Friday, May 22, 2009

Silent Film Echoes: "Electric Edwardians"; "Hollywood" and "Unknown Chaplin"

One of the things that fascinate me is how early film-makers either told stories in an early soundless medium, or simply filmed people in everyday life.  Recently I saw a film that introduced me to the work of two Edwardian moviemakers, Sagar Mitchell and James Kenyon.  "Electric Edwardians" is a DVD that shows everyday life in England as it was lived over a hundred years ago.  The filmmakers would visit a city with their equipment, film ordinary life and then develop the footage quickly so it could be shown at a local theater.  They made money at it by filming as many people as possible, so they could presumably get them into an auditorium to see themselves and their neighborhoods  and their family members. 
For more on this amazing film discovery, check out this link for additional rare  footage.  


http://www.bfi.org.uk/features/mk/

  

There was similar small roving film units working at this time in the United States and Canada as well. Some of the footage has survived, but most of it was lost due to deliberate burning (to get the valuable silver out of the old nitrate stock that filmmakers used until 1950) or it simply deteriorated away in a vault, forgotten by all but a few dedicated archivists who have tried to save this extremely rare glimpses of history. 

     The difference with the Mitchell/Kenyon footage is that it was lost for decades in Blackburn, England, and was only found a few years ago in a basement of an old building--but  that the footage is in great shape and you can see images so clearly. It gives me the feeling of truly seeing "ghosts".       

This from the Amazon.com website 

"The astonishing discovery of the original Mitchell & Kenyon negatives in Blackburn, England — in a basement about to be demolished — has been described as film’s equivalent of Tutankhamen’s tomb. Preserved and restored by the bfi National Film and Television Archive in collaboration with the University of Sheffield National Fairground Archive and featuring a hauntingly beautiful score by In The Nursery, this treasure trove of extraordinary footage provides an unparalleled record of everyday life in the years before World War I." 

This early type of commercial film had its obvious limits, and was soon dwarfed by the major motion picture studios.

  After winning the battle for control of the film camera patent against the Thomas Edison Company around 1910, American film-making began to sell films that could be seen over the world. What was lost in the scramble for dollars and lire and pounds and francs at the box office was replaced by a more theatrical style.  As Hollywood came to dominate world film production in the midst and after World War I, talent flocked to the West Coast to set up studios. Gradually, all the small fry were pushed out of business by the big film production giants (Metro, Universal, United Artists, etc).  The second clip on this blog is from one of the best documentaries about silent films, the opening to the early 1980's series "Hollywood", produced by Thames Television.   

   The final clip is from another Thames production devoted to the well-preserved cinema vault of the most famous living man of the early 20th Century, Charlie Chaplin.  This clip shows how he incorporated ideas in random home movies and used them later in his features. 
   

24 comments:

  1. Fascinating footage Doug, watching ghosts indeed. I have seen some of Electric Edwardians, an incredible collection of images from the past. The Chaplin home movie is fantastic, a great insight into his evolution as a performer as well as the evolution of motion pictures. The sense of magic and the quantum leap in human communication achieved at that time has led to our world being flooded with images now, in ways unimaginable in history. It has changed the world and is still changing it.

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  2. Thank you for posting the videos. It was very interesting to read your post and see the clips

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  3. Very interesting footage. Big Chaplin fan here, as well the story behind that man was something that was fascinating. Silent movies somehow captured something without the sound.
    Informative and most interesting.

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  4. Quite so, AA. It's the first time we can see not only entertainers captured forever on film stock, but the "Electric Edwardian" and other early film projects give us a glimpse of cities and towns as they actually existed--and who lived in them. And the mere recordings of daily life brings us closer to the distant past in a way that only great writers could ever have come near to achieving.

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  5. You're welcome, Fred. I think the two documentaries by Thames really jump-started my growing interest in silent films. The early recording of everyday life in an English or American street can be equally fascinating.

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  6. I would tend to agree with you comment

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  7. Chaplin was quite a personality. His own autobiography is a great tale of life as a kid just trying to survive in the workhouses and later climbing through the ranks of the music hall/vaudeville era of England and North America--and that's just the parts before he achieves his career in films!

    Besides Chaplin, other performers and directors of the time made the case that silent films were the perfect universal language. There was a sense of loss when sound came in the industry--sound technology was irresistible to the big studios and the public at large, of course, but I can understand why Chaplin was in no hurry to speak in his movies.

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  8. Absolutely Doug, what really impressed me is that I recognised those people, the girls looked familiar, I have seen men like those turning to look from the footpath....the clothes are of course different, but unlike in still photographs (where the length of the process made everybody look a bit severe) you can see the way they move and nothing has changed....the circle has not been broken....makes you wonder about their future lives. Amazing really.

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  9. Dead on. I think that's part of the "spookiness" of it, AA--those are real people and they move and laugh and pose and look at the camera the way "we" do. And, yes, I can't help looking at some of the clips in the documentary and wondering how many of the young boys in the school clips survived the Great War or did the townsfolk in general live out their days in relative happiness or struggled to the very end?

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  10. Virtually every city in America had those roving film crews, putting everyday life on film. There was an explosion of creativity using that new medium, and the fact that they did this is an important part of our understanding of life at the turn of the last century.

    Hereabouts, the N.W. Film Study Center and the Oregon Historical Society maintains an extensive archive of these films.

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  11. Thanks Astra. I'll have to go on line to those sites to see what's available.

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  12. I agree. And isn't it great that we can access this material via the Internet instead of just having these films stuck in a museum or a vault?

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  13. The Michell and Kenyon story was broadcast here a couple of years ago and was compulsive viewing in this house. It kick started a resurgent interest and for a while we were treated to other film makers treasures from the early days.

    There was a documentary about the work of the bfi as well. The old film stock is so dangerous and fragile it is extremely challenging to work on. Because it is so highly flammable it is kept in small cubicles about a couple of metres square with special fire detection built in each one. Above each cubical is a tank of water which can be dumped into the space below to quench any fire that may start. All that simply to store these precious archives and that before they start working on the material to recover the images and transfer them to more stable media. Amazing.

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  14. Thanks for sharing those details on BFI film preservation, Jim--I wasn't sure how many people had seen the Mitchell/ Kenyon documentary, but from what you say the films are about as secure as possible and I gather millions are aware of these treasures.

    American film preservation efforts (at the AFI and the University of Los Angeles) have archivists working at a race against time to save similar pieces of history. Some movies were even shot on paper stock (!) and a small percentage of same have managed to survive to be put to safer video and film stock. It is amazing, and better late than never.

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  15. I'm not sure about millions Doug, but it was certainly popular TV with us.

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  16. I'm just glad it was on television, Jim--so many very good documentaries on subjects like these and current events as well don't get a big audience.

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  17. Me to Doug. Now the clever trick is to get people to watch them in numbers.

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  18. I followed the Mitchell & Kenyon series on television a couple of years ago and it was riveting. In the past we would have watched this kind of film with the people walking along at great speed. Now the films are slowed to down to show people's normal walking pace, we can see that things don't really change. What precious movies these are.

    And who can fail to enjoy Charlie Chaplin in his many moods?

    Thank you, Doug, I missed this post due to Multi muddles.

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  19. I was riveted as well by the version on DVD, Cassandra--I expected a jumpy and grainy series of quick films and Mitchell and Kenyon's was the total opposite of that!


    The footage was so well-preserved--it has to be one of the great finds in any early silent film work. To see the faces of ordinary people, from their work lives to sporting and leisure activities, so clearly and vividly, is startling stuff. And to think we are seeing real life as it was lived over a century past!


    Yes, Chaplin's work is a treasure-- I read his 1960's autobiography a few years ago and was very impressed by his memory for details, incliuding his rise out of numbing poverty; the terrible trails of his mother and brother to keep the family together, and into his teen years with small stage parts and music hall revues. His memories of early Hollywood are some of the best we have of that center for a then-revolutionary new medium.

    It's great that we live in a time when such great entertainers will always be with us to revisit and enjoy.

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  20. Yes, the quality of the films was amazing. It's strange, because many films made later, had a problem with the coating breaking down. A good few were painstakingly restored, but others were lost to us forever. I wonder what made them change the process, or maybe it was the storage conditions that brought about the problem?

    I actually recorded the Mitchell & Kenyon series, it was so unique. As you say, what a find!

    What I like about Chaplin, Stan Laural and Oliver Hardy, One can watch them over and over again and they still seem fresh. When I was at university, we started a black and white film club and I have been a fan ever since. I hate it when they colour them, somehow it doesn't work...

    I must read Charlie Chaplin's life story, I have a book I picked up in a secondhand shop and it has been on my..... to read list far too long. It's strange how those who struggle in their youth, or have seen their parents go through hard times, have the drive to excel.

    We do indeed own much to new technology, in the legacy it has left us still able to enjoy. I try not to think of those films that must have been dumped before they found a way of restoring them. * Stifles a sob*.

    Thank you Doug.

    Cassandra

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  21. Quite true, Cassandra. I had a similar experience in college in California--one university I attended had regular screenings of seldom-seen landmark films--American, British, foreign language, e.g. Also many silents, and some of those great comedians you mention doing their best work. Truly funny situations based on human nature do not become obsolete.


    Computer-Colorization of older black and white films was such a bad move; I hope we have seen the end to that loathsome practice.

    I was also lucky to live close to University of California, Berkeley, home of the Pacific Film Archive. In addition to foreign films, they had evenings of showing many films that had been restored (or completely rediscovered). One theater I attended in San Francisco on many Friday nights showed only silent films on that one evening. Great fun to see Chaplin and Buster Keaton at work with a full audience and a live organist in front of the orchestra, playing

    I remember, sadly, seeing a program of "partial films" at the PFA--films that had been restored but which were incomplete because the rest of the film had been lost to deterioration. I wasn't aware of the coating change you mention, but I've heard that the early nitrate stock most studios used would become highly combustible. Many studios in America put their silent films away in vaults after "talkies" came in, and the neglected material turned to dust or, in one famous case, was lost to a major fire. Dozens of features and newsreels up in smoke! It was only in last couple decades that and the studios began to open the vaults and let preservationists from the American Film Institute and UCLA in to try and get the films painstakingly restored and onto safety stock.

    It is sad to think of all that is missing. Even an ordinary film from say, 1912 or 1916 could show us things that might rewrite the history of cinema. Many directors, cameramen and others are just names in reference books, with a few stills to show what their work might have been like. Major actresses like Theda Bara--the first screen "vamp" who played Cleopatra 50 years before Liz Taylor--have had their careers all but erased by a lack of care to films once thought next to worthless.

    One nice thing now about DVDs and television documentaries is that greater numbers of people are aware now of what fragments of the past we still have.

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  22. I'm sorry I didn't answer this before, I was trying to find where I'd read about the film breaking down. While I was searching, I realised it was still photography, where the coating peeled away due to the processing. So my apology's for being misleading, Doug.

    Those little film clubs were great, it gave one a chance to see old movies that weren't being shown at the cinema. I must say attendance was really good. The guys who ran it were real enthusiasts.

    I'm afraid, if I find a black a white film has been coloured it ruins it for me. Many of those old black and white movies are so incredibly sharp, it's a pleasure to watch them. I suppose in recent years they have been enhanced. I'm not sure if that was done so much in 1994. One loses track of time-scale with new technology.

    Yes, I have heard of the combustible quality of many old films. It's sad that they are lost to the modern world. Even if they were rubbish, one searched for up and coming stars, when they took part as extras. What a wonderful way that would have been to sabotage the enemies records during the war, combustible material; trouble is the time of damage would have been unpredictable. Teehee, I've watched too many spy movies!

    Hopefully there are still many films tucked away in someones attic just waiting to be released to the world. It is frustrating to read of directors, where so much of their work has been lost and along with it the work of so many stars. What always surprises me is, there are so many films still available, listed in a book I have, that are never shown, because the programme makers think they are rubbish. The thing is, in all those films are the beginnings of so many stars. I find that really interesting, even if the acting is of poor quality

    Dvds are great, but I never quite trust them with some of my favourites, I make double copies. Videos had a lasting quality, if the player didn't chew them up! :-)

    Thank you.

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  23. Re: still photography coating. No problem Cassandra, thanks for checking that out.

    I was never been able to sit through a colorized film myself. (A lot of great and near-great directors and cinematographers--such as the late John Huston, Woody Allen, Ronald Neame, et al) were incensed by it. "Imagine," Neame once said, "colorizing Miss Havisham's parlor from "Great
    Expectations?!" (The David Lean version from 1947.) Right before he died, Orson Welles reportedly implored that his "Citizen Kane" not be colorized as planned. Thanks to legal challenges it wasn't, but cable television baron, Ted Turner of CNN fame, was keen to do it. Nobody who really cares about even a good film would have ever do it. From what I understand, cinematography between color and black and white film is just a different animal altogether.

    I know what you mean about so many films being unavailable. The only television cable station that shows older films over here is Turner Classic Movies (yes, that Ted Turner), and,sadly the era of VHS/DVD and You Tube set has put an end to a lot of the film clubs that used to exist. The plus side I suppose is that people living in rural areas or non-university cities can buy or rent movies through local stores or use Netflix for direct mail service, but on the debit side I'm afraid we have lost that group "spirit of enthusiasm you spoke about that is so important for any art form to have.

    Copying from DVD to VHS I think is a good idea. If I like a film I try to have two copies just in case myself.

    What frustrates me is that there are those movies that are quite good--but don't ever get released, often because the stars of the film are not popular anymore. Case in point is the British film "Sands of the Kalihari" (1965) with Stuart Whitman, Stanley Baker and Susanna York. Not a classic, mind you, but a superior survival in the wilds yarn that puts many a modern film in that sub-genre to shame. But its not available in any form over here and I'm sure it certainly isn't "lost". Oh well :-(

    Thanks for your comments!

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