TO SAVE AND PROJECT AT MOMA 

To Save and Project was a retrospective for the 12th MoMa International Festival of Film Preservation. October 24–November 22, 2014

The retrospective presented a diverse selection of newly restored films from across the world. The films ranged from early silent movies to films from the 1980s, and depicted a multitude of genres from comedy, documentary, drama, and thriller. Here are two reviews of films I went to see. 

Chaplin Restored, Essanay and Mutual Classics

The screenings were hosted by Serge Broomberg (Founder of Lobster Films in Paris), who not only presented the pictures, but also played the piano during the films. It didn’t take long for this event to become much more than just an ordinary screening.

At first, Serge Broomberg introduced elements of Charlie Chaplin’s early life: He was born in London in 1889 from a very poor family. His parents had been in the performance industry, both music hall entertainers. Charlie and his bother Sydney performed at an early age. At age seventeen, Charlie did comedy sketch, and developed popular burlesque pieces for Casey’s Circus. Meanwhile, his brother had joined Fred Karno’s prestigious comedy company in 1906. He managed to introduce Charlie to the company, and the latter became an immediate hit. Consequently, in 1908, Charlie Chaplin was selected to join the company that toured North America’s vaudeville circuit through Karno. This lead to his introduction to the world of film in America. He was hired by Keystone Studios where he learnt the process of filmmaking. Broomberg showed us an extract from Kid Auto Races at Venice (1914) where Chaplin made his first appearance on screen as the iconic “tramp.”

Later that year, Charlie joined the Essanay Film Manufacturing Company (captured in the title of the event) in which Chaplin made 65 short films from 1914-18. We were able to see three of those: The Bank (1915), A Night in the Show (1915), and Easy Streets (1917). Chaplin formed his own stock company of regular players within Essanay, and was able to take control over his films. Before showing us The Bank (1915), Broomberg exposed us to several rushes of footage restored and found throughout the world. We were able to contemplate the difference between the graininess of the film found in Russia and the scratches on the film found in Italy. This almost became an educational exercise, teaching us to watch films actively and to treat such films as historical rare gems.

Furthermore, Broomberg also mentioned Max Linder as a key influence figure on Charlie Chaplin. The difference between Linder and Chaplin was that Linder was famous for impersonating a wealthy neat man, instead of Charlie’s “tramp.” However, their comedic body gestures were very similar. This was proved to us when Broomberg screened: Rencontre Max Linder/Chaplin (1917), in which both actors appear in a Jules and Jim fashion, overly courteous while greeting one another, and then humorously climbing into a taxi. Linder introduced the mumming birds concept (a representation of the music hall performance, as viewed by a “stage audience”) which was then carried through by Chaplin in A Night in the Show (1915). In fact, Broomberg informs us that the film was censured by Pathé (for whom Linder worked) when it was first made, because it was the exact replica of a film also called A Night in the Show from 1908 starring Max Linder. Chaplin changed some aspects and was able to re-release the film. We were not only fortunate to watch the 1915 version but the original Linder 1908 version as a surprise screening.

Events like To Save and Project are not only exceptional for the quality of the film that we see, but also to bear witness to a dialogue that goes beyond the film. Where else would one discover the similarities between Max Linder and Chaplin, or be exposed to the hard work it takes to re-constitute a film that we are so comfortably sitting down watching? This was a unique experience, largely due to Serge Broomberg, who not only demonstrated his dedication to his work, but also shared his most extended knowledge of what we were about to see. 

Miles of Smiles, and The Family Secret

I went to the second screenings of Miles of Smiles (Alfred J.Gouldings, 1923) and The Family Secret (William A.Seiter, 1924), therefore I unfortunately missed out on the introduction by Ted Griffin, William A. Seiter’s grandson in the previous screening.

Miles of Smiles (Alfred J.Gouldings, 1923) is a short film starring “Baby Peggy” (Diana Serra Cary), one of the three major American child stars of the Hollywood silent movie era (including Jacquie Coogan, and Baby Marie). She is also the star of The Family Secret which was screened in addition to the former. Both deal with the difference of youth representation in the high class versus the working-class of the mid-twenties. Baby Peggy is cast in both the roles of the upper class little girl as well as the working-class girl, who finds refuge and comfort in alleyways and streets, reminding us of Jacquie Coogan in The Kid. Both films were screened with live piano accompaniment beautifully played by Ben Model (one of the nation’s leading silent film accompanists).

Miles of Smiles is the story of twins (both played by Baby Peggy) who are separated as they were still toddlers. The separation scene is humorous however dramatic this may sound, as the twins are first seen in a play pen in a garden, and one of them manages to escape by stepping over one of the bars. She crawls all the way to a miniature railroad (that once ringed Venice, California) where she is saved by the train driver. He takes her under his wing, feeds and dresses her (once more, very much like Chaplin who becomes the adoptive father of the “kid”).

The scene fades out and Baby Peggy is now a five years old little girl who takes command of the train and bosses her adoptive father around. We can’t help but feel amused at the confidence and maturity of such a young little girl. As many silent movies often do, the film takes many unexpected comedic turns, in a Parent Trap (David Swift, 1961) sort of structure. The twins find themselves reunited by accident. The denouement is a parade of chases, and confusions. The title card specifies that one of the twins thinks the other is a ghost, “Is that me or a ghost?” Once more, an unusually witty way for a little girl to be thinking. The final scene celebrates their reuniting at last! Both giggle with their mom and dad; a happy ending considering the childhood separation that the twins had to endure. 

The Family Secret (William A.Seiter, 1924) is an adaptation of the children’s book by Burnett (The Little Princess, The Secret Garden). It has a similar melodramatic undertone as well as a similar class segregation from Miles of Smiles. However the overall sense is a lot more traumatic, and suspenseful (a common way of life in Burnett’s tales).

The feature presents an upper-class woman, Margaret Selfridges, who secretly marries the love of her life – Gary, an accountant. Her parents discover her secret relationship and are appalled by the news. They forbid her from seeing him, and chase Margaret away to the countryside with one of the servants, where she can rest and hopefully forget about Gary.

During this time, Margaret gives birth to a little girl (no other than Baby Peggy, well not yet, it takes another time lapse to get to her), and returns to her parent’s home. She was expecting her parents to be thrilled at the sight of their grandchild, but once more they are horrified. They send Margaret off to her room. The tragic sight of the unwanted infant it heartbreaking. However, this is only the beginning of this heartbreaking tale. Gary breaks in to her bedroom to attempt to meet the infant. The father overhears the break-in, and reports him to the police. He is chased away and sentenced to prison. However, Margaret’s father hides the truth from his daughter. He disguises the situation by telling her that her long lost husband is too much of a coward to return to her.

Baby Peggy is now six years old, a year older than in Miles of Smiles. She is brought up mostly by her strict nanny, reminding us of an orphan-like childhood. Like “Annie,” She often speaks of her father coming back to live with them. This causes her mother a great deal of grief, and she lingers in a deep depression. She stays in most days with a nurse at her bedside, who forbids her to see her daughter for fear of upsetting her.

No matter how disobedient Baby Peggy sets out out to be, her cheekiness is difficult to resist, and even her grandparents develop a liking in her, as well as their servants who are very much fond of her. Her mother adores Peggy, but she doesn’t seem to have the strength to take care of her.

 
This tragedy takes an unexpected turn when Margaret pushes her father away after he attempts to hug her goodnight, “I can’t believe in your love after you drove Gary away.” He begins to feel guilty and realizes how much he has hurt his daughter who is still desperately in-love.

Nevertheless, the story is far from being resolved. Baby Peggy manages to escape to play with some children on the streets. They decide to exchange clothing and innocently help themselves to fruit stalls. They get caught by a merchant who takes them in for a good beating. However, Peggy manages to escape. The Selfridges find out she’s gone missing and they inform the police.

Gary (who has recently been released from prison) happens to find her and brings her to the police station. He doesn’t recognize her since he’s only met her as an infant. She falls asleep on him in the waiting room, and the police chases him away thinking he might be a pervert. The tension rises as we are expecting to see Margaret coming in at any moment, finding not only her daughter but also beloved husband. We have reached our most climatic tragic peak: he leaves just as Margaret enters the police station. It isn’t for another few scenes that we they will finally once more reunite, and the family lives happily ever after – to our great relief. 

The films were not only a nurturing experience for the heart and sole, but it’s always with great interest and pleasure that one (re)discovers early films made by cult directors during retrospectives as such. The Family Secret was an early feature made by William A.Seiter, who then went on to master the art of character comedy on screen. He was best known for his features such as Sons of the Desert (1933), and the musical Roberta(1935), with Fred Astaire and Ginger Rogers. Additionally, Miles of Smiles was an early short by Alfred J.Gouldings, former vaudevillian, who made mostly comedy shorts. He got involved with Harold Lloyd and Hal Roach, directing most of their films.

In addition to this, one can’t help but reflect on the positive effect that Comedy has during these tragic silent movies. The absence of synchronized sound encourages a more exaggerated acting technique which is very efficient while staging children. For example, In Miles of Smiles and The Family Secret, the innocence of little Peggy is what keeps us going. Although we are aware of her miming being somewhat hyperbolic, she still remains a six year old child who incarnates a pure and fragile Youth. Charlie Chaplin’s burlesque performance has a similar effect: his films would be incredibly depressing if it weren’t for his tricks, and comical body language. Moreover, his performance balances out the satire and emphasizes the tragedy of his fate.