British Silent Film Festival 2014

The Cinema Museum logo The regular presentation of Britain’s early filmed legacy this year took the form of a one-day conference followed by a day of screenings at Kennington’s Cinema Museum. There were four sessions, each presenting a feature film, and some shorts, with the final film of both late-morning and late-afternoon sessions being a feature directed by Hungarian émigré Géza von Bolváry and starring Britain’s 1920s screen darling Betty Balfour, respectively The Vagabond Queen and Bright Eyes (both 1929). Other highlights were a drama about a woman finding liberation through, ahem, secretarial work in The Twelve Pound Look (1920) and a sort of proto-kitchen sink drama about working-class East Enders, one of whose set finds love with a posh toff in The Right to Live (1921). Each of the sessions was accompanied by a different musician, respectively John Sweeney, Cyrus Gabrysch, Lily Henley, and Stephen Horne, all of whom did a wonderful job.


SPECIAL SCREENING FILM REVIEWS | Seen at Cinema Museum, London, Saturday 3 May 2014

Bright Eyes (aka Champagner, 1929) || Director Géza von Bolváry | Writers Katherine Reeves and Franz Schulz | Cinematographer Theodor Sparkuhl | Starring Betty Balfour, Jack Trevor | Length 89 minutes || My Rating 4 stars excellent

© British International Pictures (pictured: Thesiger, Shaw and Balfour in The Vagabond Queen)

For me, the highlight of the Festival was its final film, a 1929 drama set in Paris nightclub the Palais de Danse, and following the travails of kitchen assistant Jenny (Betty Balfour). In its setting it recalls the delights of E.A. Dupont’s contemporaneous Piccadilly (1929), and though the saucer-eyed (or should it be said, bright-eyed) and cheekily flirtatious blonde Balfour is the star, it still manages to deftly move into some darker emotional terrain before its rather more optimistic conclusion. Even as it touches on the unfairness of life, the turmoil of capitalist excess, and the dark depths of depression, the film — chiefly through Balfour’s central performance — manages to retain an essentially comic outlook. As such, we never really fear for her as much as some of the events might suggest, and it’s her romancing of the sternly tall and handsome waiter Jean (Jack Trevor) which grounds the film’s narrative, even if I was rather hoping she’d hook up with her fellow kitchenhand Marcel. It’s mostly all set in the one location, and as such there’s plenty of glamorous dressing-up, with an excess of sequins and glitz and even a few dance numbers, all beautifully filmed. And of course there’s the champagne, in what must be an early product placement spot for Moët et Chandon, though the alternative title for the US market (Champagner) is presumably an attempt to piggyback on Hitchcock’s earlier Champagne (1928), also starring Balfour. However, I feel confident that if only it were more easily available, Bright Eyes would be acclaimed as the better film.

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Die Austernprinzessin (The Oyster Princess, 1919)

I wrote this review for the wonderful Silent London site to celebrate the rerelease of the Lubitsch in Berlin box set, and you should read it there, as it is accompanied by five better reviews of the other films in that box set. The set is from the ever-reliable Eureka on their Masters of Cinema imprint, and I can highly recommend it.


FILM REVIEW || Director Ernst Lubitsch | Writers Hanns Kräly and Ernst Lubitsch | Cinematographer Theodor Sparkuhl | Starring Ossi Oswalda, Julius Falkenstein, Victor Janson, Harry Liedtke | Length 60 minutes | Seen at home (DVD), London, Saturday 1 February 2014 || My Rating 4 stars excellent


© Eureka Entertainment

One of the wonderful things about silent cinema is that film techniques and technologies we nowadays take for granted were still evolving. This occasionally means we get stagy affairs with huge melodramatic emotions matched to over-the-top gestural acting and a sense of decorum a hundred years removed from our own sensibilities. Sure, some may live up to this stereotype (like the 1920 Dr. Jekyll and Mr. Hyde I recently reviewed), but for every ten of those there’s a film like Die Austernprinzessin: constantly inventive, filled with laughs, and with a satirical sense that doesn’t feel hugely out of step with anything being made today. The director is Ernst Lubitsch, who at this point was still making his name but would go on to become one of the world’s most famous directors upon moving to Hollywood in the 1930s. He even had a brand of sorts, the “Lubitsch Touch”, which is sufficiently vague a term to have prompted much subsequent speculation. Whatever it may be, he certainly does have a way with a film, no less in this early effort than in many of his ‘mature’ works.

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