We don’t normally highlight what takes place on a regular basis at film theatres and cinematheques, but looking at the August booklet for the BFI Southbank, it’s time to make an exception. It’s certainly a rich offering for silents and archival film in general.
The headline attraction is the UK premiere of the reconstructed and restored Metropolis (1927), now with an extra twenty-five minutes of footage, as documented on the Bioscope here, here and here. The screening takes place on 26 August, at 18:00.
The BFI is celebrating the 75th anniversary of its achive. Originally known as the National Film Library, it has subsequently been known as the National Film Archive, the National Film and Television Archive, BFI National Film and Television Archive, BFI Collections, BFI National Film and Television Archive once again, and now BFI National Archive. Passing over whatever insecurities have led to such a long-running identity crisis, you can help celebrate its 75th by attending its Long Live Film screenings, which are highlighting previously lost films that the Archive had particularly sought. Now, after decades hidden from view, you can see Britain’s answer to Fantomas, George Pearson’s Ultus and the Grey Lady (1916) plus other Ultus fragments (9 August, 18:00), Cecil Hepworth’s Helen of Four Gates (1920) (11 August, 18:10), Walter Forde’s What Next? (1928) (18 August, 18:20) and Ivor Novello and Mabel Poulton in The Constant Nymph (1928) (20 August, 18:10). Look out soon for BFI Most Wanted, a relaunched search for 75 lost British films, which is certain to include some key silent titles.
Among other attractions, look out for Alfred Hitchcock’s The Lodger (23 August 20:40); a programme of early archival treasures, A Night in Victorian and Edwardian London (4 August, 18:10); and Kenneth MacPherson’s experimental classic Borderline (1930), with Paul Robeson and H.D., introduced by film artist Stephen Dwoskin (5 August, 18:10). Collecting for Tomorrow (7 August, 13:30) is a discussion event, hosted by Dylan Cave, on the future of film collecting, which will include clips of recently acquired material including the work of modern silent filmmaker Martin Pickles (previously covered by the Bioscope).
Along the non-silent material, I must note the screenings of nitrate prints that are taking place at the BFI Southbank in July and August, also part of Long Live Film. Cellulose nitrate film stock stopped being employed in cinemas in 1952, and became the defining challenge for film archives in the latter half of the twentieth century. Nitrate film, owing to its high silver content, gavce the films on the screen a lustrous finish which is missing from safety film stock (let alone digital copies). However, because of the fire risks, a special licence is required to show nitrate film and the BFI has the only such licence in the UK. No silent nitrate films are on offer, more’s the pity, but over the two months you can see Fugitive Lady (1950), The Private Life of Henry VIII (1933), The Yearling (1946), Brighton Rock (1947), Anchors Aweigh (1945), The Ghost of St Michael’s (1941), Volga-Volga (1938) and Les Maudits (1946) as they were originally seen.
On the smaller screens at the BFI Southbank, the drop-in archive facility the Mediatheque has a special focus on British silents, including such titles as At the Villa Rose (1920), Comin’ Thro the Rye (1923), High Treason (1928), The Man Without Desire (1923) and Sweeney Todd (1928).
Finally there is the welcome return of the Ernest Lindgren Memorial Lecture. The Lecture, named after the National Film Archive’s esteemed founder curator, used to be a prestigious annual event at which a leading archivist or film historian would give a keynote presentation on the state of things. Sadly allowed to lapse in recent years, the Lecture returns on 24 August (18:10) with Paolo Cherchi Usai, Director of the Haghefilm Foundation. As film archivist of world renown and author of the provocative The Death of Cinema and co-editor of the essential text Film Curatorship: Archives, Museums and the Digital Marketplace, this should be a talk not to miss.
More information on all the above from the start of the July at the BFI Southbank site.