6th Intl Silent Film..
Transcription
6th Intl Silent Film..
2 4 - 2 7 A U G U S T SHANG CINEPLEX, SHANGRI-LA PLAZA, MANDALUYONG CITY Since its inauguration in the year 2007 by the three founding partners Goethe-Institut, Instituto Cervantes and Japan Foundation, the Silent Film Festival grew fast during the following years, when the Embassies of the Czech Republic, France, Italy, and later Greece joined the group: In 2008 we were able to show 6 silent black and white films from the years 1914 until 1933, accompanied live by 6 different Filipino groups of talented musicians. With the film THE BRIDES OF SULU we welcomed last year the first participation of a silent film from the Philippines and a group of musicians from Mindanao – thanks to the un-tiring research work of our friend, film historian and film enthusiast Teddy Co. Subsequently, silent films from the Philippines will continue to shape the face of this festival in this year with two entries by Raymond Red: “PELIKULA” (1985) and ETERNITY (1983). On behalf of my American, Italian, Japanese and Spanish fellow organizers, I am proud to announce the participation of our new festival partner, the Film Development Council of the Philippines. With its Chairman, Mr. Briccio Santos, we signed last month a Memorandum of Agreement on cooperation in this exciting field of films, characterized by a very special film language that revives the charm of a long forgotten time with the help of very creative Filipino musicians and which pays tribute to a unique heritage of film culture by our Filipino and international partners involved. By the way, 100 years ago from today’s opening of the 6th International Silent Film Festival in Manila, the first full length feature film for theatrical release produced by the Philippines LA VIDA DE RIZAL, written and directed by Edward Meyer Gross had its world premiere on August 23, 1912. Last but not least, allow me to express our gratitude and thanks to the long standing excellent partnership with the management of the Shang Cineplex at Shangri-la Edsa. Wishing you all exciting viewings of the precious films being shown in the festival, Richard Künzel Director Goethe-Institut Philippinen SILENT FILM FESTIVAL TIMELINE 6TH INTERNATIONAL SILENT FILM FESTIVAL | MANILA INTRODUCTION RICHARD KÜNZEL 2007 ITALY Cabiria (1914) Music by Caliph8 (with Malek Lopez and Matt Deegan) FRANCE Visages d’enfants (1925) GERMANY Die Austernprinzessin (1925) Music by Noli Aurillo GERMANY Die Abenteuer des Prinzen Achmed (1926) Music by Drip SPAIN El sexto sentido (1929) Music by Wahijuara JAPAN Orochi (1925) Music by Makiling Ensemble SPAIN El negro que tenía el alma blanca (1926) Music by Novo Concertante Chorale JAPAN Taki-no-shiraito (1933) Music by Bob Aves CZECH REPUBLIC Erotikon (1929) ITALY L’uomo meccanico (1921) Music by Caliph8 2009 2008 GERMANY Menschen am Sonntag (1930) Music by Nyko Maca SPAIN La aldea maldita (1930) Music by Joey Ayala JAPAN Oatsurae Jirokichi Koshi (1931) Music by Kalayo FRANCE Fantomas: A l’ombre de la Guillotine (1925) Music by Corporate Lo-fi ITALY Assunta Spina (1914) Music by Caliph8 GERMANY Berlin: Die Sinfonie der Grosstadt (1927) Music by Out of Body Special SPAIN La bodega (1929) Music by Tanglaw JAPAN Kodakara Sodo (1935) Music by Radio Active Sago Project ITALY Dante’s Inferno (1911) SPAIN Pilar Guerra (1926) GERMANY Nosferatu (1922) JAPAN Akeyuku Sora (1929) Music by Razorback 2011 2010 Music by FEU Chorale and Stephan von Bothmer GREECE The Greek Miracle (1921) Music by Heliodoro (Dingdong) Fiel (HDC Trio) Music by HDC Trio Music by Bandang Malaya PHILIPPINES Brides of Sulu (1934) Music by Armor Rapista and the Panday Pandikal Cultural Troupe HISTORY OF SILENT CINEMA IN GERMANY T Mit freundlicher Genehmigung von Transit Film 1927 METROPOLIS FRIDAY 24 AUGUST, 7PM Director: Fritz Lang Cast: Brigitte Helm, Alfred Abel, Gustav Fröhlich, Rudolf Klein-Rogge Genre: Science Fiction Runtime: 143 Minutes M etropolis is a city in the future, with skyscrapers reaching for the sun and citizens, enjoying their prosperity under the rule of Johann Fredersen. His son Freder falls in love at first sight with Maria, a voice of the working class who came from the underground to end the separation of rich and poor. Through her, Freder discovers the price of his luxury: In the underground city, workers sacrifice their lives for the machines. Shocked by his father’s governance, he swaps places with a worker and abandons his former life. In order to win back his son, Johann Fredersen instructs Rotwang, the inventor of Metropolis, to construct a robot which looks like Maria, to impeach her credibility as mediator between the classes. Encouraged by the mischievous robot, the workers start a rebellion bringing upper Metropolis close to its downfall. RSVP: Hannes - 817 09 78 or email: [email protected] he history of German Stummfilm can be traced back to the hour of cinema’s birth. And even before the Lumière brothers first displayed their Cinématographe, in 1895 the German filmmakers Max and Emil Skladanowsky presented silent films to the public in Berlin, using their self-constructed film projector. Although sound could have been added earlier, film production was costly and the addition of sound impractical. However, silent films never have been presented in silence. In fact, musical accompaniment was central to German Stummfilm, as filmmakers were eager to explore their potential to transform films into a modern Gesamtkunstwerk combining different forms of art such as acting, storytelling and music. Until the assertion of sound in 1928/29, the Golden Age of German Stummfilm and the rise of German Expressionism brought up films like Nosferatu, Das Cabinet des Dr.Caligari, and Metropolis which are testament to the innovation and creativity of that time. RUBBER INC. Formed in 1998 by Malek Lopez and Noel de Brackinghe, Rubber Inc. successfully pioneered the concept of live dance music in the Philippines. Often confused with DJs the duo originally utilized an arsenal of keyboards, mixers, effects, and samplers to create music with a very distinct sound that incorporates elements of techno, house, latin, drum n’ bass, and the more leftfield sounds of groups like Aphex Twin. Not limiting themselves to the dancefloor, Rubber Inc. have done numerous gigs including performances, sound design, and soundtrack work. With Malek focusing on scoring projects for television, film and art exhibits. Noel spent his time honing his skills as an audio engineer and has produced or engineered many highly acclaimed albums. With the years of studio experience and the advancements in music technology the band have a whole new set of tools and skills that has advanced the bands sound and production. 6TH INTERNATIONAL SILENT FILM FESTIVAL | MANILA HISTORY OF SILENT CINEMA IN SPAIN M 1925 LA CASA DE LA TROYA SATURDAY 25 AUGUST, 3PM Director: Alejandro Pérez Lugín, Manuel Noriega Cast: Alfonso Orozco, Luis Peña, Juan de Orduña, Guillermo Muñoz, Domingo del Moral and Clotilde Romero Genre: Comedy Runtime: 162 Minutes F ernando embarks upon an adventure to Santiago with the aim of getting his life together and finally earning his degree in Law. There, he stays in one of the student dormitories commonly known as “La casa de la Troya”. Upon arriving, he meets a Galician girl named Carmen with whom he falls in love and, in one of the parties they attend together, he decides to propose to her. However, this is opposed by Carmen´s aunt who then intends to destroy the relationship. Carmen decides to enter a convent but, in the end, Fernando succeeds in winning her back with the help of his friends. RSVP: Nicole 526 1482 loc. 115 | email: [email protected] SINOSIKAT? onths after the cinematograph was introduced to the public in 1895, it eventually found its way to Spain mostly thanks to the French filmmakers who had travelled extensively with their new invention. Gelabert’s “Riña en un café” (1897), considered to be the first Spanish feature film, broke the monotony brought about by the usual newsreels and documentaries. Soon the film industry would find itself constantly battling a lack of resources but this did not deter the production of quality films. Genres grew to cater to the public and to compete against European and American productions which enjoyed more financing and better technology. It would have been during the 1920s when the silent film eventually achieves public success. It can be said that the growth of the film industry followed that of the economy of Spain as it initially found its hub in Barcelona while later on moving to Madrid after WWI. IGNACIO PLAZA In an industry where one’s success depends on whom you sound like, SinoSikat? breaks musical stereotypes with their own concoction of home grown music. Driven by their craft, they draw their influences from both, the past and the future. They have proven to be quite a force in the music industry, wowing audiences both, in the underground and in the mainstream, local & international, young & old. Their lead singer, Kat Agarrado, also won Wave 89.9’s 1st Urban Music Awards’ 2009 Style Icon of the Year title, proving that the band’s cultural stamp goes beyond the boundaries of music. SinoSikat? will be joined by Ignacio Plaza, a Spanish live-scorer best-known for his cine-conciertos and his contributions to the cinematheque industry. Together, SinoSikat and Plaza will treat the audience to a collaboration of sound and sight that will surely give any given rom-com today a run for its money. “A cine-concert allows for a single film to be screened in different ways every time it is shown.” The work of composing and improvising always highlights the thrill of spontaneity that grows between the film and live music. The life and craft of Ignacio Plaza has always followed these basic principles. Since 2008, he has been with the French Cinematheque of Paris where he plays numerous instruments either as a solo or dual act with fellow artist and improvisers. Apart from his work in the cinematography industry, he also performs in a number of jazz collaborations mainly throughout Spain and France. 6TH INTERNATIONAL SILENT FILM FESTIVAL | MANILA HISTORY OF SILENT CINEMA IN JAPAN T © 1932 Shochiku Co., Ltd. 1932 I WAS BORN, BUT... SATURDAY 25 AUGUST, 7PM Director: Yasujiro Ozu Cast: Tatsuo Saito, Mitsuko Yoshikawa, Hideo Sugawara Genre: Comedy/Drama Runtime: 91 Minutes T his is the universal story of life itself - joys and sorrows, simply and beautifully told as seen through the candid eyes of two brothers; it is the uncompromising attitude of children towards an adult world full of compromises and hypocrisy. Ryoichi and his brother were overjoyed to move to the suburbs. Little did they know that their father’s motive was to be able to live near the director – his superior. Life seemed rosy for some time, until Ryoichi realized that his father was so inferior in his dealings with the director. In contrast, he is stronger and brighter than Taro – the director’s son. Why is it that his father whom he idolizes is not that great? Why did he make a fool of himself in the film that was shown in the neighborhood which made Ryoichi flare up saying “You tell us to become great but you are not ! Why do you have to bow to Taro’s father? Consequently, all these made the father reflect on his own frustration and despair. RSVP: Call 811-6155 to 58 or email: [email protected] he history of cinema ironically began with the absence of words. The early films that initiated the form in any country were the so-called silent films. The preponderance of the silent films was such that a particular period from 1894 to 1929 has been referred to as the “silent era.” The rise of silent films saw also the popularity of the narrator, who was called the benshi. In Japan, the narrator or benshi took over the absence of words by filling in and even adding sounds and senses to what is felt to be not there. Many film historians and critics propose that the benshi as the powerful narrator is unique to the development of cinema in Japan. The benshi would describe foreign things and supply additional narrative. In present-day Japanese cinema, the soul of benshi roams with a subtitling that translates or defines things Japanese appearing on screen, such as trademarks or street signs. TROPICAL DEPRESSION In the course of a 22-year musical career, many words have been used to describe TROPICAL DEPRESSION, but actually, the name still says it all: a band that delivers one hell of a storm wherever it performs. TROPICAL DEPRESSION has shattered stylistic barriers and scrambled musical genres like no other band performing today. Tropical Depression specializes in a unique brand of domestic and exotic riddims that of world-wise, conscious and spiritual music. Growing out of the band members’ love and affinity for Reggae and its offshoots, TROPICAL DEPRESSION created a new idiom in music and at the same time functioning as the gateway in introducing the essential Reggae Riddim to the country. 6TH INTERNATIONAL SILENT FILM FESTIVAL | MANILA Garlic HISTORY OF SILENT CINEMA IN ITALY B 1915 LA SIGNORA DELLE CAMELIE (The Lady of the Camellias) SUNDAY 26 AUGUST, 4PM Director: Gustavo Serena and Baldassarre Neuroni Cast: Carlo Benetti, Olga Benetti and Francesca Bertini Genre: Drama Runtime: 43 Minutes Film Credit: Fondazione Cineteca Italiana T he theme of “La signora delle camelie” is a love story between Marguerite Gautier, a courtesan – a woman “kept” by various lovers at the same time – suffering from tuberculosis, and a young provincial bourgeois, Armand Duval. Armand falls in love with Marguerite and ultimately becomes her lover, convincing her to turn her back on her life as a courtesan and live with him in the countryside. The idyllic existence is broken by Armand’s father, who, concerned by the scandal created by the illicit relationship and fearful that it will destroy Armand’s sister’s chances of marriage, convinces Marguerite to leave Armand, who believes, up until Marguerite’s death, that she has left him for another man. Her death from her illness, described as an unending agony, during which Marguerite, abandoned by everyone, can only regret what might have been. RSVP: Call 8924531 loc 143 or email: [email protected] etween 1909 to 1916, Italian silent cinema represented a major force in world cinema. While many genres were filmed, those that drew in the crowds and money were historical epics and dramas. Lavish sets, huge amounts of extras, and innovative film techniques were seen in many epics like “L’Inferno” (1911) and “Cabiria” (1914). The other well-loved genre was the diva film: slow moving but artfully designed melodramas, with strong leading ladies suffering glamorously and dying for love in the final reel. One of the most popular Italian femme fatales was Francesca Bertini, the diva of “Assunta Spina” (1915) and “La Signora delle Camelie” (1915). After World War I, foreign competition almost destroyed the Italian industry, forcing production to drop from 220 films to less than a dozen works in 7 years. Silent film was long considered a lost continent, but little by little, they have reemerged in all their glory from the public and private archives throughout the world. Feat. Louie Talan, Francis Reyes & Zach Lucero Garlic is an improvisation-based instrumental trio formed by bassist Louie Talan, guitarist Francis Reyes, and drummer Zach Lucero in 1998. Their philosophy is to take any musical idea from any member of the band and expound on it spontaneously without, hopefully, resorting to self-indulgence or clichéd licks. The band’s goal is to make music at the spur-of-themoment that, if done successfully, makes sense not only to themselves but to non-musicians as well. Garlic thrives on action and reaction inthe-moment; the members are fully aware of the risks and rewards of improvised music. Since its inception, the band has garnered critical acclaim from audiences and musicians alike; however due to each member’s schedules with their respective home bands and session work over the years, Garlic’s performances have been sporadic. The band intends to be more active in 2012, and hopefully record a long-awaited proper EP. 6TH INTERNATIONAL SILENT FILM FESTIVAL | MANILA HISTORY OF SILENT CINEMA IN THE PHILIPPINES On 1983 ETERNITY SUNDAY 26 AUGUST, 7PM Director: Raymond Red Cast: Jon Red, Cresencio Lopez Runtime: 25 Minutes A haunting and genuinely mysterious dream, full of bizarre inventions. The exact date, says the title-card, is Goto 3, 2265. The exact locale: Inside Jose’s Head, One Morning. The film that is about to be seen happens on the third day of an unheard-of month in the futuristic year 2265. But as the film unfolds, 1985 PELIKULA the setting bears the marks of a typical Philippine provincial town during the nineteenth century… Red’s astonishing debut film deals with a man trapped in a recurrent nightmare: bad dreams, interviews for a post and rejection. He finally tried to break the cycle by stealing a cabalistic book from a mansion atop a sacred mountain... Director: Raymond Red Cast: Jon Red, Jason Recana Runtime: 5 Minutes The title means “film”; Pelikula is a short,sharp, formalist shock. RSVP: Hannes - 817 09 78 or email: [email protected] Jan. 1, 1897, movies were first shown in the Philippines by a Spanish entrepreneur named Pertierra, at his salon in Escolta, Manila. He obtained a Gaumont Chronophotographe from Barcelona and showed a program of shorts imported from France. In 1898, Spaniard Antonio Ramos shot the first movies in the country - four very short actuality films. On Aug. 23, 1912, the first locally made full length film with Filipino actors, LA VIDA DE RIZAL. was premiered. The hour-long film was written and directed by Edward Meyer Gross, an American resident who was married to popular zarzuela diva Titay Molina, who also acted in the film. In 1917, Jose Nepomuceno founded Malayan Movies, the first fully Filipinoowned film company. In 1919. he produced and directed the first allFilipino full-length film, DALAGANG BUKID (Country Maiden). In 1922, the first and only Visayan silent movie was made in Cebu, EL HIJO DISOBEDIENTE. By 1933 Nepomuceno also had produced the first 100% all-sound film, ending the silent era. Approximately 94 local full-length films were made during the silent era - 36 by Nepomuceno, thus making him the Father of Philippne Cinema. DIWA DE LEON Diwa de Leon is a full-time composer, arranger, film scorer and musician. He also pioneered his solo music effort called the “Hegalong Project”. The Hegalong Project is a series of original music that highlights the HEGALONG, a Philippine two-string lute/guitar, and combining it with a genre of music from today. Diwa initially chose electronic-ambient music because it fits the natural sound of the hegalong, but is also experimenting with other genres such as rock and jazz-fusion. Diwa usually performs solo with his hegalong, an iPod as the basic setup, which already sounds like a full band and string orchestra on its own. He occassionally invites musicians to jam, which includes JP Hernandez on percussion, Frances Escape on percussion, Aba Dalena and Zab Reyes on vocals. Other musicians have also been to known to join in from time to time. Diwa has won awards for his film scores including “Best Music” and “Best Sound” for the 2011 Cinemalaya film “Busong.” 6TH INTERNATIONAL SILENT FILM FESTIVAL | MANILA HISTORY OF SILENT CINEMA IN THE USA A 1923 SAFETY LAST MONDAY 27 AUGUST, 7PM Director: Fred C. Newmeyer, Sam Taylor Cast: Harold Lloyd, Mildred Davis and Bill Strother Genre: Comedy, Romance, Thriller Runtime: 70 Minutes W hen a store clerk organizes a contest to climb the outside of a tall building, circumstances force him to make the perilous climb himself. A 1923 romantic comedy silent film starring Harold Lloyd, the film’s title is a play on the common expression, “safety first.” This photo of Lloyd dangling from the hands of a large clock outside of a skyscraper is considered one of the most famous images from the silent film era. The film was highly successful and critically hailed, establishing Lloyd as a major figure in early motion pictures. It is still popular at revivals, and it is viewed today as one of the great film comedies. RSVP: Reysa Email: [email protected] Call: 301 2556/ 2553 merican silent films were at the forefront in the development of the cinema as the first modern form of art and entertainment. American inventor and entrepreneur Thomas Edison realized that motion pictures could attract a paying audience, and designed an individual viewing device called the Kinetoscope that premiered April 14, 1894 in New York City. Starting in 1914, Charlie Chaplin became arguably the greatest and most enduring film star of all time. Many film historians believe that the true potential of movie-making was not realized until D.W. Griffith’s 1915 feature film “The Birth of a Nation” and his 1916 epic “Intolerance”. The tremendous success of “The Jazz Singer”, released in 1927, started a public fascination with sound. By 1929, the film industry was fully committed to “talkies” and silent films were a relic of the past. Chaplin’s 1936 classic “Modern Times” signaled the end of the American silent film era. RADIOACTIVE SAGO PROJECT The eight-piece ensemble from the suburbs of Quezon City, Philippines plays a critically acclaimed melange of spoken word poetry, bebop, freejazz, punk, soul, funk, afro-Latin, rock, and a mad sundry of musical styles sprinkled with massive doses of humor and irony. The Radioactive Sago Projectís perennially surprising stylistic excursions have earned them a cult following, from critics to art fans, even to discerning rock audiences. The band is fronted by four-time Palanca Award-winning writer Lourd De Veyra, along with alumni from the UP College of Music, two-time Gawad Urian awardee for Best Music, Francis De Veyra on bass, Jay Gapasin on drums, Junji Lerma on guitars, Pards Tupas on trombone, Arwin Nava on percussion, and Wowie Ansano on trumpet. Eventually, the band added Roxy Modesto (tenor and baritone saxophone) and B-boy Garcia (turntables) to beef-up the lineup. 6TH INTERNATIONAL SILENT FILM FESTIVAL | MANILA ART TALK SUNDAY 26 AUGUST, 7PM HOST: Teddy Co | SPEAKERS: Max Tessier & Raymond Red MAX TESSIER F rench film critic and historian. Since 1965, he has written for publications like Ecran, Le Monde, Positif, and Cinemaya. A specialist in Japanese and Filipino cinema, he has published books lke Yasujiro Ozu (1971), Images du cinéma japonais (1981), and Cinéma et littérature au Japon de l’ère Meiji à nos jours (1986). He was also artistic consultant for several festivals, including Cannes (1983-2000). He now calls the Philippines his home. THE HERITAGE OF SILENT CINEMA T he silent film era was the infancy of the cinema. This period lasted from 1894 to 1929 in the major filmproducing countries, and up until the mid-1930s in Latin America and Asia (in Thailand, it went on until the 1950s). We are now in an interstitial period and are witnesses to a massive transition from analog to digital filmmaking. The closure of film giant Kodak signifies the end of celluloid - its impact comparable to when the silent films were being replaced by sound films. With the success of the contemporary silent film THE ARTIST, it’s an auspicious time to look back and reflect on how much the silent film has contributed to the evolution of the art of cinema, now on its second century of existence. RAYMOND RED B orn in 1965, Raymond Red was a vanguard of the independent filmmaking movement of the 1980s that sprang out of the Mowelfund Film Institute and the U.P. Film Center. A graduate of the Philippine High School for the Arts, he became famous early on for Super 8 short films that he made between 1983-85. The first, ANG MAGPAKAILANMAN (ETERNITY), has achieved legendary status. His short film ANINO won the Palme D’Or at the 2000 Cannes Film Festival. His full length films are BAYANI (1992), SAKAY (1993), KAMADA (1997), HIMPAPAWID (2009), and KAMERA OBSKURA (2012), which is a silent film. 6TH INTERNATIONAL SILENT FILM FESTIVAL | MANILA 6 th International Silent Film Festival SCHEDULE AUG. 24 GERMANY “Metropolis” ft. Rubber Inc. 7:00PM AUG. 25 AUG. 26 AUG. 27 SPAIN ITALY USA “La Casa De La Troya” ft. Sinosikat? & Ignacio Plaza 3:00PM La Signora Delle Camelie ft. Garlic 4:00PM JAPAN ART TALK “I Was Born, But …” ft. Tropical Depression 7:00PM ft. Max Tessier & Raymond Red on “The Heritage of Silent Cinema” 7:00PM PHILIPPINES “Eternity” & “Pelikula“ ft. Diwa De Leon 7:30PM I n P ar t n er shi p W ith : Safety Last ft. Radioactive Sago Project 7:00PM