Back to the future: 'Woman in the Moon' on Monday, Dec. 31 at Red River Theatres

That's 'Woman in the Moon' in English...

The big countdown to 'Woman in the Moon' has begun. In just 12 days, we'll be blasting off for the lunar surface, as imagined by director Fritz Lang and screenwriter Thea von Harbou. The screening is on Monday, Dec. 31 at 6 p.m. at Red River Theatres in Concord, N.H., with live music by yours truly.

It's the first time I'll be scoring this amazing film, and I'm thrilled at the chance to help bring it to life for a contemporary audience. And what better opportunity than New Year's Eve to show a future that never was, as envisioned by a past that is now long gone.

Please join us on New Year's Eve at Red River for a rare screening of this unique (and I think overlooked) achievement from the very last days of silent film. You'll find a lot more info in the press release below.

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Intrepid explorers trek on the lunar surface.

WEDNESDAY, DEC. 19, 2012 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Celebrate New Year's Eve with
silent sci-fi space adventure flick

'Woman in the Moon,' pioneer drama about first moon voyage,
to be screened with live music at Red River Theatres in Concord, N.H.

CONCORD, N.H.—A sci-fi adventure movie hailed as the first feature film to depict realistic space travel will be shown on New Year's Eve at Red River Theatres, 11 South Main St., Concord, N.H.

'Woman in the Moon' (1929), directed by German filmmaker Fritz Lang ('Metropolis,' 1927), will be screened with live music on Monday, Dec. 31 at 6 p.m. Admission is $10 per person.

The rarely seen full-length movie follows an intrepid band of space pioneers as they attempt mankind's first voyage to the lunar surface, where they hope to find large deposits of gold.

The film, made with German rocket experts as technical advisors, is noted for anticipating many of the methods actually used by NASA for the Apollo moon launch program 40 years later—for example, a multi-stage rocket is employed to escape Earth's gravity, and a separate capsule is used to reach the lunar surface.

Willy Fritsch gets ready to pull the launch lever.

The film is also noted for introducing the idea of a dramatic "countdown" prior to launch, which later became standard procedure in space flight. Critics regard the film's extended launch sequence as a masterpiece of editing and dramatic tension.

But 'Woman in the Moon,' with its melodramatic plot and colorful characters, also stands as the forerunner of many sci-fi story elements that quickly became clichés: the brilliant but misunderstood professor; a love triangle involving a beautiful female scientist and her two male crewmates; a young boy who yearns to join the expedition; fistfights and gunfights on the lunar surface.

Added to the mix is a vision of the moon (created entirely on a massive studio set in Berlin, Germany) that features a breathable atmosphere, giant sand dunes, distant mountain peaks, and bubbling mud pits.

"This is simply a bizarre film, one that must be seen to be believed," said Jeff Rapsis, a New Hampshire-based silent film accompanist who will create live music for the screening. "I think it's the perfect movie to ring in the new year. As a past vision of a future that didn't quite come to pass, it really gets you thinking of time and how we perceive it."

Home sweet home on the lunar surface in 'Woman in the Moon'

Rapsis, a resident of Bedford, N.H., will improvise live musical accompaniment during the screening, using a digitial synthesizer to recreate the sound of a full orchestra and other more exotic textures.

"As an early sci-fi flick, 'Woman in the Moon' lends itself to a lot of creative scoring," said Rapsis, one of the nation's leading silent film accompanists and a regular performer at Red River.

'Woman in the Moon,' a full-length feature than runs more than 2½ hours, should not be confused with the much earlier film 'A Trip to Moon,' a primitive "trick" short movie made by French filmmaker George Méliès in 1902 and famous for the image of a space capsule hitting the eye of an imaginary moon man.

"Unlike the Méliès film, there's nothing primitive about 'Woman in the Moon,' " Rapsis said. "It's silent film story-telling at the peak of its eloquence, with lively performances, imaginative camera angles, and superb photography."

Director Fritz Lang, also responsible for the groundbreaking sci-fi epic 'Metropolis' (1927), planned 'Woman in the Moon' as another step in his quest to stretch cinema's visual, story-telling, and imaginative capabilities.

Timing is one reason that 'Woman in the Moon' (titled as 'Frau im Mond' in German) is not as well known today as 'Metropolis,' its legendary predecessor. Lang completed 'Woman in the Moon' just as the silent film era was coming to a close.

As one of the last silent films of the German cinema, 'Woman in the Moon' was unable to compete with new talking pictures then in theaters, making it a box office flop at its premiere in October, 1929.

However, German rocket scientist Hermann Oberth worked as an advisor on the movie, and it developed cult status among the rocket scientists in Wernher von Braun's circle. During World War II, the first successfully launched V-2 rocket at the German rocket facility in Peenemünde had the "Woman in the Moon" logo painted on its base.

During the war, the Nazis tried to recall and destroy all prints of 'Woman in the Moon' due to its depiction of potential valuable rocket propulsion technology; in later years, this served to make the film even more hard to find.

Paging central casting! Needed: 1 crazy professor; 1 slimeball; 1 beatiful woman; 2 men to compete for her; 1 plucky space-infatuated youngster.

But pristine and complete 35mm copies of 'Woman in the Moon' did survive in several European archives. Today, restored prints transferred to digital media are amazingly clear and sharp, Rapsis said.

" 'Woman in the Moon' is technically one of the best-looking silent films I've ever seen," he said. "If you think all silent films are grainy and scratchy-looking, 'Woman in the Moon' will change your mind. It's like an Ansel Adams photograph come to life."

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.

Red River Theatres includes silent film in its programming to give today's audiences a chance to experience the great films of Hollywood's early years as they were intended: in restored prints, on the big screen, and with live music and an audience.

"If you've never seen a silent film in a theater with live music and an audience, 'Woman in the Moon' is a great way to experience the medium at its mind-bending best," Rapsis said. "When you put all the elements together, silent film still has an ability to stir up emotions in a way that no other medium can."

‘Woman in the Moon’ will be shown on Monday, Dec. 31 at 6 p.m. at Red River Theatres, 11 South Main St., Concord, N.H. Tickets are $10 per person. For more information on the screening or to buy tickets in advance, visit www.redrivertheatres.org or call (603) 224-4600. For more information on the music, visit www.jeffrapsis.com.

Back to the future as we ring in 2013 with 'Metropolis' and 'Woman in the Moon'

Its the annual pre-holiday lull, the time when I take a few weeks away from the keyboard. But I'm already excited about a double-barrelled dose of silent sci-fi to welcome in 2013:

• On Sunday, Dec. 30, we're screening 'Metropolis' (1927), the eye-popping futuristic fantasy from German director Fritz Lang. It's one of the all-time great silent films, and if you haven't seen it in a theater with live music, you haven't seen it. Plus, it's a terrific film for live music and I have some good material from prior screening to work with. It's at 4:30 p.m. at the Wilton Town Hall Theater in Wilton, N.H.l for more info, visit www.wiltontownhalltheatre.com. Free admission!

• Then, on Monday, Dec. 31, we ring in the New Year with 'Woman in the Moon' (1929), an amazing feature film that depicts nothing less than man's first voyage to the lunar surface! Also directed by Fritz Lang, it's a remarkable picture that should be much more widely known, but tends to be overshadowed by 'Metropolis,' its slightly older brother. It's at 7 p.m. at Red River Theaters in Concord, N.H. For more info, visit www.redrivertheatres.org. Admission is $10 per person.

It's the first time I've tackled 'Woman in the Moon,' and I'm already preparing some material for the score. I'll be writing more about it in the weeks to come, but I wanted to at least update things so some info was up here.

Because few people are familiar with 'Woman in the Moon,' let me repost this wonderfully concise description from a DVD selling site:

" 'Woman in the Moon' is:

(a) The first feature-length film to portray space-exploration in a serious manner, paying close attention to the science involved in launching a vessel from the surface of the earth to the valleys of the moon.

(b) A tri-polar potboiler of a picture that manages to combine espionage tale, serial melodrama, and comic-book sci-fi into a storyline that is by turns delirious, hushed, and deranged.

(c) A movie so rife with narrative contradiction and visual ingenuity that it could only be the work of one filmmaker: Fritz Lang.

In this, Lang’s final silent epic, the legendary filmmaker spins a tale involving a wicked cartel of spies who co-opt an experimental mission to the moon in the hope of plundering the satellite’s vast (and highly theoretical) stores of gold. When the crew, helmed by Willy Fritsch and Gerda Maurus, finally reach their impossible destination, they find themselves stranded in a lunar labyrinth without walls — where emotions run scattershot, and the new goal becomes survival.

A modern Daedalus tale which uncannily foretold Germany’s wartime push into rocket-science, 'Woman in the Moon' is as much a warning-sign against human hubris as it is a hopeful depiction of mankind’s potential.

Ready to see it now? Then join us on New Year's Eve. And in the meantime, happy holiday season to all!

'Trail of '98' on Tuesday, Dec. 4: Adventure with something for everyone

I'm really looking forward to our screening of 'The Trail of '98' (1928), an adventure film directed by Clarence Brown, intended as a blockbuster by MGM, and released at the very end of the silent era.

For one thing, it features a ship named the "Topeka," which reminds me of the Kansas Silent Film Festival, held every February on the campus of Washburn University in Topeka, Kansas. (The next one is Friday and Saturday, Feb. 22 & 23, 2013.)

But more interestingly, I think, is that the film seems to me to be a template for many of the "disaster" movies that Hollywood churned out in the 1970s, most famously by producer Irwin Allen.

The standard method in those pictures was to lay out maybe a half-dozen stories featuring a variety of character types: the headstrong young man, the woman he loves, the ailing child who needs a transplant, the shortcut-taking businessman, the engineer who predicts disaster, the cute elderly couple, and so on.

We get to know them a little, and then BAM! They all get caught in whatever disaster is the real star of the movie. Pick one: an earthquake, a flaming skyscraper, a capsized cruise ship, a plane doomed to crash—even a swarm of bees.

No kidding! There was not only Irwin Allen's big screen epic 'The Swarm' (1978), but a made-for-TV movie from 1974, 'Killer Bees,' that featured one of the last performances of no less than Gloria Swanson.

Speaking of made-for-TV, I can boast of one small personal connection to the golden age of 1970s disaster movies. One of the lesser entries was 'Smash-Up on Interstate 5' (1976), a made-for-TV movie based on a novel called 'Expressway.'

I can vaguely recall it being broadcast with much fanfare back when there were just three networks. A quick Internet search finds the cast included the likes of Robert Conrad and Buddy Ebsen. Wow, James T. West and Jed Clampett in the same movie! Well, doggie!

Now fast-forward to the early 1990s. I am employed as a reporter at the Keene (N.H.) Sentinel, and one of my colleagues was a guy named Philip Price. And it turned out that Philip's father was the guy who adapted 'Expressway' into the script for 'Smash-Up on Interstate 5' so long ago.

Wow, brush with fame! I know, but hey, we take what we can up here in glamour-starved New Hampshire.

So what does all this have to do with 'The Trail of '98'? Well, it's a picture about a BIG subject—in this case, the Alaskan Gold Rush of 1898, but also the larger matter of human greed in general.

How to tackle these topics but make a good movie? It seems to me that the film's structure is very much like the formula I remember from the disaster-movie era: take a bunch of people of varying types, get to know them, and then fling them together and put them through some kind of ordeal. In this case, the ordeal is the demanding challenge of getting through the snowbound wilderness of the great North in search of untold riches.

This technique itself seems to be a variant of the formula of exploring a "big" topic by telling stories in various eras, a technique pioneered by D.W. Griffith in 'Intolerance' (1916) and familiar enough to be parodied by Buster Keaton in 'The Three Ages' (1923).

But 'The Trail of '98' seems a lot closer in spirit to, say, 'The Towering Inferno' (1975), so it's interesting from that perspective.

It's also interesting because it's one of those pictures released right when silent film was quickly going the way of the dodo bird. As such, it just didn't get a lot of attention, and never seems to have been taken seriously by scholars, authors, or researchers.

That's a shame, because I think 'The Trail of '98' is an important example of silent-era filmmaking and storytelling at its full maturity. MGM lavished nearly $2 million on the film, and it took director Clarence Brown forever to finish, delaying its release practically to the bitter end of the silent era, which I think obscured its prominence.

Alas, it has no big-name stars (even in cameos) to rescue it from oblivion, although silent era buffs will enjoy such mainstays as Dolores Del Rio and Karl Dane. (It does have a young Lou Costello—long before he teamed with Bud Abbott—credited as Delores Del Rio's stunt double, which must rank as one of the oddest film production credits of any era.)

But the cast is able, if not famous, and the story has something for everyone, so I'm looking forward to seeing how 'The Trail of '98' plays for an audience when we screen it on Tuesday, Dec. 4 at 6 p.m. at the Manchester (N.H.) City Library.

I kinda hope we'll have some snow by then, as it'll add to the atmosphere. But I'd settle for a packed theater, so please put it on your calendar. For more information, I'm tacking on below a recent press release about the screening as well as the library's silent film schedule for the next few months. Hope to see you there!

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FRIDAY, NOV. 23, 2012 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Manchester (N.H.) City Library announces winter/spring silent film series

Monthly showings to present restored cinema classics on the big screen with live music; free admission

MANCHESTER, N.H.—Comedy, adventure, and romance are all on tap as the Manchester (N.H.) City Library announces its winter/spring series of silent films presented with live music.

The screenings take place in the library's Carpenter Auditorium, 405 Pine St., and are free and open to the public. Music is provided by silent film accompanist Jeff Rapsis, a resident of Bedford, N.H. and one of the nation's leading silent film musicians.

Screenings generally occur once a month, and take place on Tuesdays starting at 6 p.m.

The series aims to recreate the full silent film experience, with restored prints projected on the big screen, live music, and the presence of an audience. All these elements are essential to seeing silent films they way they were intended, Rapsis said.

"If you can put it all together again, many of these films still contain a tremendous amount of excitement," Rapsis said. "By staging these screenings of features from Hollywood's early days, it's possible to see why people first fell in love with the movies."

Upcoming films in the library's series include an outdoor adventure set in the Yukon gold rush of 1898; a wild Buster Keaton boxing comedy; a sprawling adaptation of Tolstoy's novel 'Anna Karenina,'; Charlie Chaplin's very first full-length picture; and rarely screened features starring lesser-known comedians Harry Langdon and Johnny Hines.

Live music is a key element of each screening, Rapsis said. Silent films were never shown in silence, but were accompanied by live music made right in each theater. Most films were not released with official scores, so it was up to local musicians to provide the soundtrack, which could vary greatly from theater to theater.

"Because there's no set soundtrack for most silent films, musicians are free to create new music as they see fit, even today," Rapsis said. "In bringing a film to life, I try to create original 'movie score' music that sounds like what you might expect in a theater today, which helps bridge the gap between today's audiences and silent films that are in some cases nearly 100 years old."

The first film in the winter/spring series will be 'The Trail of '98,' a drama set in the days of the Yukon gold rush, which will be shown on Tuesday, Dec. 4 at 6 p.m. Directed by Clarence Brown and starring Dolores Costello, this 1928 adventure film offers outdoorsy silent drama on a grand scale. Fortune hunters from all over the country rush to the Klondike to seek their fortunes in the gold, and are tested by hardships of the journey.

"This was one of the last great silent epics released before talking pictures took over completely in 1929, and stands as a great example of silent film at the peak of its story-telling power," Rapsis said. "With its multiple unrelated story lines interwoven around one big event, 'The Trail of '98' actually formed a template for Hollywood's later disaster movies such as 'Earthquake' and 'The Towering Inferno.'

Other upcoming features in the Manchester City Library's silent film series include:

• Tuesday, Jan. 15, 2013, 6 p.m.: 'Battling Butler' (1926). Silent film funnyman Buster Keaton's rarely screened boxing comedy gives the star a chance to be even more physical than usual. Rich and pampered Buster reluctantly takes up the Sweet Science to impress his girl, leading to knockout comedy both in and outside the ring.

• Tuesday, Feb. 5, 2013, 6 p.m.: 'Love' (1927). Starring real-life lovers John Gilbert and Greta Garbo. In a story taken from Tolstoy's novel set in Czarist Russia, Anna Karenina falls in love with the dashing military officer Count Vronsky and abandons her husband and child to become Vronsky's mistress. Just in time for Valentine's Day!

• Tuesday, March 5, 2013, 6 p.m.: 'Conductor 1492' (1924). In honor of St. Patrick's Day, join obscure comic Johnny Hines in a fast-paced romp about a young lad from the Emerald Isle who comes to "Americky" to make his fortune—but the fun really begins when dear old dad arrives from the Old Sod to help fight his battles.

• Tuesday, April 2, 2013, 6 p.m.: 'Tillie's Punctured Romance' (1914). Starring Charlie Chaplin, Marie Dressler. See the unusual (and unusually crude) feature-length Keystone comedy that helped Charlie Chaplin rocket to stardom in his first year of movie-making. An all-star cast of Keystone players, full of slapstick and mayhem.

• Tuesday, May 7, 2013, 6 p.m.: 'The Chaser' (1928). Strange late comedy from Harry Langdon, once considered Chaplin's rival. Carousing Harry is ordered by a judge to swap domestic duties (and clothing!) with his wife. One of Langdon's last feature films and a real curiosity from the final days of silent film.

All screenings are free and open to the public, and take place in the library's historic Carpenter Auditorium, on the lower level of the library, 405 Pine St.

The next installment in the library's silent film series will be 'The Trail of '98' (1928), to be screened with live music by Jeff Rapsis on Tuesday, Dec. 4 at 6 p.m. in the Carpenter Auditorium of the Manchester City Library, 405 Pine St., Manchester, N.H. For more information, call (603) 624-6550. For more information about the music, visit www.jeffrapsis.com.

Burn off those calories with laughter with silent comedies on Sunday, Nov. 25

A bevy of great silent short comedies with live music will form the cinematic after-dinner mint, so to speak, of your upcokming food-centric Thanksgiving Day weekend, if you choose to attend our show on Sunday, Nov. 25 at 4:30 p.m. at the Wilton (N.H.) Town Hall Theatre.

The program will emphasize great comedies from silent era that we've somehow neglected to bring to the big screen in the five years we've been showing early cinema in Wilton. (Movies have been shown in Wilton since 1912, so I can't say for sure these films have never been shown there.)

Sunday's menu hasn't quite been decided yet. But the comedy feast will definitely include the following morsels, all of them so far unscreened in Wilton, at least in the modern age. So come on along for the taste of laughter:

• The Immigrant (1916): One of Chaplin's better "Mutual" comedies, the two-reelers made during 1916-17 in which his artistry truly blossomed. Highlighted by Charlie's antics on a rocking ship as well as an extended scene in an on-shore restaurant with Eric Campbell as the scariest waiter you're ever likely to encounter.

• The Love Nest (1923): A bizarre Buster Keaton short comedy finds our hero, rejected by his girl, taking to the high seas, where he drifts (literally) from one improbable misadventure to another. I hadn't looked at this film in years, and I can't wait to see how it plays with an audience.

• Call of the Cuckoos (1927): Obscure comedian Max Davidson stars in this Hal Roach comedy short highlighted by cameos from two comic actors who only recently had been formed into a team: Mr. Stan Laurel and Mr. Oliver Hardy. Noted silent film comedians Charley Chase and James Finlayson make appearances as well!

All this, and probably a half-dozen other comedy shorts, all free! So cap off your Thanksgiving Day weekend with an extra helping of laughter.

Chaplin: silent film's gateway drug (See for yourself on Thursday, Nov. 15...)

A couple of Chaplin programs coming up this month, so a few thoughts about how his comedies are often the way that folks first get curious about silent film.

That was the case with me. My first exposure to silent film was Chaplin's two-reeler 'One A.M.,' a Mutual comedy from 1916, which was shown in a 7th grade study hall by a music teacher who was also a film buff.

It was a 16mm print from Blackhawk films, and I was entranced. Mr. Salvo, the music teacher, explained that this one was noteworthy because Mr. Chaplin was entirely alone, except for a brief appearance early on by Mr. Albert Austin as a taxi driver.

Even then, something in me was marching to the beat of a different drummer. While my classmates dozed, I couldn't get enough of the antique antics I was seeing. I was especially taken by the idea of Chaplin carrying a movie all by himself.

I had heard of Chaplin (Who knows how exactly? Perhaps watching Lucille Ball imitate him?) of course, and somehow knew he was considered the greatest of the great. But here he was actually doing the stuff that made that reputation. To my 7th grade mind, it was like finding the source to the Nile.

Mr. Salvo (after all these years, I still can't bring myself to refer to him as anything else) brought in other prints from his film collection, and eventually invited a small group of us to his home for screenings -- a very big deal in the days before home video.

He had what seemed to be an immense film collection, as well as a projector set up in a closet. The image was thrown via two mirrors to a large screen mounted on an outside rooftop deck high above the streets of Nashua, N.H. With the canopy of trees, it had a kind of Swiss Family Robinson feel to it.

And that led to the Blackhawk film catalog, and soon I was saving up for Super 8mm prints of Chaplin, Keaton, Laurel & Hardy and more. And that, in turn, led to the library and Walter Kerr's 'The Silent Clowns,' a book so packed with analysis and observation that I am still finding new things in it, all these years later.

So watch out, unsuspecting film-goers! Our upcoming Chaplin programs may hook you in the same way I became hooked back in 7th grade. And I wouldn't be happier.

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Get your Chaplin fix on Thursday, Nov. 15 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H.; (603) 536-2551; http://www.flyingmonkeynh.com/. A collection of comedy short films that trace Chaplin's rise from unknown comedian to the most popular star in all of early cinema. Get ready to laugh, as they don't make 'em like this anymore! Part of a monthly silent film series at a newly restored moviehouse in Plymouth, N.H. Admission, $10 per person.

Postponed: 'The Last Command' (1928) on Thursday, Nov. 8 at Molloy College

NOTE: Due to continuing recovery efforts following Hurricane Sandy, our screening of 'The Last Command' on Thursday, Nov. 8 at Molloy College in Rockville Center, Long Island has been postponed. I'll update this when we get rescheduling details.

With Halloween over, things quiet down a bit on the silent film music front for the next couple of months. Relatively light duty until we get through the holidays, but still some good gigs coming up.

Of special interest is 'The Last Command' (1928) on Thursday, Nov. 8 at Molloy College in Rockville Center, N.Y. If you're in the area, come by and check it out! (There's more info on the "Upcoming Screenings" page at right.)

One of the great scenes in all silent cinema is in this picture, when Emil Jannings finally goes berserk. (It was enough to get him the "Best Actor" at the first-ever Academy Awards.)

Let's hope the good folks of Molloy College are okay after the recent storm that battered Long Island. For now, let me round up a few thoughts from the recent busy run-up to Halloween, culminating in three films in the past four days.

• 'The Hands of Orlac' (1924) is not one of those films that leaps to life on the big screen. At least that's what we found at a screening in Wilton, N.H. on Sunday, Oct. 28.

Because the main character is a concert pianist losing his mind, it's a fun film to do music for. One of the main themes turned out to be a weirdly harmonized version of the melody of an "easy listening" pop tune from the 1960s—one I can't remember the name of but goes "DAH DAH DAH...da-da-da-da-da, da-da-da-da-da: DAH DAH DAH da-da-da-da-da-, da-da-da-da-da. (I know that's not too effective written out in a blog like this.) It turned out to be versatile figure that lent itself to being stripped down to just its rhythm, or even weirder alternate harmonies as the film progressed.

But overall, 'The Hands of Orlac' moves at too slow a pace to cast any kind of a spell. One comment from a regular: "There was nothing you could have done to save that film." So sorry, Robert Wiene and Conrad Veidt! Probably won't be scheduling that one anytime soon again.

• However, 'The Cabinet of Dr. Caligari' (1920) is one of those films that seems to gain a certain energy and presence on the big screen. At our screening in Manchester, N.H. on Tuesday, Oct. 30, it seemed to move right along, and the audience stayed with it the whole way.

Somehow the music fell together, too, with scraps of the "Dies Irae" mixed in with little cells borrowed from Stravinsky's 'Rite of Spring.' It all contributed to a powerful experience. I'd love do the film again, especially as it's one of the most frequently requested of all silent movie titles.

• Our Halloween screening of 'Phantom of the Opera' at Merrimack College in North Andover, Mass. was a hoot. However, for future screenings, I've got to get there earlier to set things up. It's my own fault, but once again I wound up without enough light on the keyboard, so didn't have the flexibility (or accuracy) that I usually have at my disposal. End result is the folks got a slightly-more-atonal-than-intended score, which was okay for a picture like 'Phantom,' but would have been a problem for, say, Rin Tin Tin in 'Clash of the Wolves.' (also 1925).

• And speaking of 'Phantom,' I've just learned of an excellent blog post describing our screening of that film at the Somerville Theatre in Somerville, Mass. on Sunday, Oct. 21. Raquel Stecher writes about classic film on her blog, "From Out of the Past," and she really did a nice job recounting what the Somerville experience was like in this post. Thanks, Raquel!

• Okay, that's about it. Next local screening will be a program of Chaplin short comedies on Thursday, Nov. 15 at the Flying Monkey Moviehouse in Plymouth, N.H. Hope to see you there!

One more time! 'Phantom of the Opera' on Halloween in North Andover, Mass.

Your date for the evening has arrived.

What better way to celebrate Halloween than with Lon Chaney in a darkened theater?

That's what we'll be doing on Wednesday, Oct. 31 at the Rogers Center for the Arts on the campus of Merrimack College in North Andover, Mass. Join us for a screening of 'Phantom of the Opera' (1925), the original screen adaptation starring Lon Chaney in the title role.

I have a special place in my heart for 'Phantom,' not because I'm a creepy thwarted musician (although maybe it's truer than I think) but because it was the first full-length silent film for which I did live accompaniment.

It was for a one-off Halloween screening at the Palace Theatre in Manchester, N.H. that our newspaper, HippoPress, was co-sponsoring. I had agreed to do the music live as a way to make the event more unusual and, frankly, save money.

But I had just completed the score to an independent feature film, 'Dangerous Crosswinds' (2005), made right here in New Hampshire by director Bill Millios, and I was eager to do more. But because no other directors were knocking at my door, I figured this would be a good way to keep going and do more film music.

And so we did 'Phantom of the Opera.' Because there wasn't a lot of time to prepare the music in details, I knew all along I'd be winging it. I watched the film several times and developed a few ideas in advance, but that was it. Next thing I knew, it was the day of the performance.

I remember being a little nervous by the prospect of sitting down at the keyboard and staying with a full-length film from beginning to end. But then 'Phantom' started, and so did the music. And as the movie ran, I found that creating a score in real time to support the on-screen action was something I could manage, at least for the moment.

So I kept at it, pleased that I was able to shift from scene to scene, but also do things within a scene to bring out changes in tone or emotion or byplay between characters.

Then, about halfway through the film, during the masked ball scene, I found myself working with melodic material (a brisk, somewhat demented-sounding waltz) that I had just come up with on the spot, and was twisting it and shaping it to suit the action.

Specifically, there's a moment where the Phantom stops the party and dramatically threatens the revelers, and then departs, after which the party-goers pause for just a moment before diving right back in to fun and games.

The Phantom, costumed as 'Death,' brings the masked ball to a halt—but only temporarily.

I found the moment as staged in the film to actually be somewhat comic, and so brought that out in the music, shifting rapidly from the tense "Phantom" music back to the demented waltz, making it sound even a bit more heavier and more demented.

(And in being comic, it served to further deepen the Phanton's isolation from others—geez, this guy just can't connect with anyone! And it also showed the tragic aspect of his character, too—most of humanity just can't understand the depth of the emotions which drove him to become 'The Phantom.' Wow!)

And even as I was playing it, another part of me was absorbing the whole effect, pleased that it seemed to work so effectively. "Hey, I can do this," I remember thinking.

And at that point, I realized that I could actually do this—that I could somehow juggle creating music in real time and also staying with a film's dramatic line, always being somewhat aware of what the current scene is leading towards, what's likely to come next, and how it all fits into the whole arc of the story.

It kind of felt like that dim memory of first riding a bike successfully, without training wheels or without someone holding on to me.

Looking back, that moment at the keyboard was a major realization for me, as it marked the opening up of all the explorations of film and music that have followed. It made me want to do more, not just to do music, but also to experience silent film in a new way.

And eventually, it made me want to see if I could create music that would help moviemakers of yesterday somehow connect with audiences of today. There's a great deal of power still in these silent films, I felt, and maybe my sort of music could help them reach beyond the film museum and actually affect people and engage people, which they were designed to do, and which is why we first fell in love with the movies.

So much, but it all started with sitting down to do music for 'Phantom' that night at the Palace. And so I'm pleased to have the film in this year's Halloween rotation. Tonight's screening at the Rogers Center for the Arts will be the fourth (and final!) time I do it this season, and I'm really looking forward to helping support Lon Chaney terrorize all of Paris once again.

For more info on the screening, here's the text of the press release that went out earlier this month. Also, tonight's screening will be introduced by noted film scholar Christopher DiGrazia, so come by at 6:30 p.m. and take in his presentation prior to our 7 p.m. screening. See you there...if you dare! Cue evil laugh music. Bwah-ha-ha-ha!

* * *

Subtle? You expected subtle?

MONDAY, OCT. 15, 2012 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'Phantom of the Opera' at Merrimack College
on Wednesday, Oct. 31

Classic silent horror film starring Lon Chaney to be screened with live music week on Halloween night; free and open to the public

NORTH ANDOVER, MASS.—It was cinema's first real shocker—a movie so frightening that audiences would shriek in terror and even faint. It was 'The Phantom of the Opera' (1925), the silent horror film starring legendary actor Lon Chaney. The classic tale of the mad musician who lurks in the shadows of the Paris Opera House will be revived with live music on Wednesday, Oct. 31 at 7 p.m. at the Rogers Center for the Arts on the campus of Merrimack College in North Andover, Mass.

The screening, the latest in the Rogers Center's silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating scores for silent films. Admission is free. The program will be proceeded by a discussion of the film starting at 6:30 p.m.

'The Phantom of the Opera,' adapted from a 19th century novel by French author Gaston Leroux, featured Chaney as the deformed Phantom who haunts the opera house. The Phantom, seen only in the shadows, causes murder and mayhem in an attempt to force the opera's management to make the woman he loves into a star.

The film is most famous for Lon Chaney's intentionally horrific, self-applied make-up, which was kept a studio secret until the film's premiere. Chaney transformed his face by painting his eye sockets black, giving a skull-like impression to them. He also pulled the tip of his nose up and pinned it in place with wire, enlarged his nostrils with black paint, and put a set of jagged false teeth into his mouth to complete the ghastly deformed look of the Phantom.

Chaney's disfigured face is kept covered in the film until the now-famous unmasking scene, which prompted gasps of terror from the film's original audiences.

"No one had ever seen anything like this before," said Rapsis, who will accompany the film. "Chaney, with his portrayal of 'The Phantom,' really pushed the boundaries of what movies could do."

Chaney, known as the "Man of a Thousand Faces" due to his versatility with make-up, also played Quasimodo in the silent 'Hunchback of Notre Dame' (1923) and circus performer 'Alonzo the Armless' in Tod Browning's 'The Unknown' (1927).

The large cast of 'Phantom of the Opera' includes Mary Philbin as Christine Daaé, as the Phantom's love interest; character actor Snitz Edwards; and many other stars of the silent period.

'The Phantom of the Opera' proved so popular in its original release and again in a 1930 reissue that it led Universal Studios to launch a series of horror films, many of which are also regarded as true classics of the genre, including Dracula (1931), Frankenstein (1931), and The Mummy (1932).

The silent film version of 'Phantom' also paved the way for numerous other adaptations of the story, up to and including the wildly successful Andrew Lloyd Webber musical from 1986 that continues to run on Broadway and in productions around the world.

The original silent 'Phantom' featured lavish sets, including a large theater designed to represent the sprawling interior of the Paris Opera House. After shooting was complete, the set was never torn down and continues in use today as part of Universal's Stage 28; it was seen most recently in 2011's 'The Muppet Movie' as the abandoned Muppet Show theater.

Rapsis said 'The Phantom of the Opera' was not made to be shown on television or viewed on home entertainment centers. In reviving silent films, the Rogers Center aims to show them as they were meant to be seen—in high quality prints, on a large screen, with live music, and with an audience.

"All those elements are important parts of the silent film experience," said Rapsis, who improvises accompaniment as a film is screened. "Recreate those conditions, and the classics of early Hollywood leap back to life in ways that can still move audiences today. They all featured great stories with compelling characters and universal appeal, so it's no surprise that 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.

Organizers say the original silent film version of 'The Phantom of the Opera' is not only a terrific movie, but also a fun way for families to mark Halloween night.

And above all, be prepared to get scared.

"Remember—in silent film, no one can hear you scream," Rapsis said.

‘The Phantom of the Opera’ (1925), the classic silent horror film starring Lon Chaney, will be shown on Wednesday, Oct. 31 at 7 p.m. at the Rogers Center for the Arts, located on Walsh Way on the campus of Merrimack College, 315 Turnpike St., North Andover, Mass. Admission is free. For more information, call the Rogers box office at (978) 837-5355. For more info on the music, visit www.jeffrapsis.com.

Upcoming silent film programs at the Rogers Center include:

• Wednesday, April 3, 2013, 7 p.m.: "The Mark of Zorro" (1920) starring Douglas Fairbanks Sr.; Douglas Fairbanks Sr. stars in the still-thrilling original adaptation of the tale of a masked avenger who sought justice in Spanish California. Great crowd-pleaser that had an enormous impact on popular culture, including inspiration for the "Batman" comic book series.

Opening 'The Cabinet of Dr. Caligari' on Tuesday, Oct. 30 in Manchester, N.H.

We're in for some scary weather as I write this (Monday, Oct. 29), but as of now it looks like our part of the world will be spared the worst of Hurricane Sandy as it plows into the U.S. East Coast far to the south of here. Just a lot of rain and wind, I think.

So it's all systems go for our screening of 'The Cabinet of Dr. Caligari' (1920) tomorrow night at the Manchester (N.H.) City Library. It's the first time I've done this flick and I'm looking forward to creating music to help bring it to life.

As a kind of warm-up, yesterday we screened 'The Hands of Orlac' (1924), a lesser-known picture from the same director, Robert Wiene. Turnout for the show at the Wilton (N.H.) Town Hall Theatre was a bit light, again because of the impending storm, and also because it's not one of the big "name brand" silent features, I think.

But it sounded creepy enough, so I programmed it and hoped for the best, thinking it might be one of those undiscovered classics that still works well on the big screen and in a theater. Well, the verdict was: nope!

People I talked to afterwards generally felt that the silent 'Hands of Orlac' was one they definitely didn't need to see again. Complaints were that it was too slow (one attendee described it as "maddeningly slow paced"), and also that the plot didn't really make a lot of sense.

Well, we tried! Let's hope 'Cabinet' lives up to its reputation as a picture worth seeing in a theater. We'll find out tomorrow night, unless the storm does hit us hard enough for the city to close the library. I'll update here as needed but for now, the show must go on!

For specifics, here's the text of the press release...

* * *

MONDAY, OCT. 22, 2012 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'Cabinet of Dr. Caligari' to screen Tuesday, Oct. 30 in Manchester (N.H.)

Classic silent horror film to be shown the night before Halloween with live music at public library; free admission

MANCHESTER, N.H.—A creepy silent film regarded as the forerunner of all horror movies will be shown on the night before Halloween in downtown Manchester. 'The Cabinet of Dr. Caligari' (1920) will be screened with live music on Tuesday, Oct. 30 at 6 p.m. at the Manchester City Library, 405 Pine St., Manchester.

The showing of 'The Cabinet of Dr. Caligari' is free and open to the public, with live music by New Hampshire silent film accompanist Jeff Rapsis. The screening takes place in the library's historic Carpenter Auditorium, on the library's lower level.

Set in an insane asylum, 'The Cabinet of Dr. Caligari,' is considered a landmark in early cinema. Nearly a century after its release, the film still has capacity to creep out audiences. "A case can be made that 'Caligari' was the first true horror film, critic Roger Ebert wrote in 2007.

'Caligari,' made in Germany after World War I and directed in expressionist style by Robert Wiene, stars Werner Krauss and Conrad Veidt. The film used stylized sets, with abstract, jagged buildings painted on canvas backdrops and flats. To add to its strange visual design, the actors used an unrealistic technique that exhibited jerky and dancelike movements. The movie is also cited as having introduced the "twist" ending in cinema.

'Caligari,' a forerunner of the 'film noir' genre, has influenced generations of movie-makers. A sequel of sorts was released in the 1980s with the film 'Dr. Caligari,' which dealt with the granddaughter of the original Dr. Caligari and her illegal experiments on her patients in an asylum. Its tone, look, and feel held similarities to the original film, but was more influenced by the works of David Lynch and David Cronenberg than of the German Expressionists.

The screening is the latest in the library's ongoing series of silent film presentations with live music.

"These are the films that first caused people to fall in love with the movies," said Rapsis, a Bedford, N.H. resident. "The aim is to present them as they were originally intended to be shown: in a theater, on a big screen, with live music, and with an audience. If you can put all those elements together, these films leap to life."

Upcoming silent films scheduled at the Manchester City Library include:

• Tuesday, Dec. 4 at 6 p.m. 'The Trail of '98' (1928); outdoorsy silent drama on a grand scale. Fortune hunters from all over the country rush to the Klondike in 1897 to seek gold are tested by hardships of the journey. Directed by Clarence Brown, the film stars Dolores Del Rio, Harry Carey, and Karl Dane. Del Rio's stunts were performed by a young Lou Costello long before he teamed with partner Bud Abbott and achieved comedy fame.

• Tuesday, Jan. 15 at 6 p.m. 'Battling Butler' (1926); silent film funnyman Buster Keaton's rarely screened boxing comedy gives the star a chance to be even more physical than usual. Rich and pampered Buster reluctantly takes up the Sweet Science to impress his girl, leading to knockout comedy both in and outside the ring.

Admission to all screenings are free, with donations accepted to help defray costs.

The next installment in the library's silent film series will be 'The Cabinet of Dr. Caligari' (1920), to be screened on Tuesday, Oct. 30 at 6 p.m. in the Carpenter Auditorium of the Manchester City Library, 405 Pine St., Manchester, N.H. For more information, call (603) 624-6550. For more information about the music, visit www.jeffrapsis.com.

Sunday, Oct. 28: Getting a grip (har!) on 'The Hands of Orlac' (1924) in Wilton, N.H.

Where have those hands been? Conrad Veidt counts to 10 before losing his cool in 'The Hands of Orlac' (1924).

Things being what they are (messed up and overscheduled), I haven't had a chance to get out much advance material on 'The Hands of Orlac' (1924), which we're screening on Sunday, Oct. 28 at 4:30 p.m. at the Wilton (N.H.) Town Hall Theater.

So here's a quick list of why this one's worth attending. Ready?

• It's a great Halloween film. As as rule, any film that involves the swapping of body parts is likely to put you in the right mood for Halloween. But 'The Hands of Orlac' is especially good, as it involves a concert pianist who loses his hands in a train accident. The fun begins when they're replaced with another set ofhands ... transplanted from a just-executed murderer!

• It stars Conrad Veidt. From 'The Cabinet of Dr. Caligari' (1920) to 'Casablanca' (1942), Conrad Veidt was one of the great presences of early cinema. His face was instantly recognizable, but he was somehow able to play characters from all ages and epics. He also brought a level of intensity to his roles that few have ever matched.

• It's in a real theater with live music. An obscure Austrian film, 'The Hands of Orlac' is almost never screened anywhere, and the commercial DVD that's available has a recorded score that doesn't help the film leap to life, in my opinion. So don't miss a rare chance to see it on the big screen (and to hear what I can do with live music) at the Wilton Town Hall Theater, one of the best places around to take in a movie of any type. And their popcorn is great, too.

• Free admission! Through the generosity of the Wilton Town Hall Theatre, the silent films we do there each month are open to all—which is great, because the bigger an audience is for a silent film, the better. Those who wish to support the series (and keep it free to all) are encouraged to make a small donation in the lobby. Thanks in advance for that!

Okay, if you haven't been convinced to come by now, you must be a zombie, which means you're probably all ready for Halloween. And even if you are a zombie, you're still welcome to come—just don't suck out my brains until the picture's over, please.

If there's anything left, that is.

Next up: 'Phantom of the Opera' (1925) on Thursday, Oct. 25 in Plymouth, N.H.

What better way to get in a Halloween mood than seeing Lon Chaney terrorize the Parisian music world in the original silent film version of 'The Phantom of the Opera' (1925). That's what we'll be showing on Thursday, Oct. 25 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center up in Plymouth, N.H.

I'm posting the press release below, which has all the info you'll need to join in. One thing that's especially interesting to me, however, is that the massive theater set originally built for 'Phantom' still stands as part of the Universal Studios complex, and continues to be used in contemporary films. Most recently, it stood in as the abandoned Muppet Show Theater for the 2011 film 'The Muppets.'

Here's what the set looks like in 'Phantom':

And here it is, nearly 90 years later, in 'The Muppets':

I'm not sure if the proscenium in the above scene was the same in 'Phantom,' but the box seats off to the sides certainly are. For more info, check out this description from a Web version of the Universal Studios Tour.

Okay, here's the press release:

* * *

MONDAY, OCT. 1, 2012 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'Phantom of the Opera' at Flying Monkey on Thursday, Oct. 25

Classic silent horror film starring Lon Chaney to be screened with live music week before Halloween

PLYMOUTH, N.H.—It was cinema's first real shocker—a movie so frightening that its original audiences would shriek in terror and even faint. It was 'The Phantom of the Opera' (1925), the silent horror film starring legendary actor Lon Chaney. The classic tale of the mad musician who lurks in the shadows of the Paris Opera House will be revived with live music on Thursday, Oct. 25 at 6:30 p.m. at the Flying Monkey Moviehouse and Performance Center, 39 South Main St., Plymouth, N.H.

The screening, the latest in the Flying Monkey's silent film series, will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating scores for silent films. Admission is $10 per person.

'The Phantom of the Opera,' adapted from a 19th century novel by French author Gaston Leroux, featured Lon Chaney as the deformed Phantom who haunts the depths of the opera house. The Phantom, seen only in the shadows, causes murder and mayhem in an attempt to force the opera's management to make the woman he loves into a star.

The film is most famous for Lon Chaney's intentionally horrific, self-applied make-up, which was kept a studio secret until the film's premiere. Chaney transformed his face by painting his eye sockets black, giving a skull-like impression to them. He also pulled the tip of his nose up and pinned it in place with wire, enlarged his nostrils with black paint, and put a set of jagged false teeth into his mouth to complete the ghastly deformed look of the Phantom.

Chaney's disfigured face is kept covered in the film until the now-famous unmasking scene, which prompted the film's original audiences to shriek in terror.

"No one had ever seen anything like this before," said Rapsis, who will accompany the film. "Chaney, with his portrayal of 'The Phantom,' really pushed the boundaries of what movies could do."

Chaney, known as the "Man of a Thousand Faces" due to his versatility with make-up, also played Quasimodo in the silent 'Hunchback of Notre Dame' (1923) and circus performer 'Alonzo the Armless' in Tod Browning's 'The Unknown' (1927).

The large cast of 'Phantom of the Opera' includes Mary Philbin as Christine Daaé, as the Phantom's love interest; character actor Snitz Edwards; and many other stars of the silent period.

Despite its reputation for scariness, 'The Phantom of the Opera' proved so popular in its original release and again in a 1930 reissue that it led Universal Studios to embark on a series of horror films, many of which are also regarded as true classics of the genre, including Dracula (1931), Frankenstein (1931), and The Mummy (1932).

The silent film version of 'Phantom' also paved the way for numerous other adaptations, up to and including the wildly successful Andrew Lloyd Webber musical from 1986 that continues to run on Broadway and in productions around the world.

The original silent 'Phantom' featured lavish sets, including a large theater designed to represent the sprawling interior of the Paris Opera House. After shooting was complete, the set was never torn down and continues in use today as part of Universal's Stage 28; it was seen most recently in 2011's 'The Muppet Movie' as the abandoned Muppet Show theater.

Organizers say the original silent film version of 'The Phantom of the Opera' is not only a great movie, but also a great way for families to get into the Halloween spirit.

And above all, everyone should be prepared to get scared.

"Remember—in silent film, no one can hear you scream," Rapsis said.

The Flying Monkey's monthly silent film series aims to honor the recently renovated venue's historic roots as a local moviehouse that dates back to the early days of motion pictures.

Rapsis, a New Hampshire-based silent film musician, said 'The Phantom of the Opera' was not made to be shown on television or viewed on home entertainment centers. In reviving silent films, the Flying Monkey aims to show them as they were meant to be seen—in high quality prints, on a large screen, with live music, and with an audience.

"All those elements are important parts of the silent film experience," said Rapsis, who improvises accompaniment as a film is screened. "Recreate those conditions, and the classics of early Hollywood leap back to life in ways that can still move audiences today. They all featured great stories with compelling characters and universal appeal, so it's no surprise that 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.

‘The Phantom of the Opera’ (1925), the classic silent horror film starring Lon Chaney, will be shown on Thursday, Oct. 25 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.

Creepy stuff coming up: 'Hands of Orlac,' 'Cabinet,' plus two more 'Phantoms'

A view of Somerville Theatre's "House 1" from the projection booth. It took 400 feet of cabling to reach from the stage to here.

Ten days to go before Halloween and the silent film calendar is as packed as a trick-or-treater's bag after two hours of ringing doorbells.

Today (Sunday, Oct. 21) marked my return to the wonderful Somerville Theatre in Davis Square in Somerville, Mass., just outside Boston and really part of the city. We ran 'Phantom of the Opera' (1925), and it was a memorable experience on several counts...

1. Sound: With the help of projectionist David Kornfeld, 400 feet of XLR cable, and a roll of gaffer's tape, we were able to patch my keyboard into the Somerville's booming house sound system. What a step up from my 2011 appearances, when we had to make do with my relatively small Roland speakers.

2. Picture: The tinted 35mm print, on loan from preservation guru David Shepard, was a real treat to see on the big screen. Projectionist David Kornfeld pushes his lamps higher than spec, and I think that helped 'Phantom' pop off the screen.

3. Audience: About 160 people were on hand for the screening, a healthy turnout considering that the Patriots were playing the Jets this afternoon. And they reacted quite energetically to the on-screen action, which is one of the great rewards of doing this.

The local media in Boston are very film-friendly, and so the screening was listed all over, which was great. One amusing twist came from the Boston Phoenix, the local alterative weekly publication, which described the film in this week's issue as "starring Lon Chaney as the tragic bell ringer." Oh, well!

The screening was a hoot, as it's a real thrill to do my stuff in the big city. It was also something of a challenge, as I'm not used to the house and so wasn't confident on volume levels and so on. As I said to David afterwards, it usually takes three screenings for me to settle in with a sound system.

Another unexpected thing (for me) was that the print included footage from the opening that was added for the 1929 sound reissue. However, it was shown silently, which rendered it pretty useless and puzzling. Not exactly the way to start off strong, and I have to say it kinda threw me.

Also, the print had to be run at 24 frames per second, which seemed a little fast to me. The "masked ball" scenes in particular seemed to rush right by, with barely enough time to develop a musical idea or phrase before something else was demanded. Well, such are the perils of live accompaniment.

But the audience seemed to like it, and manager Ian Judge has already okayed another silent film/live music program at the Somerville—on Thursday, Feb. 14 (Valentine's Day!), we'll be running a 35mm print of 'Girl Shy' (1924), the wonderful romantic comedy starring Harold Lloyd and Jobyna Ralston. I'm really looking forward to it—especially Harold's wonderfully cinematic race-to-the-church-on-time finale.

Doing Phantom again on Thursday, Oct. 25 at the Flying Monkey in Plymouth, N.H., and then once more on Wednesday, Oct. 31 (Halloween night!) at Merrimack College in North Andover, Mass. See the Upcoming Screenings page for more details.

Also coming up: On Sunday, Oct. 28, we're showing a rarely screened German film 'The Hands of Orlac' (1924) at the Wilton Town Hall Theatre in Wilton, N.H. And on Tuesday, Oct. 30, I'm tackling 'The Cabinet of Dr. Caligari' (1920) at the Manchester (N.H.) City Library. Again, more info on the Upcoming Screenings page.

Greetings, especially to Hippo readers curious about silent film

Coming on Sunday, Oct. 21: 'The Phantom of the Opera' (1925) at 2 p.m. at the Somerville (Mass.) Theatre.

If you're a new visitor, hello! I've been fortunate to receive write-ups in several regional publications recently, so I wanted to greet anyone new to this blog or to silent film in general.

First thing to note is that this blog is not the best way to get an idea of what silent film is all about. The only way to do that is to attend a screening where all the crucial elements are in place: a big screen, a real theater, live music, and an audience—the bigger, the better. (That's where you come in!)

The good news is that there are many screenings to choose from, and this blog is my way of keeping all the info together and making it easy for people to get what they need. There's a complete calendar of upcoming screenings on the right. It has all the who-what-where you need to join in.

Most of the screenings I accompany are in my home base of New England, but I occasionally get to travel and perform in other areas. In November, I have a screening of the great Josef von Sternberg drama 'The Last Command' (1928) in New York, and next May I go to Cincinnati to do music for Buster Keaton's 'The General' (1926). All the info is posted on the 'Screenings' page—in fact, it's how I keep track of where I'm supposed to be.

Friday, Oct. 19: 'Nosferatu' (1922) in Concord, N.H.

With Halloween coming up, it's a busy time for a silent film accompanist. My next local gig is on Friday, Oct. 19, when I do music for 'Nosferatu' (1922) at Red River Theatres in Concord, N.H. For more specifics about that, check out this earlier post.

There's a big screening this weekend, when I do 'Phantom of the Opera' (1925) at the Somerville Theatre in Boston. For more on that, check out another earlier post. The Somerville is showing 'Phantom' using a 35mm print on loan from a collector in California, and I'm eager to see what it looks like with the expert projection of David Kornfeld on the Somerville's huge screen.

Sunday, Oct. 21: 'The Phantom of the Opera' (1925) in Somerville, Mass.

In 2010, when we did a series of Buster Keaton films in 35mm at the Somerville, for me it was like seeing them for the first time all over again. The projection and presentation quality is that good. So that alone is reason enough to look forward to 'Phantom' on Sunday, Oct. 21.

But another plus is that for 'Phantom," I'll attempt to hook my synthesizer keyboard into the Somerville's house sound system, something I'm really excited about. In prior gigs, we used my own small Roland speakers set up onstage. They did the job, but were no match for what the theater's house system can offer.

So I'm going down on Saturday to hook things up and see if we can get it to work. If it does, a new level of accompaniment nirvana awaits. Cross your fingers!

And following Phantom, more screenings await. There's the very odd German thriller 'The Hands of Orlac' (1924), in which a concert pianist gets a new set of hands after being crippled in a train crash. The trouble starts when it turns out that the "new" hands belong to an executed murderer. That's on Sunday, Oct. 28 at 4:30 p.m. at the Wilton (N.H.) Town Hall Theater.

Tuesday, Oct. 30: 'The Cabinet of Dr. Caligari' (1920) in Manchester, N.H.

And on Tuesday, Oct. 30 (the day before Halloween!), we're showing 'The Cabinet of Dr. Caligari' (1920) at 6 p.m. at the Manchester (N.H.) City Library. And a couple of other 'Phantom' screenings are lurking on the calendar, too.

So, if you've read this far, thank you for checking out this blog and pondering the world of silent film. Consider this an invitation to further explore this obsolete form of entertainment, story-telling, and artistry. It flourished for only three decades, but is now so old, it's new again.

Audiences needed immediately at a nearby screening. This means you! Hope to see you at a future show.

'Phantom of the Opera' (1925) in Boston on real honest-to-God 35mm film!

Coming up: 'The Phantom' on real film!

Yes—the original Lon Chaney version of 'Phantom of the Opera' will be shown in actual 35mm with live music on a big screen in a real theatre. Specifically, it's the wonderful Somerville Theatre, where we'll screen a collector print of this great flick on Sunday, Oct. 21 at 2 p.m. Admission is $15 per person—a bargain for the great (and increasingly rare) experience of seeing a film as it was intended to be shown.

I'm thrilled to be returning to the Somerville, where I did music for several screenings in 2010: a 1916 version of "20,000 Leagues Under the Sea" for a science fiction marathon, and then three programs of Buster Keaton features, all in 35mm. It's a pleasure to work with people so committed to maintaining the authentic movie-going experience, even as the industry demands conversion to digital.

I especially want to single out two people there who have really gone out of their way to keep the movie-going experience intact. Ian Judge, the theater's manager, is that rare kind of person who can operate a complex business entity (he actually manages more than one theater) but do it while also understanding the value of things that don't immediately translate to the bottom line. (Silent film as a whole fits into the latter category.)

Even before the industry began the transition to digital, Ian worked tirelessly for years to transform the Somerville from a second-run house to a place where the movie-going experience could be celebrated. It took a lot of polishing, and work continues even today, but the place is a real gem.

And then there's projectionist David Kornfeld, whose fanatical devotion to his craft is unlike anything I've seen anywhere. Projecting a film properly involves a great many technical variables, especially when handling older prints in all the various formats that have been used over the years.

David cares so much and so deeply about the art of getting a movie on the big screen, and is so knowledgeable about how it ought to be done, that he's capable of getting really, really angry when things don't measure up to his high standards. And I love that. I think the world would be a much better place if more people were as passionate about things as David is about what he does.

(For more on David, I recommend this excellent in-depth profile that ran recently in The Boston Phoenix.)

So, even when given dreck to work with, David does his best to make it look as good as possible on the Somerville's big screen. He has some issues, for example, with the 35mm print of 'Phantom' that we've obtained, but I'm sure he'll make it look great at showtime.

And showtime? Again, it's Sunday, Oct. 21 at 2 p.m. at the Somerville Theatre, Davis Square, Somerville, Mass. For more details, I've pasted in copy from the press release that went out awhile back. Hope to see you there!

* * *

SUNDAY, OCT. 7, 2012 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

'Phantom of the Opera'
at Somerville on Sunday, Oct. 21

Classic silent horror film starring Lon Chaney to screen in 35mm with live music

SOMERVILLE, Mass.—It was cinema's first real shocker—a movie so frightening that its original audiences would shriek in terror and even faint. It was 'The Phantom of the Opera' (1925), the silent horror film starring legendary actor Lon Chaney. The classic tale of the mad musician who lurks in the shadows of the Paris Opera House will be revived with live music on Sunday, Oct. 21 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass.

The screening will feature live accompaniment by Jeff Rapsis, a New Hampshire-based composer who specializes in creating live scores for silent films. Admission is $15 per person.

For this screening of 'The Phantom of the Opera,' the Somerville has obtained use of a collector's 35mm print widely regarded to be among the best in existence.

Adapted from a 19th century novel by French author Gaston Leroux, the film features Lon Chaney as the deformed Phantom, a mysterious figure who haunts the depths of the opera house. Seen only in shadows, the Phantom creates terror when he attempts to force the opera's management to make the woman he loves into a star.

The film is most famous for Lon Chaney's intentionally horrific, self-applied make-up, which was kept a studio secret until the film's premiere. Chaney transformed his face by painting his eye sockets black, giving a skull-like impression to them. He also pulled the tip of his nose up and pinned it in place with wire, enlarged his nostrils with black paint, and put a set of jagged false teeth into his mouth to complete the ghastly deformed look of the Phantom.

Chaney's disfigured face is kept covered in the film until the now-famous unmasking scene, which caused audiences to shriek in terror.

"No one had ever seen anything like this before," said Rapsis, who will accompany the film. "Chaney, with his portrayal of 'The Phantom,' really pushed the boundaries of what movies could do."

Chaney, known as the "Man of a Thousand Faces" due to his versatility with make-up, also played Quasimodo in the silent 'Hunchback of Notre Dame' (1923) and circus performer 'Alonzo the Armless' in Tod Browning's 'The Unknown' (1927).

The large cast of 'Phantom of the Opera' includes Mary Philbin as Christine Daaé, as the Phantom's love interest; character actor Snitz Edwards; and many other stars of the silent period.

Despite its reputation for scariness, 'The Phantom of the Opera' proved so popular in its original release and again in a 1930 reissue that it led Universal Studios to embark on a series of horror films, many of which are also regarded as true classics of the genre, including Dracula (1931), Frankenstein (1931), and The Mummy (1932).

The silent film version of 'Phantom' also paved the way for numerous other adaptations, up to and including the wildly successful Andrew Lloyd Webber musical from 1986 that continues to run on Broadway and in productions around the world.

The original silent 'Phantom' featured lavish production values, including a large theater set the Paris Opera House scenes. The set was never torn down and continues in use today as part of Universal's Stage 28; it was seen most recently in 2011's 'The Muppet Movie' as the abandoned Muppet Show theater.

The Somerville Theatre’s commitment to 35mm film presentation in both contemporary and classic movies means a rare chance to see 'Phantom' in its original format.

“This is a great opportunity to experience silent film as it was intended to be shown -- on the big screen, in high-quality prints, with live music and with an audience,” said Ian Judge, the Somerville Theatre’s general manager. “With theaters converting to digital for first-run movies, we’re pleased to continue to present films in 35mm, the standard format for more than a century. There’s nothing like it, and that’s especially true for films of the silent era.”

Music will be performed by Jeff Rapsis, a New Hampshire-based musician who accompanies silent film screenings at venues across New England. Rapsis works without sheet music, instead creating an improvised score on the spot. He uses a digital synthesizer that reproduces the texture of the full orchestra, creating a traditional "movie score" sound and helping link today’s audiences to films of the silent era.

“These films were not meant to be seen by people alone or at home,” Rapsis said. “They were created to be experienced by large crowds in a theater like the Somerville, and getting swept up in the audience reaction is one of the great things about silent film. When it happens, either in a comedy or drama or any kind of film, it can be almost cathartic.”

Organizers say the original silent film version of 'The Phantom of the Opera' is a great way for families to get into the Halloween spirit.

"Remember—in silent film, no one can hear you scream," Rapsis said.

‘The Phantom of the Opera’ (1925), the classic silent horror film starring Lon Chaney, will be shown on Sunday, Oct. 21 at 2 p.m. at the Somerville Theatre, 55 Davis Square, Somerville, Mass. Admission is $15 adults, general admission seating. For more information, call (617) 625-5700 or visit http://www.somervilletheatreonline.com. For more info on the music, visit www.jeffrapsis.com.

Up next: Murnau's 'Nosferatu' (1922) at Red River Theatres in Concord, N.H.

Max Schreck as the vampire 'Nosferatu' traveling by ship.

With Halloween around the corner, it's the one time each year where a silent film accompanist actually feels in demand. I'm doing no less than four screenings of 'Phantom of the Opera' (1925) in two weeks, and also 'Nosferatu' (1922) on Friday, Oct. 19 at Red River Theatres in Concord. Somewhere in there is also a screening of 'The Cabinet of Dr. Caligari' (1920) and even 'The Hands of Orlac' (1924), which I've never done until this season. (For details, check the "Upcoming Silent Film Screenings" link at right.)

Why the big surge? I think for most people, silent film has a kind of otherworldly quality. And that lends itself to Halloween, the one big holiday that celebrates other-worldliness. I've tried to use silent films to mark other holidays: 'King of Kings' (1927) for Easter, 'The Big Parade' (1925) for Veterans Day, even 'Orphans of the Storm' (1921) for Bastille Day, all with mixed results. But you don't have to work hard to get crowds to turn out at Halloween.

And 'Nosferatu' is one of the big ones, and I'm looking forward to doing it on Friday, Oct. 19 at 7 p.m. at Red River Theatres in Concord, N.H. (Admission $10 per person.) I've done music for this movie several times before, and it has a special place in my heart because I consider it a "lucky" film.

Why? Because a few years ago, I was supposed to do music for 'The Cabinet of Dr. Caligari' as part of a 'Festival of Terror' organized by a friend. (That's the kind of friends I have.) But come screening time, no copy of the film was on hand. Ooops! But there was a copy of 'Nosferatu' available, so we substituted that at the last minute, even though I had never scored the film and hadn't seen it in years.

Well, off we went, and it turned into one of those memorable screenings where everything falls together just right, at least in terms of the music. I came up with stuff that worked immediately and could be used throughout, caught all the big moments, and paced it in a way that really helped bring out the drama and emotion in the film, I thought. Even though I hadn't seen the film in a long time, I seemed to anticipate what Murnau would do next, even as it was happening on the screen. And the lack of preparation seemed to add to the energy I brought to the whole affair. In short, I just nailed it.

So now, whenever it's time for 'Nosferatu,' I always sit down with a good feeling. Weird for a film that's supposed to inspire terror and fright, but hey—all in a day's work for your cool-as-a-cucumber silent film accompanist. :)

I do hope you'll join me for my only screening of 'Nosferatu' this Halloween season, which is on Friday, Oct. 19 at 7 p.m. at Red River Theatres in Concord, N.H. For more info, here's the text of the press release:

* * *

SUNDAY, OCT. 7, 2012 / FOR IMMEDIATE RELEASE
Contact Jeff Rapsis • (603) 236-9237 • jeffrapsis@gmail.com

Silent film frightfest
at Red River on Friday, Oct. 19

'Nosferatu' (1922), pioneer classic horror flick, to be screened with live music in Concord, N.H.

CONCORD, N.H.—Get into the Halloween spirit with a classic silent horror film. 'Nosferatu' (1922), the first screen adaptation of Bram Stoker's novel 'Dracula,' will be screened with live music at Red River Theatres in Concord, N.H. on Friday, Oct. 19. The show starts at 7 p.m. and will feature live accompaniment by silent film musician Jeff Rapsis. General admission is $10 per person.

'Nosferatu' (1922), directed by German filmmaker F.W. Murnau, remains a landmark work of the cinematic horror genre. It was among the first movies to use visual design to create an overall sense of terror. To modern viewers, the passage of time has made both this unusual film seem even more strange and otherworldly. It's an atmosphere that silent film accompanist Jeff Rapsis will augment by improvising live music on the spot for the screening.

In 'Nosferatu,' German actor Max Schreck portrays the title character, a mysterious count from Transylvania who travels to the German city of Bremen to take up residence. A rise in deaths from the plague is attributed to the count's arrival. Only when a young woman reads "The Book of Vampires" does it become clear how to rid the town of this frightening menace.

Modern critics say the original 'Nosferatu' still packs a powerful cinematic punch. “Early film version of Dracula is brilliantly eerie, full of imaginative touches that none of the later films quite recaptured,” Leonard Maltin wrote recently. Critic Dave Kehr of the Chicago Reader called 'Nosferatu' "...a masterpiece of the German silent cinema and easily the most effective version of Dracula on record.”

The film, shot in 1921 and released in 1922, was an unauthorized adaptation of Stoker's novel, with names and other details changed because the studio could not obtain rights to the novel. For instance, "vampire" became "Nosferatu" and "Count Dracula" became "Count Orlok." After the film was released, Stoker's widow filed a copyright infringement lawsuit and won; all known prints and negatives were destroyed under the terms of settlement. However, bootleg copies of the the film would surface later, allowing 'Nosferatu' to be screened today as audiences originally saw it.

The screening is part of Red River's 5th anniversary celebration. Dubbed "Cheers to Five Years," the theater is marking five years of bringing independent films, documentaries, and cultural events to the Capital region and central New Hampshire.

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.

Red River Theatres includes silent film in its programming to give today's audiences a chance to experience the great films of Hollywood's early years as they were intended: in restored prints, on the big screen, and with live music and an audience.

"If you've never seen a silent film in a theater with live music and an audience, 'Nosferatu' is a great way to experience the medium at its best," said Jeff Rapsis, the film's accompanist. "When you put all the elements together, silent film still has an ability to stir up emotions in a way that no other medium can."

‘Nosferatu’ will be shown on Friday, Oct. 19 at 7 p.m. at Red River Theatres, 11 South Main St., Concord, N.H. Tickets are $10 per person. For more information on the screening or other events for the theater's 5th anniversary, visit www.redrivertheatres.org or call (603) 224-4600. For more information on the music, visit www.jeffrapsis.com.