Wednesday, April 26, 2017

Is smaller better? Find out with Buster Keaton
at a local N.H. Grange Hall on Friday, April 28

Original promotional material for 'The Cameraman.'

When introducing movies, I often point out that silent films were made to be enjoyed by a large audience.

Pacing, story organization, narrative arc—all of it was geared from the ground up for a big crowd to respond to.

Even if the turnout is just eight people, I usually point out that's still more people than can fit in my living room. And off we go!

But I have to say: some of my most memorable silent film experiences have not been with dependent on heavy turnout.

And now I realize there's another key variable in the formula: the size of the room.

I've seen it happen many times now: turnout might be, say, 40 people for a screening in a small town.

But if the venue is small enough to create a "standing room only" feeling, there's an energy present that equals what happens in a truly large and packed theater.

There's a good chance to see this dynamic in action with a program coming up on Friday, April 28.

It's a double-feature of Buster Keaton comedies at Antrim (N.H.) Grange #98. Showtime if 7 p.m.

'Sherlock Jr' (1924) and 'The Cameraman' (1928) will be shown, in part to honor the recent 100th anniversary of Buster's first appearance on a movie screen.

But the main objective is to just laugh. And if it's anything like screenings I've done in other Grange Halls and small rural venues, we'll be doing a lot of that.

Also, for years 'The Cameraman' was MGM's comedy training film. If anyone at the studio was going to work on a comedy, he or she had to watch 'The Cameraman,' regarded by studio bosses as the perfect comedy.

So just the other day, I watched 'It's a Mad, Mad, Mad, Mad World' (1963). And I'll be darned if it isn't full of Keaton references I'd never picked up before, including some from 'The Cameraman.'

Example: when Sid Caesar and Edie Adams are trapped in the cellar of a hardware store, at one point Caesar stands on a raised platform that collapses to the ground, sending him sprawling.

It's exactly what Buster did during the Tong War sequence in The Cameraman, although on a grander scale.

Someone ought to compile all the Keaton references in 'Mad World,' in which Keaton himself has a cameo. (Ironically, Keaton's role was originally more prominent, but got cut during editing.)

More info about 'Sherlock' and 'Cameraman' in the press release below. Hope to see you there!

* * *

Buster Keaton and co-star in 'The Cameraman' (1928).

MONDAY, APRIL 17, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Buster Keaton double feature at Antrim Grange #98 on Friday, April 28


Classic silent film comedy masterpieces to be screened with live musical accompaniment

ANTRIM, N.H.—He never smiled on camera, earning him the nickname of "the Great Stone Face." But Buster Keaton's comedies rocked Hollywood's silent era with laughter throughout the 1920s.

See for yourself with a screening of 'Sherlock Jr.' (1924) and 'The Cameraman' (1928), two of Keaton's landmark feature films, on Friday, April 28 at 7 p.m. at the Antrim Grange #98, 253 Clinton Road, Antrim.

The films will be shown with live musical accompaniment by Jeff Rapsis, a New Hampshire-based performer regarded as one of the nation's leading silent film musicians.

The public is welcome to attend. Suggested donation for this family-friendly event is $5 per person to help defray expenses.

In 'Sherlock Jr.,' Buster plays a small-town movie projectionist who dreams of working as a detective. But then Buster's romantic rival frames him for stealing a watch from his girlfriend's father. Fortunately, the situation mirrors the plot of the movie currently playing at Buster's theater. Inspired by the movie, can Buster find the real thief and win back his girl?

'The Cameraman' tells the story of a young man (Keaton) who tries to impress the girl of his dreams (Marceline Day) by working as a freelance newsreel cameraman. His efforts result in spectacular failure, but then a lucky break gives him an unexpected chance to make his mark. Can Buster parlay the scoop of the year into a secure job and successful romance?

Both films focus on exploring the potentials of the motion picture, then a brand-new medium.

In 'The Cameraman,' Keaton uses the movie business itself to create comedy that plays with the nature of film and reality.

Keaton, along with Charlie Chaplin and Harold Lloyd, stands as one of the three great clowns of the silent screen. Many critics regard Keaton as the best of all; Roger Ebert wrote in 2002 that "in an extraordinary period from 1920 to 1929, (Keaton) worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies."

As a performer, Keaton was uniquely suited to the demands of silent comedy. Born in 1895, he made his stage debut as a toddler, joining his family's knockabout vaudeville act and learning to take falls and do acrobatic stunts at an early age. He spent his entire childhood and adolescence on stage, attending school for exactly one day.

A remarkable pantomime artist, Keaton naturally used his whole body to communicate emotions ranging from sadness to surprise. In an era when movies had few special effects, Keaton's acrobatic talents meant he performed all his own stunts.

All those talents are on display in 'Sherlock Jr.' and 'The Cameraman,' which was selected in 2005 for preservation in the U.S. National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

"These films are audience favorites, and people continue to be surprised at how engrossing and exhilarating they can be when shown as they were intended: in a theater, and with live music," said Rapsis, who accompanies more than 100 screenings each year at venues around the nation.

Rapsis improvises live scores for silent films using a digital synthesizer to recreate the texture of the full orchestra.

"It's kind of a high wire act," Rapsis said. "But for me, the energy of live performance is an essential part of the silent film experience."

The Antrim Grange #98 will present Buster Keaton in 'Sherlock Jr.' (1924) and 'The Cameraman' (1928) on Friday, April 28 at 7 p.m. at Antrim Grange #98, 253 Clinton Road, Antrim. The public is welcome to attend this family-friendly event, which features live musical accompaniment for both films. Suggested donation is $5 per person to defray expenses.

Friday, April 21, 2017

Join Charlie Chaplin and Jackie Coogan
for 'The Kid' on Saturday, 4/22 in Ludlow, Vt


This weekend, I bop up to Ludlow, Vt., home of Okemo Mountain.

But the ski season is over, so I'll be creating live accompaniment for a silent film program.

It's kind of similar to being on the slopes, wouldn't you say?

Featured is 'The Kid' (1921) starring Charlie Chaplin and a very young Jackie Coogan. It'll be preceded by Chaplin's short 'A Dog's Life' (1918).

I've often wanted to pair Chaplin's 'The Kid' with Buster Keaton's short comedy 'The Goat,' but once again the opportunity will slip by!

If you're in the area, come check out Chaplin's breakthrough feature—"a story with a smile, and perhaps a tear"—the way it was meant to be seen: on the big screen, with live music, and with an audience.

Showtime is 7 p.m. See you there! For more info, check out the press release below:

* * *


WEDNESDAY, MARCH 29, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Charlie Chaplin's 'The Kid' to screen on Saturday, April 22 at Ludlow Auditorium


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

LUDLOW, Vt.—Silent film with live music returns to Ludlow Auditorium with a screening of Charlie Chaplin's classic comedy/drama 'The Kid' (1921) on Saturday, April 22 at 7 p.m.

The special program will be presented with live music by silent film accompanist Jeff Rapsis. The screening is free and open to the public.

Sponsored by FOLA (Friends of the Ludlow Auditorium), the program enables audiences to experience silent film in the way its makers originally intended: on the big screen, with live music, and with an audience.

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

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

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

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

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

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

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

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

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

'The Kid' (1921) starring Charlie Chaplin and Jackie Coogan, will be screened with live music on Saturday, April 22 at 7 p.m. at Ludlow Town Hall Auditorium, 137 Depot St. in Ludlow, Vt.

The screening is sponsored by the Friends of Ludlow Auditorium. Admission is free; donations are encouraged. For more information about the FOLA and its events, visit www.fola.us or call (802) 228-7239.

CRITIC QUOTE

“Chaplin's first real feature mixes slapstick and sentiment in a winning combination, as the Tramp raises a streetwise orphan. Wonderful film launched Coogan as a major child star, and it's easy to see why.”
– Leonard Maltin's Movie Guide

Wednesday, April 12, 2017

If you like zebras, you're in luck! DeMille's 'King of Kings' on Thursday, 4/13 in Plymouth, N.H.

From 'King of Kings': the blind child before meeting you-know-who.

Hippity, hoppity, Easter's on it's way. So it's high time to resurrect a big silent Biblical epic for a screening near you.

Near you, that is, if you're near the Flying Monkey Moviehouse in Plymouth, N.H. That's where I'll be doing live music on Thursday, April 13 for a screening of 'The King of Kings,' Cecil B. DeMille's 1927 crucifixion extravaganza.

Just like the Catholic church, Cecil knew what made a good show. So whatever your feelings about Easter or religion, there's nothing quite like this mix of spirituality and showbiz schmaltz.

Plus, if you like zebras, you're in luck!

Hope you can join us in the pews of the Flying Monkey cathedral to worship the silver screen. Details in the press release below.

* * *

The Last Supper, recreated in 'The King of Kings.'

WEDNESDAY, APRIL 5, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'King of Kings’ to be screened with live music on Thursday, April 13 at Flying Monkey


The perfect prelude to Easter: 1927's silent film Biblical blockbuster about the life of Jesus features cast of thousands, giant earthquake

PLYMOUTH, N.H.—It was the original big-screen blockbuster, an epic movie on a grand scale depicting the greatest story of all: the crucifixion and resurrection of Jesus Christ. Directed by Cecil B. DeMille and featuring a cast of thousands, ‘The King of Kings’ (1927) stands as one of the sensations of Hollywood’s early days.

In honor of this year’s Easter season, a restored print of ‘The King of Kings’ will be screened with live music on Thursday, April 13 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H.

The screening is a chance to experience this landmark film as it was intended to be seen: in a high quality print on the big screen, with live music and with an audience. Live music will be performed by Jeff Rapsis, a New Hampshire-based silent film accompanist.

Tickets are $10 per person.

As a movie, ‘The King of Kings’ was designed to push the limits of Hollywood story-telling. Director DeMille, already famous for over-the-top historical epics such as the original ‘Ten Commandments’ (1923), demanded and got a then-astronomical budget of $2 million, which he used to construct massive sets, hire thousands of extras, and stage an enormous earthquake at the film’s climax.

“The monumental devastation unleashed by Christ’s crucifixion dwarfs even the cataclysmic Holy Grail finale of ‘Indiana Jones and the Last Crusade,’ ” wrote film historian Charles Musser in 1992, observing that “raw material and non-union labor gave more bang for the buck in 1927.”

The film was considered daring as the first mainstream Hollywood picture to depict the actions and life of Jesus on-screen in great detail, paving the way for future generations of filmmakers.

Although the movie’s title cards quote directly from scripture, ‘The King of Kings’ was not a scholarly depiction of scenes from the Bible. Rather, it was created to emphasize drama and conflict, prompting DeMille to change many aspects of the story as traditionally related in the New Testament Gospels. DeMille even spiced things up by including teams of zebras and other exotic non-native creatures in the film.

Because of this, 'The King of Kings' was regarded as blasphemous by some, and proved “as controversial in its day as Martin Scorsese’s ‘The Last Temptation of Christ’ was in 1988,” Musser wrote. “Although DeMille made his film under the pious supervision of clergy, he managed to titillate audiences with the same heady mixture of sex and moralism that had made...earlier films so successful.”

In just one example, DeMille opens the film with the character of Mary Magdalene leading an orgy, though she is quickly rescued from debauchery by an encounter with Jesus.

Outrage or not, audiences flocked to the 2½-hour epic, which was released in May 1927 and quickly broke box office records for attendance in the U.S. and around the globe. Audiences regarded it as grand entertainment.

The cast included early Hollywood star H.B. Warner as Jesus Christ, winning plaudits for his portrayal of the lead role. (Warner’s later roles included druggist Mr. Gower in Frank Capra’s 1946 Christmas classic ‘It’s a Wonderful Life.’) Peter is portrayed by character actor Ernest Torrence, famous as Captain Hook in the original version of ‘Peter Pan’ (1924); the role of Judas is acted by Joseph Schildkraut, already a Hollywood veteran who later went on to play Nicodemus in ‘The Greatest Story Ever Told’ (1965), a much-later Hollywood epic on the same topic.

‘The King of Kings’ was also noted for technical breakthroughs. It featured state-of-the-art movie lighting techniques, including a glowing halo that surrounded Christ whenever he appears on screen. ‘The King of Kings’ was also among the first mainstream Hollywood pictures to use color in several sequences.

Cecil B. DeMille, master showman, pioneer director, and image consultant for Jesus Christ of Nazareth.

To enhance the film’s spiritual underpinnings, during production DeMille arranged for a Catholic Mass to be celebrated each morning before shooting started. In a publicity ploy, DeMille also made his stars enter contracts that prevented them from doing anything “unbiblical” for a five-year period; prohibited activities included attending ball games, playing cards, frequenting night clubs, swimming, and riding in convertibles.

The film’s sets ended up being so massive that they simply weren’t torn down, and so wound up appearing in several other pictures. A giant gate built for ‘The King of Kings’ was later used in 1933’s ‘King Kong.’ Some of the original sets were finally lit ablaze in 1939 for the burning of Atlanta in ‘Gone with the Wind.’

Critics remain impressed by the film’s epic sweep, although they often dismiss how DeMille pandered to a mass audience. “It’s a stupendous exhibition by any standard, though you can practically smell the sawdust and greasepaint,” wrote critic Peter Matthews in 2004. “Despite the baloney (or because of it), ‘The King of Kings’ captures the fervor of na├»ve devotion. On that level, the movie is a genuinely uplifting experience,” Matthews wrote.

'King of Kings' will be screened with live music performed by silent film accompanist Jeff Rapsis.

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

"Dramas such as 'King of Kings' were created to be shown on the big screen as a communal experience," Rapsis said. "With an audience and live music, they still come to life as their creators intended them to," he said.

'King of Kings' is the latest in a monthly series of silent films presented with live music at the Flying Monkey. The series provides local audiences the opportunity to experience silent film as it was intended to be shown: on the big screen, in good-looking prints, with live music, and with an audience.

Upcoming events in the Flying Monkey's silent film program include:

• Thursday, May 18, 2017, 6:30 p.m.: 'Speedway' (1929) starring William Haines, Ernest Torrance. Fasten your seat belts! We mark the traditional Memorial Day running of the Indianapolis 500 with a vintage race car drama filmed right on the famed track—at speeds topping 115 mph!

‘King of Kings’ (1927) will be shown on Thursday, April 13 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H. Admission is $10 per person. For more info, call (603) 536-2551 or visit www.flyingmonkeynh.com. For more info on the music, visit www.jeffrapsis.com.

See? I told you there were zebras!

Thursday, April 6, 2017

Keaton's 'Steamboat Bill Jr.' launches new silent series at Capitol Theatre, plus 'The Wind' on Sunday, April 9 at Somerville Theatre

Buster and Ernest Torrence in 'Steamboat Bill, Jr.'

Starting tonight, there's a new venue in the Boston area for enjoying silent films with live music and an audience.

It's the Capitol Theatre in Arlington, Mass., which is launching a new monthly series tonight (Thursday, April 6) with a screening of Buster Keaton's comedy 'Steamboat Bill, Jr.' (1928).

Showtime is 8 p.m. (and not 7:30 p.m., as I had listed earlier), the Capitol is at 204 Massachusetts Ave. in Arlington, Mass. Check it out online at http://capitoltheatreusa.com. Admission is $12 per person; $10 students/seniors.

This is the one that finds Buster caught up in a cyclone. Fittingly, the forecast this evening calls for heavy rain!

The Capitol's exterior on Mass. Ave. in Arlington.

The Capitol is sister theatre to the venerable Somerville Theatre, not far away in Davis Square in neighboring Somerville.

While the Somerville runs a monthly "Silents, Please!" program using 35mm prints, not all great silents are available in this format.

So Ian Judge, who manages the theaters, felt it would be worth starting a separate series at the Capitol for silents on other media—meaning mostly DVD transfers.

We tried a dry run at the Capitol last Halloween, when I accompanied Lon Chaney in 'The Unholy Three' (1925), a film that just isn't available in 35mm.

I'm not sure "dry" run is the right term, as it was pouring rain that evening as well.

But it was successful enough for management to greenlight a monthly mini-series of silents at the Capitol, starting this month with Keaton's 'Steamboat Bill' and running through the summer.

Here's what's also on the bill:

Thursday, May 11, 2017, 8 p.m.: "The Winning of Barbara Worth" (1926) starring Gary Cooper, Ronald Coleman, Vilma Banky. Epic Western about the settling and irrigation of California's Imperial Valley, once a wasteland but now an agricultural paradise. Shot on location by director Henry King in Nevada's Black Rock desert, one of the first films to take audiences to the wide open spaces of the great American West. With a young Gary Cooper playing a key role.

Thursday, June 22, 2017, 8 p.m.: "The Kid" (1921) starring Charlie Chaplin, Jackie Coogan. Chaplin's landmark comedy/drama about a man who raises an infant against all odds. As the film tells us: "A story with a smile, and perhaps a tear." Highlighted by amazing performance of four-year-old Coogan, who matches Chaplin pratfall for pratfall. Bonus Chaplin comedy: "A Dog's Life" (1918).

Thursday, July 6, 2017, 8 p.m.: "The Lost World" (1925) starring Wallace Beery, Bessie Love. First-ever movie adaptation of Arthur Conan Doyle's legendary tale of British explorers who discover pre-historic creatures still thriving atop a remote South American plateau. Great entertainment; ground-breaking special effects by the same team that later created 'King Kong' mesmerized early movie audiences and remain impressive today.

Thursday, Aug. 3, 2017, 8 p.m.: "Grandma's Boy" (1922) starring Harold Lloyd, Mildred Davis. A cowardly young man must learn to conquer his fears before dealing with a larger menace to his community. Riotous small town comedy that helped propel Harold Lloyd into the most popular movie comedian of the 1920s. Bonus Lloyd short comedy: "Never Weaken" (1921).

One bonus for me: the family-oriented Capitol (which even has baby-friendly matinees) has its own in-house ice cream shop, the Capitol Creamery, in the theater lobby.

Can you guess where you'll find me before the show?


Speaking of the Somerville Theatre: after a few months of, well, silence, the 'Silents, Please!' series restarts on Sunday, April 9 with Lillian Gish in 'The Wind' (1928).

Showtime is 2 p.m. The theater is in Davis Square in Somerville, Mass.; admission is $15 per person, $12 students/seniors.

A chance to see this legendary film in 35mm with an audience in a theater is an experience not to be missed.

It's especially worth seeing because for some reason, MGM hasn't released 'The Wind' in any format for home viewing since a version came out on laser disc back in the late 1980s!

So other than firing up the laser disc player, the only way to experience 'The Wind' is just like when the film was released in 1928: by going to the theater.

For more details on 'The Wind' and other upcoming 'Silents, Please!' screenings, here's the press release that went out about the screening:

* * *

Lillian Gish in 'The Wind.'

WEDNESDAY, MARCH 22, 2017 — FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Somerville Theatre announces 2017 'Silents, Please!' series


Starting with 'The Wind' (1928) on Sunday, April 9; monthly screenings of silent film masterworks shown in 35mm with live music scoring

SOMERVILLE, Mass.—Great films that caused early audiences to first fall in love with the movies will once again grace the big screen in this year's 'Silents, Please!' series at the Somerville Theatre.

The series features monthly screenings of legendary titles shown as originally intended: in 35mm on the big screen, in a real movie theatre with an audience, and with live musical scoring.

Upcoming titles in the 2017 season include Eric von Stroheim's epic drama 'Greed' (1924); Harold Lloyd in 'Safety Last' (1923); and the recently rediscovered original big screen adaptation of 'Sherlock Holmes' (1916).

"With silent film, if you put all the pieces back together again, you can really understand why people found early movies so entertaining," said Ian Judge, the Somerville's general manager.

All films in the series are shown via archival 35mm prints—the original format for theatrical movies. Today, 35mm prints of films are often very difficult to obtain and screen properly.

Live music for each program is provided by New Hampshire-based silent film accompanist Jeff Rapsis.

First up in the series is Lillian Gish in 'The Wind' (1928), an intense MGM drama often rated as one of the best films from any era.

In 'The Wind,' Gish plays a frail young woman from the east moves in with her cousin in the west, where she causes tension within the family and is slowly driven mad while in an isolated cabin.

'The Wind,' directed by Victor Seastrom, will be screened on Sunday, April 9 at 2 p.m. General admission is $15 per person/$12 student and seniors.

Additional titles in the Somerville's 2017 'Silents, Please!' series include:

Sunday, May 14, 2017, 2 p.m.: 'Greed' (1924), directed by Erich von Stroheim. Legendary director Von Stroheim's great masterpiece brought silent film drama to new heights of intensity, and also inspired huge behind-the-scenes battle over control of final cut. Rare chance to see this film in 35mm on the big screen with live music.

Sunday, June 18, 2017, 2 p.m.: 'So This Is Paris' (1926). If you like your 1920s sex comedies light and frothy, then director Ernst Lubitsch is your guy. This madcap romp, set among the sophisticated elite in the City of Light, buzzes with energy on the dance floor and elsewhere. Plus it helped popularize the Charleston!

Sunday, July 9, 2017, 2 p.m.: 'Safety Last' (1923). Ambitious young Harold Lloyd heads from small town to big city to make his fortune, with unexpected results. The iconic image of Lloyd dangling from the hands of a downtown clock is only one small piece of a remarkable thrill comedy that has lost none of its power over audiences.

Sunday, Aug. 27, 2017, 2 p.m.: 'Get Your Man' (1927) starring Clara Bow, Buddy Rogers. Long-lost Clara Bow feature only recently rescued and restored by the Library of Congress. Bow is Nancy Worthington, a liberated (of course) American in Paris who meets cute with French nobleman Robert Albin (Rogers) while on vacation by herself. Robert and Nancy fall hard for each other, but an arranged, politically motivated marriage stands in their way. Nancy scams her way onto the family estate, and complications ensue.

Sunday, Sept. 10, 2017, 2 p.m.: 'Sherlock Holmes' (1916) starring William Gillette. Recently discovered in France after being lost for nearly a century, see this original 1916 adaptation of Sherlock Holmes stories as performed by William Gillette, the actor who created the role on stage. Holmes does battle with arch-rival Prof. Moriarty in an amalgam of several stories by Sir Arthur Conan Doyle.

All screenings will be via 35mm prints and with live musical scoring created by New Hampshire silent film accompanist Jeff Rapsis. Rapsis achieves a traditional "movie score" sound for silent film screenings by using a digital synthesizer to reproduce the texture of the full orchestra.

'The Wind' will be screened in 35mm with live music on Sunday, April 9 at 2 p.m. at the Somerville Theater, 55 Davis Square, Somerville, Mass. Admission is $15 adults, $12 students/seniors; general admission seating. For more information, call (617) 625-5700 or visit www.somervilletheatre.com. For more info on the music, visit www.jeffrapsis.com.

Friday, March 31, 2017

This weekend: Buster Keaton's 'Cameraman'
in the country, then 'Peter Pan' in the city

This weekend's venues for silent film cover a wide range: a Catholic college in rural New Hampshire, and then a hipster brewery in urban Boston.

On Saturday night, it's Keaton's 'The Cameraman' (1928) at Northeast Catholic College way up in Warner, N.H.

And then on Sunday, it's the original silent film adaptation of 'Peter Pan' (1924) at the Aeronaut Brewing Co. in Somerville, Mass.

Our part of New England is getting a good amount of snow now through Saturday. But that shouldn't impede this pair of silent film shows.

One nice thing about this weekend's screenings has been the publicity.

I always send out press materials, but you never know what will be used, and when, and how.

For this weekend, I've lucked out with some good coverage.

For the Keaton screening, the Concord (N.H.) Monitor, a highly respected daily paper, devoted quite a bit of space to this story. Thanks!

And for the Aeronaut 'Peter Pan' screening, writer Sean Burns did a great job pulling together a fairly lengthy piece, especially by Metro standards.

Also, here's a screen capture of the story in the print edition:


So whether it's country-style silent film you crave, or if you prefer a more urban setting, there's something for every taste this weekend.

Press releases for both films (with a lot more info) are pasted in below. See, I really do send out press materials!

* * *

An original poster for Keaton's 'The Cameraman' (1928), running on April Fool's Day (Saturday, April 1) at Northeast Catholic College.

TUESDAY, MARCH 14, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Buster Keaton's 'The Cameraman' at Northeast Catholic on Saturday, April 1


Classic silent film comedy masterpiece to be screened with live music; program open to the public

WARNER, N.H. — Silent film with live music returns to the big screen at Northeast Catholic College in April with a showing of an acclaimed comedy starring Buster Keaton.

The screening, on Saturday, April 1 at 7 p.m., will feature Keaton's classic comedy 'The Cameraman' (1928). Admission is free for Northeast Catholic students and any others with college ID; general public admission is $5 per person

Live music will be provided by silent film accompanist Jeff Rapsis. The program will include a short comedy, 'Cops,' also starring Buster Keaton.

'The Cameraman' tells the story of a young man (Keaton) who tries to impress the girl of his dreams (Marceline Day) by working as a freelance newsreel cameraman. His efforts result in spectacular failure, but then a lucky break gives him an unexpected chance to make his mark. Can he parlay the scoop of the year into a secure job and successful romance?

Buster Keaton's self-referential world of 'The Cameraman.'

In 'The Cameraman,' Keaton uses the movie business to create comedy that plays with the nature of film and reality. The movie contains classic sequences often cited as among Keaton's best.

Keaton, along with Charlie Chaplin and Harold Lloyd, stands as one of the three great clowns of the silent screen. Many critics regard Keaton as the best of all; Roger Ebert wrote in 2002 that "in an extraordinary period from 1920 to 1929, (Keaton) worked without interruption on a series of films that make him, arguably, the greatest actor-director in the history of the movies."

As a performer, Keaton was uniquely suited to the demands of silent comedy. Born in 1895, he made his stage debut as a toddler, joining his family's knockabout vaudeville act and learning to take falls and do acrobatic stunts at an early age. He spent his entire childhood and adolescence on stage, attending school for exactly one day.

A remarkable pantomime artist, Keaton naturally used his whole body to communicate emotions ranging from sadness to surprise. In an era when movies had few special effects, Keaton's acrobatic talents meant he performed all his own stunts.

All those talents are on display in 'The Cameraman,' which was selected in 2005 for preservation in the U.S. National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant."

'The Cameraman' will be accompanied by live music by Jeff Rapsis, a New England-based silent film accompanist who performs at venues across the region and beyond.

"These films were created to be shown on the big screen as a sort of communal experience," Rapsis said. "With an audience and live music, they still come to life in the way their makers intended them to.

"So the screening at Northeast Catholic College is a great chance to experience films that first caused people to first fall in love with the movies," he said.

Established as a residential, Catholic liberal arts college in 1973 and located in Warner, N.H., the Northeast Catholic College (formerly the College of Saint Mary Magdalen) seeks to call students to the life-long pursuit of intellectual and moral virtue through the rigorous study and discussion of primary texts and through its vibrantly Catholic student life.

Buster Keaton's 'The Cameraman' (1928) will be screened with live music on Saturday, April 1 at 7 p.m. at Northeast Catholic College (formerly Magdalen College), 511 Kearsarge Mountain Road, Warner, N.H. Admission is free to students with a college ID; general public is $5 per person.

For more information about Northeast Catholic College, visit www.northeastcatholic.edu/ For more info on the music, visit www.jeffrapsis.com.

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An original poster for the original screen adaptation of 'Peter Pan' (1924).

WEDNESDAY, MARCH 22, 2017 / FOR IMMEDIATE RELEASE
For more info, contact: Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film version of 'Peter Pan' at Aeronaut on Sunday, April 2


Original adaptation of magical fantasy classic to be shown with live musical score

SOMERVILLE, Mass.—It was the film that introduced movie-goers to visions of flying children, magical fairies, human-like animals and menacing pirates.

It was the original silent film adaptation of 'Peter Pan,' a picture personally supervised by author J.M. Barrie. The film was a major hit when released in 1924, with audiences eager to get their first big-screen look at the wonders of Neverland.

Movie fans can see for themselves when the first 'Peter Pan' (1924) is screened on Sunday, April 2 at 7 p.m. at the Aeronaut Brewing Co., 14 Tyler St., Somerville.

The program will feature live music for the movie by silent film accompanist Jeff Rapsis, and will include a classic silent comedy short film. Admission is $10 per person. Tickets are available online at www.eventbrite.com; search on "Aeronaut Brewery."

Thought lost for many years, and overshadowed by more recent adaptations, the original silent 'Peter Pan' maintains its freshness and charm 90 years after its original release.

In the story, first presented as a stage play in 1904, three children in London are visited one night by Peter Pan, a youth in search of his shadow. Pan shows his new friends how to fly, and then convinces them to join him in a journey to Neverland.

There they encounter Indians, mermaids, and a band of pirates whose leader, Captain Hook, is Pan's sworn enemy. The children are captured by Hook and taken prisoner aboard his pirate ship, setting the stage for an epic battle, the outcome of which will determine if the children may ever return home.

Betty Bronson in the title role.

Though the Peter Pan story is well-known today due to subsequent adaptations (and also merchandising that includes a ubiquitous brand of peanut butter), the tale was virtually new when Hollywood first brought it to film in the early 1920s.

In England, author Barrie gave his blessing to the first-ever screen adaptation, though he retained control over casting and insisted that any written titles in the film be taken directly from his own text.

After a major talent search, Barrie settled on unknown 18-year-old actress Betty Bronson for the title role, and filming began in 1924. The role of Captain Hook was played by noted character actor Ernest Torrence, who invented the now-iconic villainous pirate persona that would become a Hollywood legend.

The film's highlights include special effects that maintain their ability to dazzle even today. The film's memorable images include a group of mermaids entering the sea, a miniature Tinkerbell interacting with full-sized children and adults, and a pirate ship lifting out of the water and taking flight.

'Peter Pan' also includes a cast of animal characters played by humans in costume, including the family dog Nana and an alligator who serves as Hook's nemesis, lending the film a magical quality.

After the film's release, no copies of the original 'Peter Pan' were known to exist, and for many years the film was regarded as lost. However, in the 1950s a single surviving print turned up in the George Eastman Archives in Rochester, N.Y., from which all copies today have descended.

Accompanist Jeff Rapsis specializes in creating live musical scores for films made prior to the introduction of recorded sound. Based in New Hampshire, Rapsis specializes in improvising music for silent film screenings at venues ranging from Harvard University in Cambridge, Mass. to the Niles Essanay Silent Film Museum in San Francisco, Calif.

Rapsis creates film scores in real time, as a movie is running, using a digital synthesizer to reproduce the texture of a full orchestra. He averages about 100 performances per year, and has created music for more than 250 different silent feature films.

"Improvising a movie score is a bit of a high wire act, but it can result in music that fits a film's mood and action better than anything that can be written down in advance," Rapsis said. "It also lends a sense of excitement and adventure to the screening, as no two performances are exactly alike."

The screening is part of the Aeronaut's commitment to give local artists and audiences a chance to connect in the brewery's performance space.

Just as beer aficionados appreciate a good hand-crafted brew, movie-goers are rediscovering the joys of silent cinema presented as it was intended: on a big screen, with live music, and with an audience.

"If you can put all the original elements together, the films of early Hollywood still come to life," said Rapsis, who performs regularly at the Aeronaut. "These are the films that caused people to first fall in love with the movies."

‘Peter Pan’ (1924) will be shown on Sunday, April 2 at 7 p.m. at the Aeronaut Brewing Co., 14 Tyler St., Somerville, Mass. Admission is $10 per person. Tickets are available online at www.eventbrite.com; search on "Aeronaut Brewery." For more info about Aeronaut Brewing, visit www.aeronautbrewing.com. For more information about the music, visit www.jeffrapsis.com.


Saturday, March 25, 2017

Oliver Hardy plays the Tin Man, and other reasons to see the silent 'Wizard of Oz' (1925)

We're off to see the 'Wizard'—but not the one with Judy Garland in it.

Probably the most-requested silent film title I get is the 1925 version of 'The Wizard of Oz.'

Oz fans (and there are many) seem especially eager to see this early big-screen adaptation of the beloved fantasy.

And so far I've resisted.

Why? Because I've felt this version of the tale, concocted by comedian Larry Semon, can't help but disappoint audiences, and also reinforces stereotypes of silent film at its worst.

Held up against a familiar Hollywood classic, the 1925 'Wizard of Oz' not only can't compete, but diminishes the whole era that produced it.

So I've managed to avoid it for quite some time.

Until now. Tomorrow (Sunday, March 26) at 4:30 p.m., the Wilton (N.H.) Town Hall Theatre will run Semon's 'Wizard of Oz,' with music by me.

Expect a thoroughly Judy-Garland-free screening, with Dorothy played by Semon's wife Dorothy Dwan, Semon as the scarecrow, and yes, Semon's then-sidekick Oliver Hardy playing the Tin Man.

And that's about all the silent 'Wizard' has in common with Frank L. Baum's well-loved tale. Semon basically used the material as a jumping off point to create his specialty: cartoonish slapstick mayhem.

Larry Semon, Dorothy Dwan, and Oliver Hardy in the 1925 'Wizard of Oz.'

Audiences at the time didn't know what to make of Semon's 'Wizard.' With years of exposure to the 1939 MGM version, I can't imagine what viewers today will think.

Well, we'll find out soon enough. If you'd like to judge for yourself, please attend! More details are contained in the press release pasted below.

Before that, I want to thank Jessica Pappathan and everyone at the Aviation Museum of N.H. for inviting me in for a silent film program on Friday, March 24.

On the bill: a double feature of two obscure aviation thrillers, each full of aerial acrobatics and daring stunt pilot work.

'The Phantom Flyer' (1928), a Universal "Thrill Picture," which marries airplane derring-do with a melodramatic plot, got an especially big response.

And people readily cheered Champion the Dog in 'Sky Rider' (1928) as time and again he outsmarted all the humans in the picture.

Neither of these pictures are celebrated as classics or studied in film schools.

But run them on a big screen with live music and a receptive audience, and they still do what they were designed to do: keep eyes glued to the screen and stir a crowd to a frenzy.

I think part of the formula is matching the right pictures to the right audiences. In this cause, for a program at an aviation museum, vintage airplane melodramas were a natural.

I'll do a similar program in May at the Flying Monkey Moviehouse in Plymouth, N.H. To mark the annual Memorial Day running of the Indy 500, we're running the MGM drama 'Speedway' (1929), starring William Haines and Ernest Torrence.

The film was made on location at the actual Indianapolis 500 track, and is filled with scenes of period race cars zipping along at astonishing speeds of 90 mph or more!

And we're doing it at the request of a group of antique car enthusiasts, who are planning to hold their regular business meeting in the theater prior to the show.

So in programming these films, part of the fun is matching the right film with the right audience. It's great it happens!

Okay, here's more info on the silent film version of 'The Wizard of Oz' (1925), which we're running tomorrow in Wilton, N.H. Hope to see you there!

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Larry Semon as the Scarecrow.

WEDNESDAY, MARCH 15, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Rare silent film version of 'Wizard of Oz' at Town Hall Theatre on Sunday, March 26

Feature-length Oz epic released in 1925 includes comedian Oliver Hardy as the Tin Man; to be screened with live music

WILTON, N.H. — You won't find Judy Garland in this version of Oz, or much of anything else that's familiar. That's because it's the forgotten 1925 silent film version of the famous tale.

Long overshadowed by the immensely popular 1939 remake, the rarely seen silent version of 'The Wizard of Oz' (1925) will be screened one time only on Sunday, March 26 at 4:30 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

The program, which will include an earlier short Oz film also based on stories and characters of author L. Frank Baum, will be accompanied by Jeff Rapsis, a New Hampshire-based silent film musician.

The silent version, released by Chadwick Pictures, was intended as a vehicle for slapstick comedian Larry Semon, who directed the picture and played the role of the scarecrow.

Dorothy is played by Dorothy Dwan, Semon's wife. Also in the cast is Oliver Hardy as the Tin Man. Prior to his teaming with comedian Stan Laurel later in the 1920s, Hardy often played Semon's comic foil.

The silent 'Wizard of Oz' bears little resemblance to the highly polished MGM musical released just 14 years later. However, due to the enduring worldwide popularity of Baum's 'Oz' characters and stories, the silent 'Wizard of Oz' remains an object of great curiosity among fans.

The film departs radically from the novel upon which it is based, introducing new characters and exploits. Along with a completely different plot, the film is all set in a world that is only barely recognizable as the Land of Oz from the books. The film focuses mainly upon Semon's character, who is analogous to Ray Bolger's Scarecrow character in the 1939 version.

The major departure from the book and film is that the Scarecrow, the Tin Man, and the Cowardly Lion are not actually characters, but are in fact disguises donned by three farm hands who find themselves swept into Oz by a tornado. Dorothy is here played by Dorothy Dwan — Semon's wife - as a young woman. In a drastic departure from the original book, the Tin Man (played by Oliver Hardy) is a villain.

Some elements of the narrative have their roots in earlier adaptations of The Wizard of Oz. For example, Prime Minister Kruel has a predecessor in King Krewl, the antagonist of His Majesty, the Scarecrow of Oz. The note explaining Princess Dorothea's true heritage is signed "Pastoria", a name used for the exiled King of Oz in the 1902 stage version of The Wizard of Oz and for the father of Princess Ozma in The Marvelous Land of Oz and later Oz books.

Legend has it that Semon's version of 'Wizard' was so poorly received, Chadwick Studios was forced to file for bankruptcy while the picture was in theaters. In truth, the picture was a modest success, and Chadwick continued to release films through 1928, when the studio shut down prior to the industry's switch to synchronized sound.

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

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

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

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

The silent version of 'The Wizard of Oz' (1925) and other Oz-related silent films will be shown on Sunday, March 26 at 4:30 p.m. at the Town Hall Theatre, 40 Main St., Wilton, N.H.

Admission is free; a donation of $5 per person is suggested to help defray expenses. For more info, visit www.wiltontownhalltheatre.com or call (603) 654-3456.

Thursday, March 23, 2017

This Friday: Airborne thrills, spills, and chills
in double feature of vintage aviation dramas!


For me, one of the greatest pleasures in exploring the silent film era is discovering movies that are totally forgotten, have little or no artistic merit, but which still hold an audience like nobody's business.

Time and time again, I'm astonished at how some low-rent picture can spring to life when shown in front of a group of people with live music. It's like long ago filmmakers are reaching across the decades to show they still have the stuff.

If that sounds like your idea of a good time, then I encourage you to attend a program on Friday, March 24 at the Aviation Museum of New Hampshire.

That night, I'm accompanying a double-feature of two aviation melodramas—films you've never heard of, but which are packed with the thrills, spills, and chills of early airplane derring-do.

The two pictures: 'The Phantom Flyer' (1928) starring stunt flyer Al Wilson, and 'The Sky Rider' (19280, starring Champion the Wonder Dog.

See, I was right—you'd never heard of either of them. But what an experience awaits for those who can come to enjoy this cinematic time capsule!

Both pictures were made to capitalize on interest in the new field of aviation, so they're filled with vintage aircraft, airports, and so on.

But they're also built on refreshingly simple stories where people are either all good or all bad, and so letting yourself get swept up in something so grounded (odd for aviation dramas) can be kind of cathartic.

Also, we all like the satisfaction of seeing the good guys (and gals) win, and for the baddies to get punished.

So hope you can join us for what promises to be a fun program. As a bonus, the museum is on the grounds of Manchester-Boston Regional Airport, and we'll be watching the films mere yards from an active runway!

Start time is 7 p.m. More info in the press release below. See you there!

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TUESDAY, MARCH 14, 2017 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Aviation Museum of N.H. to screen rare 'daredevil' early biplane melodramas


Program of vintage rip-roaring early aviation films accompanied by live music to be shown Friday, March 24

LONDONDERRY, N.H.—Join fellow flyboys and flygals for a program of rarely seen vintage silent melodramas featuring 1920s biplane action, all accompanied by live music.

The "Dare-Devil Aviation Double Feature" takes off on Friday, March 24 at 7 p.m. in the exhibit space of the Aviation Museum of N.H. at 27 Navigator Road, Londonderry. A cash bar reception will open at 6 p.m.

Tickets are $15 for museum members, and $20 for non-members. Tickets may be purchased online at www.aviationmuseumofnh.org.

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

The show will allow audiences to experience silent film the way its makers originally intended: on the big screen, with live music, and with an audience.

In 'The Phantom Flyer' (1928) famous stunt flyer Al Wilson portrays a border patrol aviator who must use his pilot skills to save girlfriend Mary (Lillian Gilmore) from cattle rustlers.

And in 'The Sky Rider' (1928), join Champion the Wonder Dog as he flies along with his master Dick to foil the plot of a disinherited nephew to get even with—well, it's complicated!

Come see for yourself as the Museum recreates the silent film experience (planes included) that caused people to first fall in love with the movies: the big screen, live music, and an audience to get riled up about it all.

And all this in a hanger-like space right alongside Runway 17-35 at Manchester-Boston Regional Airport.

The event is sponsored by Hearthside Realty in Manchester.

"We had such a good response to our screening of the classic silent film 'Wings' last November that we wanted to do a follow-up program to screen more early aviation dramas," said Jessica Pappathan, the museum's executive director.

Rapsis, a composer who specializes in film music, will create scores for the two movies on the spot, improvising the music as the movie unfolds to enhance the on-screen action as well as respond to audience reactions.

Rapsis performs the music on a digital synthesizer, which is capable of producing a wide range of theatre organ and orchestral textures.

"Live music was an integral part of the silent film experience," Rapsis said. "At the time, most films weren't released with sheet music or scores. Studios relied on local musicians to come up with an effective score that was different in every theater. At its best, this approach created an energy and a connection that added a great deal to a film's impact. That's what I try to recreate," Rapsis said.

‘The Phantom Flyer’ (1928) and 'The Sky Rider' (1928) will be shown with live music on Friday, March 24 at 7 p.m. at the Aviation Museum of N.H., 27 Navigator Road, Londonderry. Tickets are $15 for museum members, and $20 for non-members. Tickets may be purchased online at www.aviationmuseumofnh.org. For information, contact the museum at (603) 669-4820. For more about the music, visit www.jeffrapsis.com.