This week, I started writing a new fortnightly series for Guardian Film – all about really old films. It is called Silent but deadly! and here’s the first episode, all about 1915.
So sad to wake up to news that the charming, and hugely talented, canine star of The Artist, Uggie, had died. I wrote about how fabulous he was, and the honour of meeting him, for Comment is free
News that the classic Nosferatu is to be remade again, this time by Hollywood, gave me the creeps. So I wrote this piece for the Guardian film site.
Classic film lovers flock to Bologna in early July for Il Cinema Ritrovato, a magnificently enjoyable festival of “found cinema”. I was very happy spend to five days at the festival this year, and when I returned, I wrote this feature for the Guardian on what I had seen: from vintage 1950s Hollywood Technicolor to Armenian silents.
Lois Weber was one of the leading film directors and screenwriters of the 1910s and early 1920s: she made sophisticated, socially aware films that were as beautiful as they were passionate. She was also a woman, and now she is more often remembered as a rare female director of the early period, than as an outstanding talent in her own right. Shelley Stamp’s first-class new book Lois Weber in Early Hollywood aims to put that right. I was lucky enough to review it for the August 2015 edition of Sight & Sound.
For the second year running, I was part of the Guardian’s team at the Glastonbury festival. I was there to help with production, but I pitched in to the live blog as and when, posting a recording of the dawn chorus before the sound systems started filling the air, reporting from a late-night screening of Nosferatu or getting a little overwhelmed by Patti Smith. It’s all here.
What better April fool for film buffs than a listicle prank? The BFI website chose 1 April 2015 as the day to sing the praises of some of film history’s neglected masterpieces. It’s a fabulous list, to which I contributed just one entry, an early silent romance by Michael Powell. You might say it’s too good to be true.
What do Napoléon, The Gold Rush, Blackmail and Metropolis all have in common? They all exist in multiple versions – and so I wrote entries on them for Sight & Sound’s April 2015 cover story Remake/Remodel