San Francisco Silent Film Festival – Silent Autumn 2014: From The Great War to Charles Chaplin and Pearl White (image: Charles Chaplin in 'A Film Johnnie') Imagine, if you will, that you can go back one hundred years in time, when people were enjoying a new and pervasive art form: motion pictures. In 1914, the movies had already been around for a while, in peep shows, nickelodeons, and small screening rooms. But now movie theaters were springing up in every community large and small, where families could flock together and watch flickering images in comfort, with live musical accompaniment. On September 20, such was the experience provided by the 2014 San Francisco Silent Film Festival – Silent Autumn: "A Night at the Cinema in 1914." For a history buff like me, this was second best to getting into a time machine. True, the programs consisted mostly of films from the British Film Institute, but the variety content of newsreels,...
- 10/10/2014
- by Danny Fortune
- Alt Film Guide
To mark 100 years since the beginning of WW1, the BFI have released A Night at the Cinema in 1914. The idea behind the film is to recreate the experience of the average cinema goer at the time, and is a blend of newsreels and short films (features weren’t readily available at the time). There’s films such as ‘Austrian Tragedy’, reporting on the assassination of Archduke Franz Ferdinand with footage of the Austro-Hungarian royal family, mixed in with ‘Egypt and Her Defenders’, a travelogue of the landmarks of the country. Of course, no 1914 cinema outing would be complete without Charlie Chaplin, and in this instance A Film Johnnie rounds off the piece, ending on a slightly more uplifting note than how the programme begun – there was a war on, after all.
It’s certainly an exciting and interesting concept. Programming at the time was obviously not crafted the way it is now.
It’s certainly an exciting and interesting concept. Programming at the time was obviously not crafted the way it is now.
- 8/1/2014
- by Nia Childs
- HeyUGuys.co.uk
"Anger Management" is a show that will run on FX, but from the way it's being produced to what you'll see on screen, it's not really an FX show. That's maybe the most salient point about Charlie Sheen's sitcom comeback.
The show will premiere on the cable channel Thursday night (June 28), and it will probably score pretty big ratings given Sheen's high media profile. But "Anger Management" is at least as much about its business model -- producing a syndication-ready 100 episodes in as short a time as possible -- as it is about making audiences laugh with Sheen and the other characters on screen. Anyone who makes a show obviously wants it to run as long as it can, but that's never felt like the motivating force for, say, "Louie" or "It's Always Sunny in Philadelphia." That "Sunny" has been around long enough to be syndicated almost feels like an accident.
The show will premiere on the cable channel Thursday night (June 28), and it will probably score pretty big ratings given Sheen's high media profile. But "Anger Management" is at least as much about its business model -- producing a syndication-ready 100 episodes in as short a time as possible -- as it is about making audiences laugh with Sheen and the other characters on screen. Anyone who makes a show obviously wants it to run as long as it can, but that's never felt like the motivating force for, say, "Louie" or "It's Always Sunny in Philadelphia." That "Sunny" has been around long enough to be syndicated almost feels like an accident.
- 6/28/2012
- by editorial@zap2it.com
- Zap2It - From Inside the Box
Charlie Chaplin had been making movies for less than a month when he appeared in A Film Johnnie, a one-reel comedy about moviegoing and moviemaking set around the Keystone Studio. This genre of films with a movie background has flourished ever since, with pictures ranging from Nicholas Ray's In a Lonely Place to Satyajit Ray's Nayak. While most are set in Hollywood, three of the very best are by European directors: Fellini's 8½, Godard's Le mépris and Truffaut's Day for Night (aka La nuit américaine).
Truffaut's warm, humane film, made in 1973, can be seen as a delayed riposte to Godard's acrid attack on the commercial cinema in Le mépris, the action of which it closely parallels. A vicious letter Godard wrote to Truffaut about Day for Night effectively turned their friendship into a bitter enmity.
Set in Nice's Victorine Studios, where it was filmed, Day for Night is a touching,...
Truffaut's warm, humane film, made in 1973, can be seen as a delayed riposte to Godard's acrid attack on the commercial cinema in Le mépris, the action of which it closely parallels. A vicious letter Godard wrote to Truffaut about Day for Night effectively turned their friendship into a bitter enmity.
Set in Nice's Victorine Studios, where it was filmed, Day for Night is a touching,...
- 2/20/2011
- by Philip French
- The Guardian - Film News
1914, U, BFI
This important, instructive, hugely enjoyable four-disc set contains painstakingly restored and attractively scored prints of 34 of the 35 films Charlie Chaplin made at Mack Sennett's Keystone studio between January and December 1914. They introduced Chaplin to the cinema, turning him in the process from an admired music hall artist into an accomplished film-maker, who ended the year on the threshold of becoming the most famous man in the world and its highest-paid entertainer. In the course of this astonishing 12 months, he worked with silent stars Mabel Normand, Fatty Arbuckle and Chester Conklin, and we see a great artist evolve, appearing first as a silk-hatted pseudo-toff in his debut film, Making a Living, competing for work at a Los Angeles newspaper. In his second film, the seven-minute Kid Auto Races at Venice, he discovered his tramp persona complete with bowler and cane, delighting and puzzling the crowds at a children's...
This important, instructive, hugely enjoyable four-disc set contains painstakingly restored and attractively scored prints of 34 of the 35 films Charlie Chaplin made at Mack Sennett's Keystone studio between January and December 1914. They introduced Chaplin to the cinema, turning him in the process from an admired music hall artist into an accomplished film-maker, who ended the year on the threshold of becoming the most famous man in the world and its highest-paid entertainer. In the course of this astonishing 12 months, he worked with silent stars Mabel Normand, Fatty Arbuckle and Chester Conklin, and we see a great artist evolve, appearing first as a silk-hatted pseudo-toff in his debut film, Making a Living, competing for work at a Los Angeles newspaper. In his second film, the seven-minute Kid Auto Races at Venice, he discovered his tramp persona complete with bowler and cane, delighting and puzzling the crowds at a children's...
- 1/30/2011
- by Philip French
- The Guardian - Film News
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