Festival director: Alison Strauss
The Hippodrome Silent Film Festival has been continuing to showcase hidden gems from the archives, many of the more sophisticated movies now a century old. The restored version of The Pleasure Garden (1925), Hitchcock’s directorial debut, is magnificent, the sumptuous visuals accentuated by scenes tinted in a variety of colours. Jane Gardner, on piano, and Hazel Morrison, percussion, brought out the drama superbly.
Likewise, Mike Nolan gave extra oomph to The Shamrock Handicap (1926), a comedy melodrama from director John Ford, better known for his westerns starring John Wayne. Set in Ireland and the USA, this yarn follows the professional and romantic fortunes of a jockey, played by the rather wooden Leslie Fenton, and his beloved, the altogether more cinematic Janet Gaynor.
Keeping accompaniment to the fore, well-known broadcaster Neil Brand gave entertaining insights in his talk Key Notes, playing piano and making wry comments over early film clips. He gave a brilliant, Charleston-inspired performance to accompany Skinner’s Dress Suit (1926), a light comedy strangely reminiscent of Mad Men, in which Reginald Denny and Laura La Plante dance their way to social and economic glory against the odds. The film is worth seeing for Denny’s comedic body language alone, naturalistic enough to make him appear live and contemporary.
The love triangle melodrama Smouldering Fires (1925) is a surprisingly engaging tale of a female boss (Pauline Frederick) marrying her younger employee (Malcolm McGregor), only for him to fall for her younger sister (Laura La Plante again). While you can divine the plot a mile off, the story is told concisely and well, with some exquisite visual touches.
The Chase After Millions (1930) is a daft German caper about stolen identity papers, an inheritance and an attempted forced marriage. Full of stunts, it stars debonair former circus performer Luciano Albertini, a matinée idol all but forgotten today.
Providing a diverting contrast in the programme was a selection of shorts shot on 8mm black-and-white film by Flora Kerrigan in the 1960s. These included fanciful and highly creative animations, reminiscent of the Czech output of the era. Some of Kerrigan’s live action experiments generate memorable action and imagery; others are less fully realised, featuring bad amateur acting. So it’s a lucky dip, but there are some real delights. Dream Maker stands out as a poetic and sensual piece, gently suggestive of a lesbian relationship. Improvisational avant-garde musician Paul G. Smyth added greatly to the programme’s visuals, playing the upright piano’s keys and plucking its wires, creating a magical atmosphere.
The closing film for this year’s festival was the compelling oddity Forgotten Faces (1928), starring Clive Brook as a gentleman robber, with a young William Powell (The Thin Man series) as his sidekick, and a suitably over-the-top performance by Olga Baclanova as his scheming, faithless wife.
And so the sun sets on five days of high quality movies full of surprises, in a programme bursting with fascinating history, artistry and fun. It’s all the product of creative collaborations with film historians and archivists around the world.
Runs next time: 18 to 22 March 2026 | Image: Ewan McAndrew
