John Grant

A German silent film comedy called “Familientag im Hause Prellstein,” from 1927, features a family feud over an inheritance.  When Sami Bambus learns that his gambling debts far exceed his fortune, he decides to fake his own death.  His plan takes into account a law that says the heirs must pay off the debts of the deceased.  The resulting legal squabble pits family members against each other, first to get their hands on the inheritance, and then to reject it when they learn of the law.

A scene from “Familientag im Hause Prellstein,” released in 1927.  (Courtesy Österreichisches Theatermuseum, Vienna)

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The notes on this film, presented at the 2012 Pordenone Silent Film Festival, say that the film created lots of controversy in 1927.  Anti-semites pressured Ufa Studios to release the film without publicity, while Jewish groups objected to the film’s stereotypical characterizations.  However, the film is really just a funny comedy about family relations, and it’s great to see a German comedy film from this period.

Raymond Griffith, one of the forgotten comedy stars of the silent era, starred in a 1926 film called “Hands Up!”, a funny comedy about a Confederate spy working to steal Nevada gold before the Union gets it.  The gags come fast and constantly, as Griffith takes a stagecoach across the country, meets the pretty daughters of a gold mine operator, and tries to sabotage the efforts of a Union army captain.

Raymond Griffith (center) gets intimate on a stagecoach with Marian Nixon (left) and Virginia Lee Corbin.

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Hands Up! is on the National Registry, the United States National Film Preservation Board’s list of films for preservation at the Library of Congress.  The film reportedly made more money than the much better known Civil War Film, “The General,” starring Buster Keaton.  A DVD of the movie does not seem to be available now, but it’s well worth seeing; audiences will appreciate the sophisticated and graceful comedy style of Raymond Griffith.

Who knew that Moscow had a room shortage in 1927?  That’s when Boris Barnet made “The Girl With the Hatbox,” a Soviet silent film that features Anna Sten as Natasha, a milliner who travels to Moscow to sell her hats.  She meets and falls in love with Ilya, a man who sleeps at the train station.  To help him find a room, she marries him and rents a room at a Madame Irene’s, a Moscow hat shop.  The screwball comedy erupts into slapstick as Irene’s crooked and lazy husband gives Natasha a lottery ticket in lieu of salary.  The ticket wins, and then he wants it back.

Anna Sten (right) plays the milliner in “The Girl With the Hatbox.” (Courtesy Austrian Film Museum).

The film, shown at the Pordenone Silent Film Festival this month, included detailed notes in the festival program that said the Soviet government encouraged promotional films for the state lottery, and that the studio that made The Girl With the Hatbox, Mezhrabpom-Rus, made more than a dozen lottery pictures in the mid-1920s.  I wonder if the others turned out to be as funny and interesting as this one.
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The comedy, so broad and understandable, with plenty of slapstick, brings a lot of comparisons to American silent comedy.  It’s interesting to see that in the context of real Moscow street scenes, with the obvious benefit of featuring the riveting Anna Sten as the title character.  The distributors released the film in America under the name, “When Moscow Laughs,” an equally apt title to The Girl With the Hatbox.  Life in that big city seems absurd, and that in itself is fun to watch.

Under the program title, “The Canon Revisited,” the Pordenone Silent Film Festival presented “Die Weber (The Weavers),” a 1927 German film directed by Frederik Zelnik.  The story concerns a revolt by the mistreated weavers at a factory in a small town.  With strong socialistic convictions, the film explores the various stages of the revolt and the factory owner’s attempt to stop it.  In the end, nearly the entire village joins the revolt as they face off against army troops in the village square.

The mob rules in “Die Weber.” (© Friedrich Wilhelm Murnau Stiftung, Wiesbaden)

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William Dieterle plays Jäger, a returning soldier who spouts socialist slogans while drumming up the revolt.  The film stands fully on the socialist side of the ledger, offering no sympathy for the factory owner, who is forced to flee.  Zelnic tells the story with a few elements of humor, such as when the weavers invade the factory owner’s house and rummage through the rich man’s possessions.   But as the viewers get caught up in the action, the ideology clash becomes the main focus.

I saw three versions of “Oliver Twist” on the big screen at the Pordenone Silent Film Festival, but I liked the one with Jackie Coogan the best.  Several countries produced filmed versions of the Charles Dickens’ novel, including an English version from 1912 that featured a girl (Ivy Millais) in the title role.  If you add the numerous sound and TV adaptations Dickens’ novel, you could program a whole festival of Oliver Twists.

Lon Chaney, as Fagin, welcomes Jackie Googan, as the title character in “Oliver Twist.” (Photo courtesy of La Cineteca del Friuli).

Coogan plays a tough and uncompromising Oliver Twist, full of boyish charm as he goes from the orphanage to the clutches of Fagin (played by Lon Chaney) to the wealthy household of Mr. Brownlow.  George Siegmann, who plays Bill Sykes, delivers a menacing performance, while Gladys Brockwell ably performs as the tragic character Nancy.
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Lon Chaney’s Fagin seems surprisingly understated, especially considering the usually impressive pantomimes he displays in other roles.  With so many story elements and actors, the director (Frank Lloyd) keeps a fast pace, and this serves the story well.  My favorite scenes occur at the beginning of the picture, where Oliver toils in the workhouse.   After Oliver requests more gruel, he helps himself the ladle’s supply while his overseers erupt into a hubbub.  Coogan’s funny business makes him more likable as he transitions to more menacing and uncomfortable circumstances.

A short Anna Sten film from 1928 called “Moi Syn (My Son)” surfaced recently at the Museo del Cine Pablo Ducrós Hicken, and the curators at the museum made a quick DVD copy to present at the 2012 Pordenone Silent Film Festival.  The Russian film features Sten as a new mother who tells her husband that her newborn son is not his.  This throws the husband into a tailspin as he loses interest in his work, ignores his wife and child and strikes back at the man he suspects is the father.

Anna Sten (Courtesy of the David Robinson Collection).

Paula Félix-Didier, the Director of the Museo, appeared on stage during the festival showing on October 10 to explain that the quick and dirty transfer to DVD is only the first step towards restoration.  We lost the Russian copies of Moi Syn in a fire during the siege of Leningrad in 1942, and the discovery of a 16 mm copy in Buenos Aries created wide interest.  The director of the film, Yevgeni Chervyakov, created a different kind of Soviet cinema that strayed from the familiar quick cutting and montage motifs displayed by Sergei Eisenstein and others.
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The 49 minute film presented in Pordenone moved swiftly to its concluding sequence, when a fire engulfs the couple’s home and a fireman (the real father) risks his life to save the baby.  In Soviet films, one senses the constant message of “collective responsibility,” and Chervyakov manages this with many closeups and no scenes of farms, factories and happy children.  Anna Sten, as the mother, embraces her role of motherhood; the husband recoils from her in shame and frustration.  In the end, society works to save the baby.

Pordenone, Italy — A special event at this year’s 31st Pordenone Silent Film Festival (Le Giornate Del Cinema Muto) featured, on October 6, a wonderful restoration (by the Cinémathèque Française and Laboratoires Éclaire) of a George Méliès 1902 film called “Les Adventures de Robinson Crusoé.”  The festival screened the film with a live narration by British actor Paul McGann, who read an original script penned by Méliès that tells the story of Crusoé’s shipwreck, his meeting with cannibals and mutineers, his encounter and friendship with Friday, and his eventual rescue and return to England.

George Méliès

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The 12 minutes that survive of the approximately 20-minute original length (according to the Méliès’ 1905 catalog) retain the narrative focus and the brilliant use of color throughout.  Méliès called the film a “cinematographic play,” a new idea in 1902 for telling a complicated story.  The Pordenone performance featured a new score by Maud Nelisson, a pianist who performed it with a sax, a flute and percussion.   The music provided a rich accompaniment to the brilliant and colorful display onscreen.