), Buster Keaton's classic comic adventure epic of an Southern engineer and his locomotive during the U.S. Civil War.
• Friday, July 15: 'Bardelys the Magnificent' (1926) starring John Gilbert in a big MGM historical swashbuckling adventure thought lost for decades until a print was found recently in France.
Red River Theatres, an independent cinema, is a non-profit 501(c)(3) organization dedicated to screening a diverse program of first-run independent films, cult favorites, classics, local and regional film projects, and foreign films.
The member-supported theater’s mission is to present film and the discussion of film as a way to entertain, broaden horizons and deepen appreciation of life for New Hampshire audiences of all ages.
'Underworld' (1927) will be shown at Red River Theatres, 11 South Main St., Concord, N.H. on Friday, April 15 at 7 p.m. in the Jaclyn Simchik Screening Room at Red River Theatres, 11 South Main St., Concord, N.H. Admission is $10 per person; for more info, call (603) 224-4600 or visit www.redrivertheatres.org. For more information about the music, visit www.jeffrapsis.com.
Tuesday, April 12, 2016
Epic adventure on Thursday, April 14:
'The Thief of Bagdad' in Plymouth, N.H.
An original poster for 'The Thief of Bagdad.
It's almost like getting two films in one!
That's the thought I have about 'The Thief of Bagdad,' the great adventure film that probably marked the high point in the career of Douglas Fairbanks Sr.
It was an age when filmmakers were exploring the limits of what this new medium, the motion picture, could do. And Fairbanks wanted to keep up.
So he created this adaptation of the 'One Thousand and One Nights' legends of Arabia. And he really hit it out of the park, if you ask me.
More than most silent films, this one puts me in the mind of a child going to see this film when it was first released. What a wonder it must have been!
And today, if you allow your inner child to come forth, 'The Thief of Bagdad' still is.
So what about those two films in one?
Well, the film's first half plays like a fantastical romance. Set in a mythical Bagdad of yore (created in Art Deco style by William Cameron Menzies), the first half contains more than enough story and visual splendor to satisfy a movie-goer of the time, or of any time, really.
But then!
In the second half, Fairbanks busts out of the boundaries of Bagdad and takes the film into flights of pure visual fantasy.
We get underwater sequences, battles with monsters, animated trees—not to mention the famous flying carpet.
There had been nothing like it in cinema, and really hasn't been anything quite like it since, I think.
See it for yourself on the big screen on Thursday, April 14, when we screen 'The Thief of Bagdad' at the Flying Monkey Moviehouse and Performance Center in Plymouth, N.H.
More details in the press release below. Hope you can join us!
* * *
Douglas Fairbanks Sr. playing the title role in 'The Thief of Bagdad.'
THURSDAY, APRIL 7, 2016 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
Epic silent film fantasy classic starring Douglas Fairbanks set new standards for Hollywood magic
PLYMOUTH, N.H. — Silent film with live music returns to the Flying Monkey Moviehouse and Performance Center with a screening of one of early Hollywood's most exciting fantasy adventure movies.
Douglas Fairbanks Sr. stars in 'The Thief of Bagdad' (1924), to be shown on Thursday, April 14 at 6:30 p.m. at the Flying Monkey, 39 South Main St. in Plymouth.
Live music will be provided by silent film accompanist Jeff Rapsis. Admission is $10 per person.
The screening continues the Flying Monkey's monthly series of silent film screenings, which aims to revive big-screen showings of great silent features—the films that first caused audiences to fall in love with the movies.
"If you've never seen a silent film in a theater with live music and an audience, the Fairbanks pictures are a great way to experience the medium at its best," Rapsis said. "When you put all the elements together, silent film has an ability to stir up emotions in a way that no other medium can."
The athletic Fairbanks was the Harrison Ford of his time—a pioneering action hero among the first to entertain movie audiences with thrilling on-screen adventures. Among his best work is 'The Thief of Bagdad' (1924), a timeless adventure boasting a great story, spectacular sets, and magical special effects.
In 'The Thief of Bagdad,' a bare-chested Fairbanks plays a crafty rogue who easily steals everything his heart desires—everything, that is, except the love of a beautiful princess, daughter of the powerful Caliph of Bagdad.
To win her hand, he must not only change his ways, but also convince her of his worthiness over many other highly placed suitors.
In making the film, Fairbanks spared no expense for what some critics still regard as the most lavish fantasy movie ever made, a show-stopping adaptation of the traditional "A Thousand and One Nights" story in which a flying carpet is just one of many eye-popping sights that astounded movies audiences at the time.
Fairbanks, swaggering through massive marketplace sets and cavernous throne rooms as an incorrigible pickpocket, scales towering walls (with the help of a magic rope) and leads merry chases through crowded bazaars in his pursuit of loot—until he falls in love with the princess and vows to win her heart.
The jaunty opening is a preamble to the film's spectacular second half, in which the repentant thief embarks on an odyssey through caverns of fire, underwater palaces, and even outer space. Special effects range from a smoke-belching dragon to a magical flying horse, and still glow with a timeless sense of wonder from the early days of movies.
Soaring over a stylized Bagdad skyline.
William Cameron Menzies's sets were among the largest ever created for a motion picture. Especially noteworthy is his design for a mythical Bagdad, a unique combination of Art Deco and Islamic elements—a dream city inspired by illustrations from story books.
Fairbanks, one of the most popular stars of the 1920s, was the inspiration for the character of George Valentin in the recent Oscar-winning Best Picture 'The Artist' (2011). Fairbanks was known for films that used the then-new medium of motion pictures to transport audiences to historical time periods for grand adventures and athletic stunts. He's often referred to as "Douglas Fairbanks Sr." to avoid confusion with his son, the actor Douglas Fairbanks Jr.
Live music for 'The Thief of Bagdad' will be provided by silent film accompanist Jeff Rapsis, who uses a digital synthesizer to create a traditional full orchestra "movie score" sound.
More than 90 nears after its premiere, 'The Thief of Bagdad' continues to be held in high regard. In 1996, the film was selected for preservation in the U.S. National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
Fairbanks himself considered 'The Thief of Bagdad' to be his personal favorite of all of his films.
'The Thief of Bagdad' is appropriate for family audiences, although very small children may find some sequences frightening. The film runs 2 hours and 34 minutes.
Upcoming programs in the Flying Monkey's silent film series include:
• Thursday, May 12, 2016, 6:30 p.m.: "Paths to Paradise" (1925) and "Hands Up!" (1926). A double feature of films starring Raymond Griffith, a talented comic who at one time rivaled Chaplin and Keaton in the silent comedy pantheon.
• Thursday, June 9, 2016, 6:30 p.m.: "The Winning of Barbara Worth" (1926). Epic Western drama starring Ronald Colman and Gary Cooper about the settling and irrigation of California's Imperial Valley, once a wasteland but now an agricultural paradise.
All movies in Flying Monkey's silent film series are rarely screened in a way that allows them to be seen at their best. To revive them, organizers aim to show the films as they were intended—in top quality restored prints, on a large screen, with live music, and with an audience.
'The Thief of Bagdad' (1924) starring Douglas Fairbanks will be screened with live music on Thursday, April 14 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St. in Plymouth, N.H. Admission is $10 per person. For more information, call the theater at (603) 536-2551 or visit www.flyingmonkeynh.com; for more information on the music, visit www.jeffrapsis.com.
It's almost like getting two films in one!
That's the thought I have about 'The Thief of Bagdad,' the great adventure film that probably marked the high point in the career of Douglas Fairbanks Sr.
It was an age when filmmakers were exploring the limits of what this new medium, the motion picture, could do. And Fairbanks wanted to keep up.
So he created this adaptation of the 'One Thousand and One Nights' legends of Arabia. And he really hit it out of the park, if you ask me.
More than most silent films, this one puts me in the mind of a child going to see this film when it was first released. What a wonder it must have been!
And today, if you allow your inner child to come forth, 'The Thief of Bagdad' still is.
So what about those two films in one?
Well, the film's first half plays like a fantastical romance. Set in a mythical Bagdad of yore (created in Art Deco style by William Cameron Menzies), the first half contains more than enough story and visual splendor to satisfy a movie-goer of the time, or of any time, really.
But then!
In the second half, Fairbanks busts out of the boundaries of Bagdad and takes the film into flights of pure visual fantasy.
We get underwater sequences, battles with monsters, animated trees—not to mention the famous flying carpet.
There had been nothing like it in cinema, and really hasn't been anything quite like it since, I think.
See it for yourself on the big screen on Thursday, April 14, when we screen 'The Thief of Bagdad' at the Flying Monkey Moviehouse and Performance Center in Plymouth, N.H.
More details in the press release below. Hope you can join us!
Douglas Fairbanks Sr. playing the title role in 'The Thief of Bagdad.'
THURSDAY, APRIL 7, 2016 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
Flying Monkey to screen 'The Thief of Bagdad' (1924) with live music on Thursday, April 14
Epic silent film fantasy classic starring Douglas Fairbanks set new standards for Hollywood magic
PLYMOUTH, N.H. — Silent film with live music returns to the Flying Monkey Moviehouse and Performance Center with a screening of one of early Hollywood's most exciting fantasy adventure movies.
Douglas Fairbanks Sr. stars in 'The Thief of Bagdad' (1924), to be shown on Thursday, April 14 at 6:30 p.m. at the Flying Monkey, 39 South Main St. in Plymouth.
Live music will be provided by silent film accompanist Jeff Rapsis. Admission is $10 per person.
The screening continues the Flying Monkey's monthly series of silent film screenings, which aims to revive big-screen showings of great silent features—the films that first caused audiences to fall in love with the movies.
"If you've never seen a silent film in a theater with live music and an audience, the Fairbanks pictures are a great way to experience the medium at its best," Rapsis said. "When you put all the elements together, silent film has an ability to stir up emotions in a way that no other medium can."
The athletic Fairbanks was the Harrison Ford of his time—a pioneering action hero among the first to entertain movie audiences with thrilling on-screen adventures. Among his best work is 'The Thief of Bagdad' (1924), a timeless adventure boasting a great story, spectacular sets, and magical special effects.
In 'The Thief of Bagdad,' a bare-chested Fairbanks plays a crafty rogue who easily steals everything his heart desires—everything, that is, except the love of a beautiful princess, daughter of the powerful Caliph of Bagdad.
To win her hand, he must not only change his ways, but also convince her of his worthiness over many other highly placed suitors.
In making the film, Fairbanks spared no expense for what some critics still regard as the most lavish fantasy movie ever made, a show-stopping adaptation of the traditional "A Thousand and One Nights" story in which a flying carpet is just one of many eye-popping sights that astounded movies audiences at the time.
Fairbanks, swaggering through massive marketplace sets and cavernous throne rooms as an incorrigible pickpocket, scales towering walls (with the help of a magic rope) and leads merry chases through crowded bazaars in his pursuit of loot—until he falls in love with the princess and vows to win her heart.
The jaunty opening is a preamble to the film's spectacular second half, in which the repentant thief embarks on an odyssey through caverns of fire, underwater palaces, and even outer space. Special effects range from a smoke-belching dragon to a magical flying horse, and still glow with a timeless sense of wonder from the early days of movies.
Soaring over a stylized Bagdad skyline.
William Cameron Menzies's sets were among the largest ever created for a motion picture. Especially noteworthy is his design for a mythical Bagdad, a unique combination of Art Deco and Islamic elements—a dream city inspired by illustrations from story books.
Fairbanks, one of the most popular stars of the 1920s, was the inspiration for the character of George Valentin in the recent Oscar-winning Best Picture 'The Artist' (2011). Fairbanks was known for films that used the then-new medium of motion pictures to transport audiences to historical time periods for grand adventures and athletic stunts. He's often referred to as "Douglas Fairbanks Sr." to avoid confusion with his son, the actor Douglas Fairbanks Jr.
Live music for 'The Thief of Bagdad' will be provided by silent film accompanist Jeff Rapsis, who uses a digital synthesizer to create a traditional full orchestra "movie score" sound.
More than 90 nears after its premiere, 'The Thief of Bagdad' continues to be held in high regard. In 1996, the film was selected for preservation in the U.S. National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."
Fairbanks himself considered 'The Thief of Bagdad' to be his personal favorite of all of his films.
'The Thief of Bagdad' is appropriate for family audiences, although very small children may find some sequences frightening. The film runs 2 hours and 34 minutes.
Upcoming programs in the Flying Monkey's silent film series include:
• Thursday, May 12, 2016, 6:30 p.m.: "Paths to Paradise" (1925) and "Hands Up!" (1926). A double feature of films starring Raymond Griffith, a talented comic who at one time rivaled Chaplin and Keaton in the silent comedy pantheon.
• Thursday, June 9, 2016, 6:30 p.m.: "The Winning of Barbara Worth" (1926). Epic Western drama starring Ronald Colman and Gary Cooper about the settling and irrigation of California's Imperial Valley, once a wasteland but now an agricultural paradise.
All movies in Flying Monkey's silent film series are rarely screened in a way that allows them to be seen at their best. To revive them, organizers aim to show the films as they were intended—in top quality restored prints, on a large screen, with live music, and with an audience.
'The Thief of Bagdad' (1924) starring Douglas Fairbanks will be screened with live music on Thursday, April 14 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St. in Plymouth, N.H. Admission is $10 per person. For more information, call the theater at (603) 536-2551 or visit www.flyingmonkeynh.com; for more information on the music, visit www.jeffrapsis.com.
Thursday, April 7, 2016
On different versions of silent films:
It may have no arms, but it's still a masterpiece
I've recently accompanied two film prints of widely known silent movies that had significant differences from what I expected.
In one case, it was a 35mm print of 'Intolerance' (1916) that was missing dozens of key scenes, often substituted for with frame grabs.
In another case, it was a 16mm print of 'The Passion of Joan of Arc' (1928) that was missing key information in titles, and so didn't make much sense to the audience.
In both examples, I've seen other versions of the films that each had the missing footage or titles. But these prints just didn't have them.
When this happens, I tell people that silent film often has to be considered in the same we the "Venus De Milo" is looked at in sculpture.
Yes, it has no arms. But it's still recognized as a masterpiece.
And the lack of arms is part of the sculpture's greatness, I think, as it shows so visibly the perilous journey of anything from antiquity that has come down to us today.
It also invites us to collaborate, in a way. We can't help but imagine what to us would be the most perfect arms, their position, their placement, and so on.
Like a lot of art, it prompts us to come up with our own visions to complete it. And each person's vision is bound to be unique and different and perhaps more perfect (to you) than any sculptor could have made them.
Franz Schubert, composer of the 'Unfinished' Symphony.
Same thing in music with Schubert's 'Unfinished' Symphony. Okay, it's missing the last two movements of the typical format of a symphony of its time.
But it stands on its own as a satisfying and complete piece of music. And part of its special beauty is that it leaves us wondering what might have been.
And so it is with a lot of silent film, I say.
Many films, including well-known classics like the two mentioned above, exist in different versions, different formats, and sometimes with significant pieces missing: lost arms, so to speak.
This can seem surprising to people because we live in an age where a movie is always expected to be complete, a whole thing, either in a theater or DVD or online or whatever.
No matter how you watched 'Frozen,' it's the same film.
No so with early cinema, where archaeology is a useful frame of mind to have. Often, to assemble a reasonably complete version of even a well-known title requires pulling material from archives all over the world.
And then there's the whole conundrum of European versions vs. American versions; home cut-downs vs. full theatrical releases; prints butchered by local censors and projection booth mishaps.
Even at the time of original release, there was often no one definitive version of a film. After releasing 'Intolerance,' director D.W. Griffith would visit projection booths where the film was running and try to edit the prints on the spot!
Raymond Griffith in 'Paths to Paradise' (1925).
One of the best examples of a film that's missing a big chunk, but still worth watching, is Raymond Griffith's 'Paths to Paradise' (1925), which I'm accompanying next month at the Flying Monkey Moviehouse in Plymouth, N.H. and also the Somerville Theatre in Boston.
In the version that's come down to us, the film ends with a crackerjack cross-country chase worthy of Buster Keaton. In my experience, it never fails to get an audience going.
So afterwards, people are stunned to learn that the film is actually missing its entire last reel!
From what I understand, after a pause for the audience to catch its collective breath, Griffith takes his chase one big step further for the film's real climax.
Does it work? We can't say because no one has ever found a copy of the last reel.
It may still be out there. A century after silent film flourished, reels of original nitrate film turn up in the most unlikely of places.
So keep looking.
And while you're at it, if you happen to spot a pair of marble arms, let me know.
In one case, it was a 35mm print of 'Intolerance' (1916) that was missing dozens of key scenes, often substituted for with frame grabs.
In another case, it was a 16mm print of 'The Passion of Joan of Arc' (1928) that was missing key information in titles, and so didn't make much sense to the audience.
In both examples, I've seen other versions of the films that each had the missing footage or titles. But these prints just didn't have them.
When this happens, I tell people that silent film often has to be considered in the same we the "Venus De Milo" is looked at in sculpture.
Yes, it has no arms. But it's still recognized as a masterpiece.
And the lack of arms is part of the sculpture's greatness, I think, as it shows so visibly the perilous journey of anything from antiquity that has come down to us today.
It also invites us to collaborate, in a way. We can't help but imagine what to us would be the most perfect arms, their position, their placement, and so on.
Like a lot of art, it prompts us to come up with our own visions to complete it. And each person's vision is bound to be unique and different and perhaps more perfect (to you) than any sculptor could have made them.
Franz Schubert, composer of the 'Unfinished' Symphony.
Same thing in music with Schubert's 'Unfinished' Symphony. Okay, it's missing the last two movements of the typical format of a symphony of its time.
But it stands on its own as a satisfying and complete piece of music. And part of its special beauty is that it leaves us wondering what might have been.
And so it is with a lot of silent film, I say.
Many films, including well-known classics like the two mentioned above, exist in different versions, different formats, and sometimes with significant pieces missing: lost arms, so to speak.
This can seem surprising to people because we live in an age where a movie is always expected to be complete, a whole thing, either in a theater or DVD or online or whatever.
No matter how you watched 'Frozen,' it's the same film.
No so with early cinema, where archaeology is a useful frame of mind to have. Often, to assemble a reasonably complete version of even a well-known title requires pulling material from archives all over the world.
And then there's the whole conundrum of European versions vs. American versions; home cut-downs vs. full theatrical releases; prints butchered by local censors and projection booth mishaps.
Even at the time of original release, there was often no one definitive version of a film. After releasing 'Intolerance,' director D.W. Griffith would visit projection booths where the film was running and try to edit the prints on the spot!
Raymond Griffith in 'Paths to Paradise' (1925).
One of the best examples of a film that's missing a big chunk, but still worth watching, is Raymond Griffith's 'Paths to Paradise' (1925), which I'm accompanying next month at the Flying Monkey Moviehouse in Plymouth, N.H. and also the Somerville Theatre in Boston.
In the version that's come down to us, the film ends with a crackerjack cross-country chase worthy of Buster Keaton. In my experience, it never fails to get an audience going.
So afterwards, people are stunned to learn that the film is actually missing its entire last reel!
From what I understand, after a pause for the audience to catch its collective breath, Griffith takes his chase one big step further for the film's real climax.
Does it work? We can't say because no one has ever found a copy of the last reel.
It may still be out there. A century after silent film flourished, reels of original nitrate film turn up in the most unlikely of places.
So keep looking.
And while you're at it, if you happen to spot a pair of marble arms, let me know.
Tuesday, March 29, 2016
Put some 'Intolerance' into your life
on Sunday, April 3 at Somerville Theatre
Okay, let me try to catch my breath here after a busy stretch of accompaniment gigs.
The past two weeks each brought stretches of back-to-back screenings over consecutive days.
I'm not complaining, as I love creating music that helps old film connect with new audiences.
But after awhile, the improv-heavy method I use begins to take a mental toll. I start to forget things in the microwave—that sort of thing.
But I'm getting a breather just in time, as the next weekend brings a certified biggie: D.W. Griffith's 'Intolerance' (1916), which we're showing in 35mm at the Somerville Theatre in Somerville, Mass. on Sunday, April 2.
Showtime is 2 p.m. Admission is $15 per ticket.
It's the 100th anniversary of this unique movie, which combines tales from four completely separate historic eras and weaves them together the way old J.S. Bach used to stitch together a fugue for organ.
The result was a narrative framework shaped like a four-burner stove, allowing Griffith to bring a quartet of separate stories to a boil simultaneously.
And the result of that was a film in which Griffith could juxtapose happenings from different eras to create a richness of potential meaning that defies easy analysis, I think.
I've done music for the film several times, and each screening gives me more stuff to think about.
For instance, the final outcome of each of the stories, when shown in rapid succession, seems to be hinting at a larger message.
I don't want to give away anything, but three of the stories end one way, but a fourth doesn't.
In structuring his film this way, Griffith amplified the impact as each successive denouement unfolds.
One tale leads you to anticipate what will happen in the next—and when it doesn't, it makes an impact that's hard to create any other way.
I suppose with all the media at our fingertips nowadays, you could try a do-it-yourself version of 'Intolerance' at home. Just take four films and keep swapping through them faster and faster until they all finish at about the same time.
So you could take, for instance, 'Platoon,' 'Full Metal Jacket,' 'Apocalypse Now' and 'Good Morning Vietnam' and run them Intolerance-style, working yourself into a frenzy with the remote.
Or you could just come experience 'Intolerance.' Seen in a theater, with a live audience and live music and if everything else comes together, the effect is mesmerizing.
See for yourself, in the form of a 35mm print from the Museum of Modern Art that we'll be using on Sunday, April 3 at the Somerville Theatre.
More details in the press release below. Hope to see you there!
Griffith's gi-normous Babylon set.
MONDAY, MARCH 7, 2016 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
D.W. Griffith's masterpiece 'Intolerance' to screen on Sunday, April 3 at Somerville Theatre
Landmark 1916 silent film epic to be presented in 35mm with live music to celebrate 100th anniversary of original release
SOMERVILLE, Mass.—It was a cinematic breakthrough that changed the movies forever: a three-hour epic knitting together four sweeping stories spanning 2,500 years, all designed to dramatize mankind's struggles and the redeeming power of love throughout human history.
The film was D.W. Griffith's 'Intolerance' (1916), which stunned the movie-going public 100 years ago with its vast scope, enormous sets, large cast, and revolutionary editing. Often named to lists of the 100 best films of all times, critics continue to point to 'Intolerance' as one of the most influential and important milestones of early cinema.
See for yourself with a rare screening of a 35mm print of 'Intolerance' on Sunday, April 3 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass. General admission is $15 per person.
The program, the latest in the Somerville Theatre's 'Silents, Please!' series, will be accompanied by live music performed by silent film composer Jeff Rapsis.
In reviving 'Intolerance' and other great films of Hollywood's early years, the Somerville Theatre aims to show silent movies as they were meant to be seen—in 35mm prints, on the big screen, with live music, and with an audience.
"All those elements are important parts of the silent film experience," said Rapsis, who will improvise a live score for 'Intolerance.' "Recreate those conditions, and the classics of early Hollywood leap back to life. They featured great stories with compelling characters and universal appeal, so it's no surprise that they hold up and we still respond to them."
Rapsis performs on a digital synthesizer that reproduces the texture of the full orchestra and creates a traditional "movie score" sound.
Wow—67,000 actors! But who's counting?
'Intolerance,' considered one of the great masterpieces of the silent era, intercuts four parallel story lines, each separated by several centuries: A contemporary melodrama of crime and redemption; a Judean story of Christ’s mission and death; a French story about the events surrounding the St. Bartholomew's Day massacre of 1572; and a story depicting the fall of the Babylonian Empire to Persia in 539 BC.
The scenes are linked by shots of a figure representing Eternal Motherhood, rocking a cradle.
Each of the parallel stories are intercut with increasing frequency as the film builds to a climax. The film sets up moral and psychological connections among the different stories.
'Intolerance' was made partly in response to criticism of Griffith's previous film, 'The Birth of a Nation' (1915), which was criticized by the NAACP and other groups as perpetuating racial stereotypes and glorifying the Ku Klux Klan.
One of the unusual elements of 'Intolerance' is that many of the characters don't have names. Griffith wished them to be emblematic of human types. Thus, the central female character in the modern story is called The Dear One. Her young husband is called The Boy, and the leader of the local Mafia is called The Musketeer of the Slums.
Because of its four intertwined stories, 'Intolerance' does not feature any one performer in a leading role. However, the enormous cast includes many great names from the silent era, including Lillian Gish, Mae Marsh, Constance Talmadge, Walter Long, and a young Douglas Fairbanks Sr. in an uncredited cameo as a drunken soldier with a monkey.
"This movie was made for the big screen, and this screening at the Somerville is a rare chance to see 'Intolerance' the way it was meant to be seen," said Ian Judge, the Somerville Theatre's manager.
Upcoming screenings in the Somerville Theatre's 'Silents Please!' series include:
• Sunday, May 15: 'Paths to Paradise' (1925). Rediscover the beguiling talents of Boston-born silent comic Raymond Griffith, who stars in this jewel-heist caper, one of his best surviving films.
• Sunday, June 5: 'Flesh and the Devil' (1926). The MGM drama that put budding megastars Greta Garbo and John Gilbert on the map as the screen's hottest couple.
• Sunday, July 10: 'So's Your Old Man' (1926) and 'It's the Old Army Game' (1926). A pair of vintage W.C. Fields silent feature comedies; program hosted by the great man's granddaughter, Dr. Harriet Fields.
'Intolerance' will be screened in 35mm on Sunday, April 3 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass. Admission to the screening is $15 or $12 seniors/students. For more info, call (617) 625-5700 or visit www.somervilletheatreonline.com. For more info on the music, visit www.jeffrapsis.com.
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Sunday, March 27, 2016
On scoring 'Ben Hur' (1925) on Easter Sunday
and also why silent film is like coin collecting
A poster for the international release of 'Ben Hur' (1925).
The great silent adaptation of 'Ben Hur' (1925) is in the rotation this year, and I'm playing for it again today (Easter Sunday) at 4:30 p.m.
The screening is at the Wilton (N.H.) Town Hall Theater and is free and open to the public. More details in the press release below.
Tackling 'Ben Hur' this time around was another chance to learn about the story and its author, Lew Wallace, who I find to be an interesting guy.
Wallace, a prominent 19th century American military officer and diplomat, serving in the U.S.-Mexican War and then as a general in Union Army during the Civil War.
Here are some things about Wallace that make him so interesting:
• As a Union commander under General U.S. Grant, Wallace was at the center of controversial troop movements leading up the Battle of Shiloh that led to higher-than-expected casualties.
• Wallace took to writing fiction to provide relief from his official duties. He wrote 'Ben Hur' as a way to more thoroughly educate himself on scripture, and to confirm his own personal commitment to Christianity.
• Having never visited the Holy Land, Wallace embarked on extensive research at the Library of Congress and other centers of learning to be able to write about life during the time of Jesus.
• Wallace served as the Territorial Governor of New Mexico from 1878 to 1881, and finished writing 'Ben Hur' in Santa Fe. While in office, he negotiated a plea bargain with Billy the Kid to testify against other outlaws, but then the Kid later escaped from jail and resumed his own murderous ways. Supporters of Kid continue to lobby New Mexico unsuccessfully for an official pardon stemming from Wallace's plea bargain, most recently in 2012.
• While later serving as U.S. Ambassador to the Ottoman Empire, Wallace did get to visit the Holy Land, and found he didn't have to change anything in 'Ben Hur.'
• When the Spanish-American War broke out in 1898, Wallace volunteered his services as an officer. Refused due to his age, he tried unsuccessfully to volunteer as an enlisted man.
Lots more, but you get the idea. This was one colorful dude who lived an interesting and consequential life, and not only because he wrote the best-selling American novel until 'Gone With the Wind' appeared in the 1930s.
And if it weren't for silent film, I probably wouldn't know much about him at all.
So in that sense, silent film is like coin collecting. Studying the money systems in place in other places and at other times is a window into geography, history, economics, culture, and so many other subjects.
Silent film opens the same doors, I think. As removed from reality as it sometimes can seem, it's a window into so much of human experience that went into making up the world we know today.
See for yourself by attending 'Ben Hur' this afternoon at the Wilton Town Hall Theatre. More info below!
* * *
The chariot race scene: a masterpiece of editing.
MONDAY, MARCH 7, 2016 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
Hollywood's original Biblical-era blockbuster to be screened with live music
WILTON,N.H.—What better day than Easter Sunday to lose yourself in a big screen Biblical blockbuster from the glory days of early Hollywood?
Movie-worshipers can do just that at the Town Hall Theatre, which will screen the original epic silent film version of 'Ben Hur, A Tale of The Christ' (1925) on Sunday, March 27 at 4:30 p.m.
The program, the latest in the theater's silent film series, will be accompanied by live music performed by silent film composer Jeff Rapsis. Admission is free, with a suggested donation of $5 per person.
'Ben Hur,' starring Ramon Novarro and Francis X. Bushman, was among the first motion pictures to tell a Biblical-era story on an enormous scale.
The film, which helped establish MGM as a leading Hollywood studio, employed a cast of thousands and boasted action sequences including a large-scale sea battle. The film is highlighted by a spell-binding chariot race regarded as a masterpiece of editing and which still leaves audiences breathless.
Set in the Holy Land at the time of Christ's birth, 'Ben Hur' tells the story of a Jewish family in Jerusalem whose fortune is confiscated by the Romans and its members jailed.
The enslaved family heir, Judah Ben Hur (played by Novarro, a leading silent-era heartthrob) is inspired by encounters with Christ to pursue justice, which leads him to a series of epic adventures in his quest to find his mother and sister and restore his family fortune.
A poster for 'Ben Hur.'
The screening is the latest in the Town Hall Theatre's series of silent film screenings. The series aims to showcase the best of early Hollywood the way it was intended to be experienced: on the big screen, with live music, and in a theater with an audience.
"Put together those elements, and it's amazing how much power these films still have. You realize why these films caused people to first fall in love with the movies, said accompanist Jeff Rapsis, who will improvise a full score for the 2½-hour epic.
'Ben Hur,' directed by Fred Niblo, was among the most expensive films of the silent era, taking two years to make and costing between $4 million and $6 million. When released in 1925, it became a huge hit for the newly formed Metro-Goldwyn-Mayer studio.
The chariot race scene in 'Ben Hur,' with Novarro and other cast members driving teams of horses at high speed on a mammoth dirt racetrack in a gigantic replica of a Roman stadium, was among the most complicated and dangerous sequences filmed in the silent era. It remains noted for its tight editing, dramatic sweep, and sheer cinematic excitement.
The chariot race was re-created virtually shot for shot in MGM's 1959 remake, and more recently imitated in the pod race scene in 'Star Wars Episode I: The Phantom Menace.'
Besides Novarro in the title role, the film stars Francis X. Bushman as Messala, the Roman soldier who imprisons the Hur family; Betty Bronson as Mary, mother of Jesus; May McAvoy as Ben Hur's sister Esther; and Claire McDowell as Ben Hur's mother. 'Ben Hur' was based on the best-selling 1880 novel by General Lew Wallace, which interwove the story of Christ's life with the Ben Hur clan, a fictional Jewish merchant family.
Celebrity "extras" in the chariot race scene included stars such as Douglas Fairbanks, Harold Lloyd, Lionel Barrymore, John Gilbert, Joan Crawford, Lillian Gish, Mary Pickford, and a very young Clark Gable.
The film was remade by MGM in the 1950s in a color and wide-screen version starring Charleston Heston that garnered 11 Academy Awards. However, some critics believe the original 1925 version offers superior drama and story-telling.
MGM executives at the time, aware of the quality of the original version, attempted to destroy all prints of the 1925 'Ben Hur,' sending the FBI out to confiscate collector copies in the 1950s. However, the studio did preserve the negative of the 1925 version, so the film remains available today.
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.
For each film, Rapsis improvises a music score using original themes created beforehand. None of the the music is written down; instead, the score evolves in real time based on audience reaction and the overall mood as the movie is screened.
'Ben Hur' (1925) will be screened with live music on Easter Sunday, March 27 at 4:30 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H. The program is free and open to the public, with a suggested donation of $5 per person to help defray expenses. For more information, call the theater (603) 654-3456 or visit www.wiltontownhalltheatre.com. For more info on the music, visit www.jeffrapsis.com.
The great silent adaptation of 'Ben Hur' (1925) is in the rotation this year, and I'm playing for it again today (Easter Sunday) at 4:30 p.m.
The screening is at the Wilton (N.H.) Town Hall Theater and is free and open to the public. More details in the press release below.
Tackling 'Ben Hur' this time around was another chance to learn about the story and its author, Lew Wallace, who I find to be an interesting guy.
Wallace, a prominent 19th century American military officer and diplomat, serving in the U.S.-Mexican War and then as a general in Union Army during the Civil War.
Here are some things about Wallace that make him so interesting:
• As a Union commander under General U.S. Grant, Wallace was at the center of controversial troop movements leading up the Battle of Shiloh that led to higher-than-expected casualties.
• Wallace took to writing fiction to provide relief from his official duties. He wrote 'Ben Hur' as a way to more thoroughly educate himself on scripture, and to confirm his own personal commitment to Christianity.
• Having never visited the Holy Land, Wallace embarked on extensive research at the Library of Congress and other centers of learning to be able to write about life during the time of Jesus.
• Wallace served as the Territorial Governor of New Mexico from 1878 to 1881, and finished writing 'Ben Hur' in Santa Fe. While in office, he negotiated a plea bargain with Billy the Kid to testify against other outlaws, but then the Kid later escaped from jail and resumed his own murderous ways. Supporters of Kid continue to lobby New Mexico unsuccessfully for an official pardon stemming from Wallace's plea bargain, most recently in 2012.
• While later serving as U.S. Ambassador to the Ottoman Empire, Wallace did get to visit the Holy Land, and found he didn't have to change anything in 'Ben Hur.'
• When the Spanish-American War broke out in 1898, Wallace volunteered his services as an officer. Refused due to his age, he tried unsuccessfully to volunteer as an enlisted man.
Lots more, but you get the idea. This was one colorful dude who lived an interesting and consequential life, and not only because he wrote the best-selling American novel until 'Gone With the Wind' appeared in the 1930s.
And if it weren't for silent film, I probably wouldn't know much about him at all.
So in that sense, silent film is like coin collecting. Studying the money systems in place in other places and at other times is a window into geography, history, economics, culture, and so many other subjects.
Silent film opens the same doors, I think. As removed from reality as it sometimes can seem, it's a window into so much of human experience that went into making up the world we know today.
See for yourself by attending 'Ben Hur' this afternoon at the Wilton Town Hall Theatre. More info below!
The chariot race scene: a masterpiece of editing.
MONDAY, MARCH 7, 2016 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
Silent film epic ‘Ben Hur’ (1925) at Town Hall Theatre on Easter Sunday, March 27
Hollywood's original Biblical-era blockbuster to be screened with live music
WILTON,N.H.—What better day than Easter Sunday to lose yourself in a big screen Biblical blockbuster from the glory days of early Hollywood?
Movie-worshipers can do just that at the Town Hall Theatre, which will screen the original epic silent film version of 'Ben Hur, A Tale of The Christ' (1925) on Sunday, March 27 at 4:30 p.m.
The program, the latest in the theater's silent film series, will be accompanied by live music performed by silent film composer Jeff Rapsis. Admission is free, with a suggested donation of $5 per person.
'Ben Hur,' starring Ramon Novarro and Francis X. Bushman, was among the first motion pictures to tell a Biblical-era story on an enormous scale.
The film, which helped establish MGM as a leading Hollywood studio, employed a cast of thousands and boasted action sequences including a large-scale sea battle. The film is highlighted by a spell-binding chariot race regarded as a masterpiece of editing and which still leaves audiences breathless.
Set in the Holy Land at the time of Christ's birth, 'Ben Hur' tells the story of a Jewish family in Jerusalem whose fortune is confiscated by the Romans and its members jailed.
The enslaved family heir, Judah Ben Hur (played by Novarro, a leading silent-era heartthrob) is inspired by encounters with Christ to pursue justice, which leads him to a series of epic adventures in his quest to find his mother and sister and restore his family fortune.
A poster for 'Ben Hur.'
The screening is the latest in the Town Hall Theatre's series of silent film screenings. The series aims to showcase the best of early Hollywood the way it was intended to be experienced: on the big screen, with live music, and in a theater with an audience.
"Put together those elements, and it's amazing how much power these films still have. You realize why these films caused people to first fall in love with the movies, said accompanist Jeff Rapsis, who will improvise a full score for the 2½-hour epic.
'Ben Hur,' directed by Fred Niblo, was among the most expensive films of the silent era, taking two years to make and costing between $4 million and $6 million. When released in 1925, it became a huge hit for the newly formed Metro-Goldwyn-Mayer studio.
The chariot race scene in 'Ben Hur,' with Novarro and other cast members driving teams of horses at high speed on a mammoth dirt racetrack in a gigantic replica of a Roman stadium, was among the most complicated and dangerous sequences filmed in the silent era. It remains noted for its tight editing, dramatic sweep, and sheer cinematic excitement.
The chariot race was re-created virtually shot for shot in MGM's 1959 remake, and more recently imitated in the pod race scene in 'Star Wars Episode I: The Phantom Menace.'
Besides Novarro in the title role, the film stars Francis X. Bushman as Messala, the Roman soldier who imprisons the Hur family; Betty Bronson as Mary, mother of Jesus; May McAvoy as Ben Hur's sister Esther; and Claire McDowell as Ben Hur's mother. 'Ben Hur' was based on the best-selling 1880 novel by General Lew Wallace, which interwove the story of Christ's life with the Ben Hur clan, a fictional Jewish merchant family.
Celebrity "extras" in the chariot race scene included stars such as Douglas Fairbanks, Harold Lloyd, Lionel Barrymore, John Gilbert, Joan Crawford, Lillian Gish, Mary Pickford, and a very young Clark Gable.
The film was remade by MGM in the 1950s in a color and wide-screen version starring Charleston Heston that garnered 11 Academy Awards. However, some critics believe the original 1925 version offers superior drama and story-telling.
MGM executives at the time, aware of the quality of the original version, attempted to destroy all prints of the 1925 'Ben Hur,' sending the FBI out to confiscate collector copies in the 1950s. However, the studio did preserve the negative of the 1925 version, so the film remains available today.
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.
For each film, Rapsis improvises a music score using original themes created beforehand. None of the the music is written down; instead, the score evolves in real time based on audience reaction and the overall mood as the movie is screened.
'Ben Hur' (1925) will be screened with live music on Easter Sunday, March 27 at 4:30 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H. The program is free and open to the public, with a suggested donation of $5 per person to help defray expenses. For more information, call the theater (603) 654-3456 or visit www.wiltontownhalltheatre.com. For more info on the music, visit www.jeffrapsis.com.
Friday, March 25, 2016
Tonight (Friday, 3/25) at Exeter Town Hall:
Harold Lloyd stars in 'Grandma's Boy' (1922)
'Grandma's Boy' was Lloyd's first venture into feature-length films.
The Presidential candidates may have come and gone from Exeter (N.H.) Town Hall, but the laughter will keep going as we screen a pair of Harold Lloyd comedies this evening.
It's the latest in a series of films at this historic venue, which often hosts political gatherings and was never intended to be a movie theater.
But we've found it works just fine. By "we," I mean the students of the Penn Program and their instructor, Andrew Fersch.
The Penn is a homeschool co-op based in Exeter and designed to challenge and engage creative students of high school age.
The students help run the program, which is in support of their very active activity calendar. What kind of activities?
Well, all kinds of stuff! They even go on multi-day hikes, and a class trip to New York City and Washington, D.C. this spring is in the works.
Without a big public school system to support them, the students and the families of the Penn Program have to be creative to keep all this going.
And so I've been delighted to work with them on this year's silent film series, which in two previous screenings has attracted good-sized audiences.
Andrew and the gang have done some outreach to local schools this time, so we'll see if it brings in some new faces.
Working against us, I suppose, is that show day also happens to be Good Friday, the most solemn day of the Christian calendar.
Let's hope that doesn't preclude families coming out tonight for what should be a very good time.
There's nothing like Harold Lloyd films shown as they were intended: in a theater, with live music, and (most importantly) with an audience!
So do your part and come join us this evening at 7 p.m. for 'Grandma's Boy' (1922) and a warm-up short, 'Never Weaken' (1921).
More details in the press release pasted in below.
* * *
An original poster for 'Grandmas's Boy.'
MONDAY, MARCH 21, 2016 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
Classic Harold Lloyd feature film to be screened with live music accompaniment
EXETER, N.H.—The silent film era returns to the big screen at Exeter Town Hall with the showing of 'Grandma's Boy' (1922), a classic silent comedy accompanied by live music.
Admission is free and the screening is open to the public. A donation of $5 per person is suggested, with all proceeds to support the Penn Program, a local homeschool co-op for students of high school age.
Music for 'Grandma's Boy' will be performed live by Jeff Rapsis, a New Hampshire-based composer and silent film accompanist who performs at venues around the nation.
'Grandma's Boy' tells the story a cowardly young man (Harold Lloyd) who seeks the courage to battle a menacing tramp who terrorizes his small hometown.
Audiences loved 'Grandma's Boy' when it was first released, and the picture helped establish Harold Lloyd as a major star for the rest of the silent film era.
In revival, 'Grandma's Boy' continues to delight movie-goers and serves as a great introduction to the magic of silent film. It also provides a marvelous window into small town American life as it was lived a century ago.
Harold Lloyd confronts tramp Dick Sutherland in 'Grandma's Boy.' I've been asked if Sutherland is any relation to Donald Sutherland. Anyone know?
Despite his mega-star status in the 1920s, Lloyd is largely unknown to today's audiences, mostly because he retained control of his films in later life and refused to let them be shown on television.
"People today remember Charlie Chaplin, but the silent era had many popular stars," Rapsis said. "Harold Lloyd's 'average American' character was immensely popular in the 1920s, not just in the U.S. but around the globe."
With the release of Lloyd's films on DVD, audiences are rediscovering his timeless genius. The reissue sparked a demand for screenings in theaters, where the Lloyd films continue to cast their spell on audiences.
Shown in a theater with live music, Lloyd's features maintain their power to delight movie-goers.
"Times have changed, but people haven't," Rapsis said. "The Lloyd films were designed to be shown in a theater with an audience, and to appeal to a worldwide audience, and their universal themes haven't lost any relevance," said Rapsis, who has performed scores for silent films in venues ranging from the Harvard Film Archive in Cambridge, Mass. to the Kansas Silent Film Festival at Washburn University in Topeka, Kansas.
Using original themes created beforehand, Rapsis improvises the music live as the films are shown.
"When the score gets made up on the spot, it creates a special energy that's an important part of the silent film experience," said Rapsis, who uses a digital synthesizer to recreate the texture of a full orchestra for the accompaniment.
In reviving 'Grandma's Boy' and other great films of cinema's early years, organizers of the Exeter Town Hall film series aim 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.
'Grandma's Boy' is the latest in a series of silent film screenings to benefit the Penn Program, a homeschool co-op based in Exeter designed to challenge and engage creative students of high school age.
The program, launched by educator and writer Andrew Lapham Fersch in 2012, seeks to explore new methods of education. The Penn Program emphasizes active involvement in a wide range of artistic and creative activities ranging from video production to stand-up comedy.
Under Fersch's direction, the program operates in downtown Exeter, enrolling students from several area towns.
The Penn Program seeks to create a new model for integrating the arts into education, with the goal of fostering creativity, originality, hard work, dedication, kindness, and a spirit of giving.
"We felt presenting a silent film series was a great way to reach out and introduce ourselves to the community while bringing people together," Fersch said. "We're all eager to celebrate the creativity of early Hollywood in Exeter Town Hall, which is a great space, and we're doubly excited to be able to bring the community together to enjoy such a talented musician and wonderful movie."
'Grandma's Boy' will be shown on Friday, March 25 at 7 p.m. at Exeter Town Hall, 9 Front St., Exeter. Admission is free and the screening is open to the public. A donation of $5 per person is suggested, with all proceeds to support the Penn Program.
For more information on the music, visit www.jeffrapsis.com.
The Presidential candidates may have come and gone from Exeter (N.H.) Town Hall, but the laughter will keep going as we screen a pair of Harold Lloyd comedies this evening.
It's the latest in a series of films at this historic venue, which often hosts political gatherings and was never intended to be a movie theater.
But we've found it works just fine. By "we," I mean the students of the Penn Program and their instructor, Andrew Fersch.
The Penn is a homeschool co-op based in Exeter and designed to challenge and engage creative students of high school age.
The students help run the program, which is in support of their very active activity calendar. What kind of activities?
Well, all kinds of stuff! They even go on multi-day hikes, and a class trip to New York City and Washington, D.C. this spring is in the works.
Without a big public school system to support them, the students and the families of the Penn Program have to be creative to keep all this going.
And so I've been delighted to work with them on this year's silent film series, which in two previous screenings has attracted good-sized audiences.
Andrew and the gang have done some outreach to local schools this time, so we'll see if it brings in some new faces.
Working against us, I suppose, is that show day also happens to be Good Friday, the most solemn day of the Christian calendar.
Let's hope that doesn't preclude families coming out tonight for what should be a very good time.
There's nothing like Harold Lloyd films shown as they were intended: in a theater, with live music, and (most importantly) with an audience!
So do your part and come join us this evening at 7 p.m. for 'Grandma's Boy' (1922) and a warm-up short, 'Never Weaken' (1921).
More details in the press release pasted in below.
An original poster for 'Grandmas's Boy.'
MONDAY, MARCH 21, 2016 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com
Silent comedy 'Grandma's Boy' at Exeter Town Hall on Friday, March 25
Classic Harold Lloyd feature film to be screened with live music accompaniment
EXETER, N.H.—The silent film era returns to the big screen at Exeter Town Hall with the showing of 'Grandma's Boy' (1922), a classic silent comedy accompanied by live music.
Admission is free and the screening is open to the public. A donation of $5 per person is suggested, with all proceeds to support the Penn Program, a local homeschool co-op for students of high school age.
Music for 'Grandma's Boy' will be performed live by Jeff Rapsis, a New Hampshire-based composer and silent film accompanist who performs at venues around the nation.
'Grandma's Boy' tells the story a cowardly young man (Harold Lloyd) who seeks the courage to battle a menacing tramp who terrorizes his small hometown.
Audiences loved 'Grandma's Boy' when it was first released, and the picture helped establish Harold Lloyd as a major star for the rest of the silent film era.
In revival, 'Grandma's Boy' continues to delight movie-goers and serves as a great introduction to the magic of silent film. It also provides a marvelous window into small town American life as it was lived a century ago.
Harold Lloyd confronts tramp Dick Sutherland in 'Grandma's Boy.' I've been asked if Sutherland is any relation to Donald Sutherland. Anyone know?
Despite his mega-star status in the 1920s, Lloyd is largely unknown to today's audiences, mostly because he retained control of his films in later life and refused to let them be shown on television.
"People today remember Charlie Chaplin, but the silent era had many popular stars," Rapsis said. "Harold Lloyd's 'average American' character was immensely popular in the 1920s, not just in the U.S. but around the globe."
With the release of Lloyd's films on DVD, audiences are rediscovering his timeless genius. The reissue sparked a demand for screenings in theaters, where the Lloyd films continue to cast their spell on audiences.
Shown in a theater with live music, Lloyd's features maintain their power to delight movie-goers.
"Times have changed, but people haven't," Rapsis said. "The Lloyd films were designed to be shown in a theater with an audience, and to appeal to a worldwide audience, and their universal themes haven't lost any relevance," said Rapsis, who has performed scores for silent films in venues ranging from the Harvard Film Archive in Cambridge, Mass. to the Kansas Silent Film Festival at Washburn University in Topeka, Kansas.
Using original themes created beforehand, Rapsis improvises the music live as the films are shown.
"When the score gets made up on the spot, it creates a special energy that's an important part of the silent film experience," said Rapsis, who uses a digital synthesizer to recreate the texture of a full orchestra for the accompaniment.
In reviving 'Grandma's Boy' and other great films of cinema's early years, organizers of the Exeter Town Hall film series aim 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.
'Grandma's Boy' is the latest in a series of silent film screenings to benefit the Penn Program, a homeschool co-op based in Exeter designed to challenge and engage creative students of high school age.
The program, launched by educator and writer Andrew Lapham Fersch in 2012, seeks to explore new methods of education. The Penn Program emphasizes active involvement in a wide range of artistic and creative activities ranging from video production to stand-up comedy.
Under Fersch's direction, the program operates in downtown Exeter, enrolling students from several area towns.
The Penn Program seeks to create a new model for integrating the arts into education, with the goal of fostering creativity, originality, hard work, dedication, kindness, and a spirit of giving.
"We felt presenting a silent film series was a great way to reach out and introduce ourselves to the community while bringing people together," Fersch said. "We're all eager to celebrate the creativity of early Hollywood in Exeter Town Hall, which is a great space, and we're doubly excited to be able to bring the community together to enjoy such a talented musician and wonderful movie."
'Grandma's Boy' will be shown on Friday, March 25 at 7 p.m. at Exeter Town Hall, 9 Front St., Exeter. Admission is free and the screening is open to the public. A donation of $5 per person is suggested, with all proceeds to support the Penn Program.
For more information on the music, visit www.jeffrapsis.com.
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