Thanks so much to everyone who has shown an interest in my Dickens in December series of postings. I’m getting the impression that quite a few people are particularly fascinated by the silent adaptations – it is amazing to realise that there were around 100 silent films of his works during that era, though many have sadly been lost.
I don’t have all that much time tonight, but thought I’d share a link to the BFI’s taster for the surviving Dickens silent films. This has left me very keen to see the adaptation of David Copperfield made in 1913 by Thomas Bentley, which is said to be the second oldest feature-length British film (I don’t know what the very oldest was!) There are a few minutes of footage included on the Dickens Before Sound DVD, but I now really want to see the whole thing.
Luckily, the 1913 British film of David Copperfield does survive complete, although it hasn’t been released on DVD, so I should hopefully be able to get hold of it at some time.
However, there are many other lost or unavailable silents which I would love to see. For instance, a 1914 two-reel version of Martin Chuzzlewit with Alan Hale, so great as a supporting actor in many 1930s Warner films, playing the young Martin – this is said to survive in George Eastman House’s collection, so it may emerge at some time, but it may remain as just a tempting thought. There were also two versions of The Chimes made the same year, now lost, as well as a Hard Times in 1915, a Great Expectations in 1917 – and the list goes on. Another one I’m especially sorry not to get a chance to see is A Tale of Two Cities from 1922, starring Clive Brook as Sydney Carton. There are plenty of Dickens adaptations which are available and which will keep me busy for ages, but it is sad to think how much has been lost. I’ll once again link to the excellent page at The Bioscope blog which lists all the silent Dickens productions that were made, both those which still exist and those which are gone forever.
I haven’t got time to write a full posting tonight, but will just give links to a couple of fascinating very early Dickens adaptations, really just fragments, both dating from 1901. The first is thought to be the very earliest Dickens film in existence, and was recently rediscovered in the BFI’s archive in London after having been wrongly labelled in the past. Entitled The Death of Poor Jo, and only a minute long, it shows the death of the crossing sweeper from Bleak House. Thanks to Gina from Dickensblog for reminding me about this clip!
The second is Scrooge, or Marley’s Ghost, a very early version of A Christmas Carol – only about half of the film survives, making three-and-a-half minutes of footage, but it covers quite a lot of the story through a series of brief scenes. I was impressed to see that even in 1901 the adaptation includes some special effects, such as Marley’s face appearing in the door knocker, and the spirits standing between Scrooge in the foreground and the scenes from Christmas past appearing in the background.
It’s great that so many classic movies are now available for home viewing – but nothing compares with seeing them as they were made to be shown, on the big screen. So far I’ve only managed to see a relatively small number of older films in this way, but I’ve found they tend to stick in my mind more vividly than those I’ve only seen on TV. Last weekend I was lucky enough to be at the historic Hackney Empire cinema in London for the premiere of the BFI’s (British Film Institute) new restored print of Hitchcock’s silent boxing/romantic melodrama The Ring, accompanied by music from Soweto Kinch’s jazz band. I won’t write a full review (there are many excellent reviews of this film online, which I can’t add much to) but just wanted to say something about this movie and the BFI’s Hitchcock season. The Ring is one of the ‘Hitchcock Nine’ which the BFI has been busy raising money to restore – his nine surviving silent films. The £2million target to restore all of these with brand new musical scores has almost been reached, and four restored silent movies are being premiered as part of the London 2012 Festival, but the BFI is not quite there yet and still needs more donations.
I was excited today to discover that the British Film Institute in London has a comprehensive-looking Howard Hawks season coming up in January. The list of movies is on their site with an introduction by David Thomson. It will include Hawks’ earliest surviving film, Fig Leaves (1926), and other silent rarities, as well as early talkies like The Criminal Code (1931) and many better-known films from the rest of his career. As well as the silents, I’m also extremely tempted by the thought of seeing my favourites like The Crowd Roars (1932) and Ceiling Zero (1935), both starring James Cagney, as a troubled racing driver and womanising pilot, or Twentieth Century (1934), with John Barrymore and Carole Lombard – or The Dawn Patrol (1930), starring Richard Barthelmess, on the big screen. Realistically, as it is a long way to London, I’m not likely to be able to see more than one or two of the wonderful array of films, but will report back on this blog on whatever I do manage to see, anyway!
The BFI has also got what sounds like a great Frank Capra season running at the moment. On top of its programme of showings, it has ongoing appeals to restore nine rare early Alfred Hitchcock silent films and to find 75 “most wanted” lost British films – including missing features starring Errol Flynn, Laurence Olivier, Dorothy Gish, Peter Lorre, James Mason, Phyllis Calvert and many more famous actors, and also including work by directors such as Hitchcock, again, and Michael Powell. I don’t know if they have had any luck in digging up copies of any of these missing treasures, but here’s hoping.
Since I’ve just been starting to get into silent movies, I was pleased to have the chance to see this little-known silent melodrama at the BFI in London, where it was screened as part of their Josef von Sternberg season. I was especially attracted by this film because it stars Clara Bow and Gary Cooper, who also both feature in Wellman’s Wings, made the same year, about which I’ve been busy obsessing lately.
However, this is a very different type of film, a woman’s emotion picture with a soapy flavour, centred on two friends, played by Bow and Esther Ralston, and their love lives – at times I was reminded of later films like The Old Maid or Old Acquaintance starring Bette Davis and Miriam Hopkins. The friendship between Kitty and Jean is central throughout and just as important as their relationships with the men in their lives. As the title suggests, the film is full of lurid warnings about the dangers of divorce and the terrible effects on the next generation – though, bizarrely, as the story centres on a desperately unhappy marriage, I’d have thought it actually works as an argument for divorce rather than against it.
Just thought I’d pass on word that there is going to be a season of Josef von Sternberg movies at the BFI (British Film Institute) in London during December, including some exciting rarities! I’m especially intrigued by the sound of Children of Divorce (1927), a silent movie starring Gary Cooper and Clara Bow, as I’ve just seen them both in Wings, which was made the same year.