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But with his next film, Our Hospitality, Keaton firmly took the reins and produced a period comedy based on the Hatfield-McCoy feud, complete with beautiful location shooting, brilliant gags, and dangerous stunts.
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But to mollify his wary producers, his first effort was an episodic movie that could be broken into three short films if the experiment failed. In the early 1920s, Keaton was eager to make the leap from two-reelers to features.
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That’s just one of about a dozen recent restorations in this year’s festival, hailing from nearly as many countries - Japan, Italy, France, Germany, Czechoslovakia, the U.S.S.R., Sweden, India, and Bali, in addition to the United States. Thursday with live accompaniment by multi-instrumentalist Stephen Horne of the British Film Institute and percussionist Frank Bockius. The Signal Tower will be screened at 7 p.m. A 1924 thriller set along the Noyo River in the redwood forests of Mendocino County, the film was directed by Clarence Brown, who had a solid silent-era career, including several Greta Garbo films, before directing such well-loved talkie classics as National Velvet and The Yearling. This year’s restoration project, The Signal Tower, was undertaken in partnership with Photoplay, the company founded by one of the forefathers of silent film preservation, Kevin Brownlow. The festival runs through Sunday night at the Castro Theatre.
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Since its founding twenty-four years ago, the San Francisco Silent Film Festival’s mission has been to not only present silent films in the best possible conditions - high-quality prints screened in a grand movie palace with live musical accompaniment - but to support and promote their preservation.īut in recent years the mission has expanded to include hands-on restoration work, with the festival seeking out rare and endangered films in archives around the world and leading the effort to bring these long-lost gems of our cinematic heritage back to the silver screen.