One Week, Two Coasts, Two Extraordinary Silent Film Experiences

I don't know what I did to deserve such good fortune. In the course of one week--over one long weekend, to be exact--I was in the audience for two spectacular screenings of brilliant silent films, accompanied by live orchestral music composed recently, with the composers in attendance. One was on the west coast in Los Angeles at the Turner Classic Film Festival, Friday April 29, and the other on the east coast, here in Brookline, MA, at the Coolidge Corner Cinema, on Monday, May 2nd. The liberal use of superlatives in this post must be excused, as they are completely warranted; anyone in either audience will attest.

The TCM Film Festival screening: THE PASSION OF JOAN OF ARC (1928), Fri. April 29th I'll be publishing another post shortly about some of my experiences at the festival, but this film was a highlight.  The film was made in Germany, directed by Carl Dreyer, and considered one of the masterpieces of the silent cinema, if not all cinema.  Its iconic star is French-born Maria Falconetti,

who is little known outside this film, but who gave one of the most stunning performances of all time.  This was my first ever viewing of the film, and it was unlike anything I'd seen. A dramatization of the final trial of St. Joan before her famous burning at the stake, it was not unlike one imagines the biblical Christ on trial by Pilate, with hypocritical judges manipulating the saintly Joan, both physically and psychologically, slowly toward her doom. The camera style was beyond expressionistic, mostly in either projecting disjointed close-ups of Joan and her accusers in a parade of faces, or capturing the environment with odd angles. Purportedly the actors used no makeup, leading to a raw, emotion-packed drama of personality, wits, and will.  It was somewhat of a miracle that the film survived, as it had been lost for many years until an original print was found in 1981 in a Norwegian insane asylum (!)
Enhancing the drama with astounding beauty was the live musical accompaniment -- festival attendees were witnessing a live performance of the 1994 score, the oratorio "Voices of Light" composed by Richard Einhorn.  Einhorn composed the piece at least in part, for the film, appropriately using medieval texts from mostly female mystics such as St. Hildegard of Bingen.  The soloists and U.C. Berkeley alumni chorus added a medieval other-worldliness to the proceedings.  Einhorn was present at the screening, and was interviewed beforehand by film critic Leonard Maltin, and shared how the film inspired him.  In a move unusual for film screenings, attendees were given a program for the performance with detailed notes and text of the oratorio.  Imagines of the cover and  inside pages of the program are here:

The audience held its collective breath until the final credits, when the chorus, who had been seated stealthily in black in the first several rows of the theater, stood up, turned and faced the audience, and delivered the Epilogue "Letter from Joan of Arc" --  So God King of Heaven, wills it; and so it has been revealed by the Maid".

The orchestra warming up before the screening

I hope to revisit the film soon, as I was so caught up in the emotion and thrill of the performances, both cinematic and musical, that I'm sure I missed so much detail of the drama taking place.  Many thanks to TCM for adding this event to the 2016 festival schedule.

For those interested, the complete oratorio can be heard on YouTube:

The film itself can also be found on YouTube.

The Coolidge Corner/Berklee Screening: VARIETÉ (1925) Mon., May 2  Readers of this blog know I previewed this theatrical event in my post here last month.  The experience did not disappoint.  The digitally restored film, directed by E.A. Dupont, and starring Emil Jannings, was an operatic melodrama of the highest order, with stunning visuals by cinematographer Karl Freund.  Accompanying it was a world premiere score, as written by Berklee College of Music film scoring students, conducted by the student composers, and performed by the Berklee Silent Film Orchestra.  The music did, as film scoring Professor Sheldon Mirowitz said, enhance the drama.  It was clearly a modern piece but with tunes that evoked early 20th century culture.  What struck me the most was the brilliant acting of Emil Jannings.  Using only his face, he could convince you that he was a mild-mannered man in love, or an angry, menacing murderer. The confrontation scene between Janning's character and antagonist 'Artinelli' is one of the most beautifully choreographed and chilling scenes I've witnessed.

The contrasting faces of Emil Jannings:

I've now seen Jannings in five films, and my opinion of him as an actor has grown in each.  This performance may be his finest, although I loved him in THE LAST COMMAND, a role for which he won the first best actor Oscar even given.

The gorgeous art deco Coolidge cinema

The audience at the screening, similar to that for THE PASSION OF JOAN OF ARC, gave the performers, both from 1925 and today, a standing ovation.  The deserving six student composers are Mateo Rodo (Argentina), Larry Hong (USA), Austin Matthews (USA), Hyunju Yun (Korea), Kanako Hashiyama (Japan), and Nathan Drube (USA). The audiences in Martha's Vineyard, San Francisco, and Beverly, MA, who will have the opportunity to catch the encore performances in the next couple of months, will be no doubt tremendously moved and satisfied, as will audiences who purchase the upcoming release of the film and score by Kino Lorber later this year.

A thorough and scholarly review and appreciation of the score to the film is provided here, in the Boston Music Intelligencer.

VARIETÉ: The Berklee Silent Film Orchestra & Coolidge Corner Theatre World Premiere Partnership

From the final scene of SUNRISE

On a Monday night in 2010, this budding classic film fan showed up at the Coolidge Corner Theatre for a screening in The Sounds of Silents ® program. I didn't know what I was in for, but the buzz in the sold-out crowd was energizing.  The film was SUNRISE, and the music consisted of a brand new score commissioned by the theatre, and composed, conducted, and performed by students from the Berklee School of Music Film Scoring program.  At the end of the film the crowd leapt to itscollective feet and cheered wildly; my heart was still pounding with the emotion of the final scene of the film. The theatrical experience I had at this screening is in my top five of all time, and I've attended most of the films in the program since.  As the latest Coolidge-Berklee commission is getting ready for its world premiere on May 2, I had the opportunity to speak with the program's co-founder, Dr. Martin (Marty) Norman, as well as attend a fascinating in-person 'master class' by Berklee's Prof. Sheldon Mirowitz, both of which illuminated the fascinating process of scoring and screening silent film for a modern cinema audience.

While 'The Sounds of Silents®' program was started in 2007 by Coolidge board member Dr. Norman, and Becki Norman, the collaboration with the the Berklee school started a few years later.  In our conversation, Dr. Norman first explained that the goal of the program for the Coolidge was simple: to present classic silent films in the way they were meant to be seen.  As a silent film aficionado for many years, Dr. Norman said "while there are great single musicians out there accompanying silent films, I've always felt that having an ensemble or orchestra, provided they have the right talent, enriches the theatrical experience of the film, and I make that a priority for the Coolidge."  He reached out to the Berklee school because, he said, it's a local university and just happens to possess the only undergraduate program in film scoring, with exceptional students from all over the world.  He found a willing partner in Emmy-nominated Mirowitz (go here for his website and bio).

To date, I believe I've only missed one of the so-far nine screenings with scores that have had their world premieres at the Coolidge from the now-named Berklee Silent Film Orchestra (BSFO).  They are branching out -- just last year they performed their score for F.W. Murnau's THE LAST LAUGH at the San Francisco Silent Film Festival, and performed their new score for NOSFERATU with the Boston Symphony Orchestra on Halloween night.  Fortunately for those of us in the area, they continue their partnership with the Coolidge, at least in part because of the historic nature of the theatre, the educational experience for the students, and the educated and appreciative hometown audiences.

Prof. Mirowitz from
Berklee School of MusicWebsite

That brings us to May 2, 2016, when the BSFO will premiere at the Coolidge their new score for VARIETÉ (1925), recently restored by the F.W. Murnau Foundation. (I'm taking a red-eye flight back from the TCM Film Festival just to get back to Boston in time to attend).  This film was directed by E.A. Dupont, and stars Emil Jannings as a former trapeze artist turned carnival barker,who gets in trouble after falling for a much younger exotic dancer.  (Jannings was a celebrated silent film actor, who also is the star of THE LAST LAUGH, from FW Murnau, and THE LAST COMMAND by Von Sternberg, among others.)   In June, the BSFO will go on the road to perform their score for the 7:15 PM Friday evening (June 3) screening of the film at the San Francisco Silent Film Festival.

VARIETÉ

On the evening of April 21st, Professor Mirowitz came to the Coolidge to deliver a 'master class' in silent film scoring, and shared fascinating insights about Berklee's process.  First, he explained that scoring a silent film requires so much work that he engages a team of six students each semester for the task.  The six students are chosen as the top student composers from over 400 film scoring majors at the Berklee.  The students meet for 15 weeks, and each student is assigned what roughly corresponds to a 'reel' of film.  Often Prof. Mirowitz develops the initial musical themes for the main characters or situations that occur in the film, and then students then compose with and around those themes to bring out the 'story' of the film.  As Prof. Mirowitz explained, he "knows the music works if it makes the story better.  We don't decorate the picture."  He shared his musical themes associated with the characters in the VARIETÉ:  Boss, the girl, the family, and the villain, which all were compelling to listen to on their own, but when combined in unique ways to bring out the drama, the result was sublime.  The students learn in class by critiquing each other's work during the semester, and create up to 12 revisions of each section before the score is finalized.  The process then of syncing the music with the film can be complicated, and a set of cuing techniques is used for the conductors.  In performance, each composer will conduct the orchestra for their composed segments and seamlessly transition the baton to the next composer.  [Watch the 12-minute fascinating documentary "Punches and Streamers", showing the technical challenges tackled by the BSFO in its collaboration with the Coolidge, for SAFETY LAST:]

Prof. Mirowitz mentioned that, when needed, sound effects to accompany the action (a salute, for example, with a whistle) are scored directly.  He mentioned that he learned from Carl Davis that Davis's orchestra usually just performs the effect live rather than writing it into the score.  "Why didn't I think of that?" he quipped.  At the end of this fascinating evening came a stunning piece of news: Kino Lorber has contracted with the BSFO to record their score for an upcoming DVD release of VARIETÉ, and has also bought the rights to their score for THE LAST LAUGH.  There is no other example known of a group of university students composing, performing, and recording scores to silent film.  But this is no ordinary group of college musicians -- elite, indeed.

BSFO rehearsing for SAFETY LAST
at the Coolidge (from the Emerson
College doumentary "Punches & Streamers")

I can't overstate the thrill of attending one of these screenings in my own neighborhood.  It's a true two-fer: you get a brilliant piece of new music in its first public performance along with classic work of cinema that is nearly 100 years old. I asked Dr. Norman the best way of supporting the program, and he encouraged communicating directly with the Coolidge with statements of appreciation, and any other way of spreading the word to build audiences for these screenings.

When comparing writing a score for a silent film vs. a modern one, Prof. Mirowitz said the bar is low for the former -- "anyone can use a movie to make music, but we aim to create the music to make the movie."  I expect on May 2nd the audience will understand exactly what Prof. Mirowitz meant.