Music Hath Charms

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San Francisco’s A Day of Silents Features a Stellar Lineup of Musicians and Films on Sunday, February 2, 2025.

by Meredith Brody.                                                         (January 28,2025)

The Mont Alto Motion Picture Orchestra. Photo by Pamela Gentile.

You’ve all heard that silent movies really weren’t SILENT: they all had live musical accompaniment, ranging from a solitary guy at an upright piano or a mighty Wurlitzer to up-to-110-member symphonic orchestras. When Carmine Coppola was about to go on tour in 1981 to conduct his new score for his son Francis Ford Coppola’s restoration of Abel Gance’s 1927 Napoleon, he reminisced about the silent movie palaces of his youth: “”When I was really young,” Mr. Coppola recalled, ”I would go to Broadway to see a movie. I remember  The Thief of Bagdad, with Douglas Fairbanks; he always insisted on an original score. Those theaters – the Strand, the Rialto, the Rivoli, the Capitol – had 40-or 50-piece orchestras. It was so beautiful. I saw the Big Parade that way and What Price Glory and The Three Musketeers. ”

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Noir City 22’s Wicked Women Thrills

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(January 15, 2025)

“Where Winsome Women Turn Wicked!” is the theme of this year’s Noir City featuring 24 gritty thrillers in the best possible prints, in 35mm when available. All double bills—two movies for the price of one,  “I think it’s important to make note of the problematic content and say things like, ‘Well, yes, the women had to be punished at the end of these movies,’ ” TCM host Alicia Malone told G. Allen Johnson for his excellent SF Chronicle article on the Festival. “But that also doesn’t negate the fact that for most of the film, you get to watch a powerful woman wielding her sexuality, using it as a weapon and drawing in these hapless men and getting to play, for these actresses, unlikable, complex characters. Women were front and center and very important in noir. And even though there was a lot of misogyny, a lot of face slapping and forced kissing, it also really gave them a chance to play these complex characters at a time when women didn’t have power.”

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Eddie Muller’s NOIR BAR Cocktail Recipes for The Reckless Moment and Phantom Lady

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“Eddie Muller—host of TCM’s Noir Alley, one of the world’s leading authorities on film noir, and cocktail connoisseur—takes film buffs and drinks enthusiasts alike on a spirited tour through the “dark city” of film noir in this stylish book packed with equal parts great cocktail recipes and noir lore.”

Photo courtesy of Tim Millard and “A Sip of Noir” podcast interviewing Eddie Muller.

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Doc Stories Revisits 2015’s “Janis: Little Girl Blue”

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The 10th edition of the San Francisco International Film Festival’s annual documentary celebration offers eleven programs of new films plus a Documentary Filmmaking & Activism Workshop for Teens and two free panel discussions.

By Noma Faingold

(October 14, 2024)

Most people have never seen Janis Joplin live. Those who have could feel her lifeforce, her pain, her palpable need to be loved, her raw bluesy delivery and her desire to be unforgettable. She died of a heroin overdose in 1970, becoming a member of the rock and roll 27 Club, along with her contemporaries Jimi Hendrix, Ron “Pigpen” McKernan,  and Jim Morrison.

 

Maybe the next best thing in experiencing the essence of Joplin and learning about all aspects of her life is by watching the 2015 documentary, “Janis: Little Girl Blue,” directed by Amy Berg, being shown during the 10th Anniversary of SFFILM’s Doc Stories (October 17-20). The free community screening will be at 4 p.m. on October 17, at San Francisco’s Vogue Theatre, with Berg as a special guest.

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155 RARE FRENCH NOIRS CAN’T BE WRONG

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By Owen Field

THE sheer monumentality of Don Malcolm’s THE FRENCH HAD A NAME FOR IT “festival of the lost continent” has been difficult to grasp over its ten-year run. It resembles a whale obscured in a misty ocean—in this case, a mist-enshrouded history with some surprising historical suppressions.

Jean Gabin and Brigette Bardot in LOVE IS MY PROFESSION / EN CAS DE MALHEUR

Its singular insistence on a radically revised paradigm for the history of film noir is a bridge too far for those all too comfortable with either the “American exceptionalist” origin theories or the nebulous “darkness has no borders” mantra that steadfastly sidesteps Malcolm’s central insight.

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My Favorite Film Festival, TIFF, Checks All the Boxes

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by Meredith Brody

(September 24, 2024)

I’ve never met a film festival I didn’t like, starting with the influential and eccentric Filmex, where I worked for the late, great Gary Essert and Gary Abrahams when I was still in college.

I have heard (mild) horror stories from other people about film festivals that had projection problems and cancellations and other such glitches. The Toronto International Film Festival is the opposite of that.

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