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Silent Film Festival SAN FRANCISCO SILENT FILM FESTIVAL A DAY OF SILENTS | DECEMBER 3, 2016 | CASTRO THEATRE MUSICIANS A DAY OF SILENTS DECEMBER 3, 2016 10:00 AM CHAPLIN AT ESSANAY Live Musical Accompaniment by Donald Sosin Introduction by David Shepard 12:15 PM SO THIS IS PARIS Live Musical Accompaniment by Donald Sosin 2:15PM STRIKE Live Musical Accompaniment by Alloy Orchestra ALLOY ORCHESTRA Working with an outrageous assemblage of peculiar 4:45PM DIFFERENT FROM THE OTHERS objects, Alloy Orchestra thrashes and grinds soulful Live Musical Accompaniment by Donald Sosin music from unlikely sources. Founded twenty-five Introduction by Des Buford years ago, the three-man musical ensemble performs live accompaniment its members have written ex- 7:00 PM THE LAST COMMAND pressly for classic silent films. Alloy has helped revive Live Musical Accompaniment by Alloy Orchestra some of the great masterpieces of the silent era by touring extensively, commissioning new prints, and collaborating with archives, collectors, and curators. 9:15PM SADIE THOMPSON At today’s event, the orchestra performs its original Live Musical Accompaniment by Donald Sosin scores for Strike and The Last Command. Introduction by Bevan Dufty TABLE OF CONTENTS 2 CHAPLIN AT ESSANAY essay by Jeffrey Vance 8 SO THIS IS PARIS essay by Margarita Landazuri 14 STRIKE essay by Michael Atkinson DONALD SOSIN 18 DIFFERENT FROM THE OTHERS Pianist Donald Sosin has been creating and performing scores for silent films, both live and for essay by Dennis Harvey DVD releases, for more than forty years. He is the 24 THE LAST COMMAND current resident accompanist at New York’s Film essay by Shari Kizirian Society of Lincoln Center, the Museum of the Moving 30 SADIE THOMPSON Image, and the Brooklyn Academy of Music and has essay by Farran Smith Nehme received commissions to create works for the San Francisco Chamber Orchestra, Chicago Symphony 36 CONTRIBUTORS / ABOUT SFSFF Chorus, Jerusalem Symphony Orchestra, and Turner Classic Movies, among others. Since 2007 he has 42 ACKNOWLEDGMENTS performed at the San Francisco Silent Film Festival, where today he accompanies the Chaplin at Essanay program, So This Is Paris, Different from the Others, and Sadie Thompson. 1 CHAPLIN AT ESSANAY LIVE MUSICAL ACCOMPANIMENT BY DONALD SOSIN If the early slapstick comedy of the Keystone Film Regarded as the first classic Chaplin film, The Company represents Charles Chaplin’s cinematic Tramp is noteworthy for its use of pathos, situations infancy, the films he made for the Essanay Film that evoke pity or compassion, particularly toward Manufacturing Company are his adolescence. The Chaplin’s character. The Tramp dares to end with the Essanays find Chaplin in transition, taking greater Little Tramp walking down an open road, alone and time and care with each film, experimenting with new unloved, adding poignancy to comedic filmmaking. ideas, and adding texture to the Little Tramp character Chaplin employs pathos again for The Bank, when that became his legacy. the object of Charlie’s affection throws away the flowers he has given her and tears up the accompa- After the expiration of his one-year contract with nying love note, breaking the Tramp’s heart. Keystone, Chaplin was lured to Essanay for the unprecedented salary of $1,250 a week, with a Chaplin’s Essanay comedies are marked by a num- bonus of $10,000 for signing with the company. The ber of other innovations. The first is comic transpo- fourteen films he made for Essanay were designated sition. In A Night Out, his second film for Essanay, on release as the “Essanay-Chaplin Brand.” The the Tramp, thoroughly inebriated, gently puts his company’s headquarters were in cane to bed, “pours” himself a Chicago, with a second studio in glass of water out of a candlestick Niles, California. Essanay began “I don’t use other telephone, and uses toothpaste in 1907 and a year later became to polish his boots. Chaplin also a member of the Motion Picture people’s scripts, employs fantasy for the first time Patents Company, a consortium of I write my own.” in the Essanay films. In A Night producers popularly known as “The Out, as the cross-eyed comic Trust.” (The Trust had an American distribution chain Ben Turpin pulls the Tramp along the sidewalk, he called the General Film Company and was powerful believes that he is floating among flowers on a river. enough to control a majority of American film Chaplin’s own style of gag comedy also develops in distribution and quash the efforts of all but the most the Essanays. In The Champion, a David-like Tramp sharp-witted independent companies.) Chaplin’s only receives the assistance of his loyal bulldog to best year with Essanay, 1915, was the company’s zenith. a Goliath-like boxing opponent. Irony, a hallmark The studio foundered after Chaplin left to join the of Chaplin’s mature work, appears for the first Mutual Film Corporation in 1916 and finally ceased time in the Essanays. In Police, an evangelist who operations in 1918. It would likely have been forgotten implores the Tramp, just released from jail, “to go were it not for Chaplin’s association with it. straight” is later revealed to be a pickpocket himself. Finally, Chaplin first uses several other devices that While no one Chaplin film for Essanay displays the became signature features of his later films: dance more complex, subtle filmmaking that characterizes (Shanghaied), the equivocal ending (The Bank), and his later work, these comedies contain a collection of the classic fade-out (The Tramp). wonderful, revelatory moments, foreshadowing the pathos, comedic transposition, fantasy, gag humor, Nowhere is Chaplin’s growing cinematic maturity and irony of the mature Chaplin films to come. more evident in the Essanay comedies than in the subtle evolution of the Tramp’s treatment of women. 2 3 The Champion, 1915. Photo courtesy of the Jeffrey Vance Collection Shortly after arriving on the West Coast, Chaplin his films as well as more room to experiment. The Chaplin had other disagreements with Essanay from In early 1915, as he embarked on his first Essanay discovered Edna Purviance, who first appeared in tempered pace shows in the style of the films, which the beginning. The company’s cofounder, George K. comedy, Chaplin described his working method to Chaplin’s A Night Out and remained his leading lady contain more subtle pantomime and character Spoor, had never heard of Chaplin and was reluctant Motion Picture magazine as largely improvisational. until 1923. Born in Nevada in 1895, Purviance was development. Although the first seven films Chaplin at first to hand over the promised $10,0000 signing “I lay out my plot and study my character thorough- a beautiful, blonde-haired young woman Chaplin made for Essanay were released over three months, bonus. Chaplin insisted that viewing prints be ly … I go before the camera without the slightest spotted at Tate’s Café in San Francisco. Although Chaplin eased production to one two-reel film a developed for screening rough footage, refusing to notion of what I’m going to do. I try and lose myself.” she had no motion picture or stage experience, month after that. abide by Essanay’s practice of projecting the original Yet he paid meticulous attention to detail, even at Chaplin was captivated by her looks and charm. The camera negative to save the studio the expense of this early stage of his career. Stan Laurel, who had personal chemistry between them and the intimate Chaplin was very much aware of the criticism of making a positive copy. After Chaplin left Essanay, accompanied Chaplin on the Fred Karno tours of relationship the two enjoyed offscreen served the his earlier work as vulgar. “Never anything dirtier he despised the company’s unscrupulous tactic of America in 1910 and 1912 as actor and Chaplin’s un- Tramp’s changing attitudes toward women well. was place upon the screen than Chaplin’s ‘Tramp,’” re-editing his films using discard material in various derstudy, recalled his friend Leo White’s experience In the Keystone comedies, the Tramp was usually groused Sime Silverman in his review of Work for the forms. Triple Trouble, released in 1918, three years performing in The Tramp. “He said they repeated at odds with his frequent foil Mabel Normand. industry trade paper Variety. “But since the audience after Chaplin left the company, was assembled some gags until the actors felt that if they did it one Purviance was demure and more refined than will laugh there is no real cause for complaint.” At without Chaplin’s approval from portions of Police, more time they’d blow their corks.” But that’s what the slapstick Normand, and the Tramp’s interplay Essanay, Chaplin began to refine the comedy. It was the ending of Work, and an autobiographical made Chaplin so great, Laurel went on to explain: with her is gentle and often romantic. The female familiar territory for Chaplin, who learned his art in feature-length production Chaplin had abandoned “He knew that sometimes you have to do a thing fifty characters of the first Essanays are indistinguish- the British music halls where character and story de- entitled Life, along with some new footage directed times in slightly different ways until you get the very able from those of the Keystones, velopment were crucial for getting by Leo White. Perhaps because of this acrimony best. The difference between Chaplin and all the rest as objects of desire, derision, or The Essanay films the big laugh. (He also admired the (and the resulting lawsuits) Chaplin remained bitter of us who made comedy—with one exception, Buster simply unimportant to the plot.
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