Talking about the 20th British Silent Film Festival

Spring Awakening (1929)

Spring Awakening (1929)

After five days of wonderful films, music, research, conversation, coffee and Jan Kiepura the British Silent Film Festival is over for another year. We had a fantastic time and were happy to welcome some new faces (and old ones) to the festival this time. We’d especially like to thank the amazing musicians and the staff of the Phoenix Arts Centre in Leicester for their warm welcome and their awesome technical skills – also the New Walk Gallery who hosted three of our most popular events.

If you have been following the festival on Facebook, Instagram or Twitter, you’ll have seen that many of screenings prompted a certain amount of discussion online. If you haven’t, or you’d like a recap, here’s just a flavour of what people were saying about the festival. Check the #BSFF19 hashtag for more …

https://www.instagram.com/p/B2cQATwF95m/

https://www.instagram.com/p/B2SUekvlu9w/

https://www.instagram.com/p/B2TIM-5glhD/

https://twitter.com/Mick_Aitch/status/1172869250840768512

https://twitter.com/dmuleicester/status/1171830489516322816

And special thanks to Paul Joyce for two superb blogpost reports from the festival, which really captured the excitement of the event.

Oh, and in case you were wondering …

 

 

 

 

 

 

 

 

Mabel Poulton: British silent cinema’s cockney darling

Mabel Poulton in The Alley Cat

Mabel Poulton in The Alley Cat

Mabel Poulton, star of The Alley Cat, which we are showing at the 20th British Silent Film Festival, was one of the most popular, and sadly one of the swiftest forgotten actresses of the 1920s. She was a waif-like star, who excelled in romantic and tragic roles, and ultimately became a victim of the vagaries of the film industry.

Her start in the cinema was hardly glamorous, but it did rely on her natural resemblance to the American star Lillian Gish. Poulton was working as a typist at the Alhambra Theatre in Leicester Square, but studying acting in her spare time, when her manager asked her: “How would you like to die three times a day?” He required her to wear a kimono and enact her demise as a dramatic prologue to screenings of Broken Blossoms, DW Griffith’s east-end drama. Continue reading