Festival Films - TSFF2021

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FESTIVAL
NOVEMBER 11/12/13, 2022 AT THE REVUE CINEMA, 400 RONCESVALLES AVE.
CLOSEST SUBWAY: DUNDAS WEST
504 KING STREETCAR STOPS AT HOWARD PARK AVE. CORNER
506 COLLEGE STREETCAR STOPS AT RONCESVALLES/HOWARD PARK INTERSECTION
LIMITED SIDE STREET PARKING

FESTIVAL SCREENINGS

FORWARDED 2020 PASS HOLDERS: PLEASE GO TO THE TICKET INFO PAGE FOR DETAILS  RELATING TO YOUR  PASSES
FOR NEW PURCHASES PLEASE SEE FILMS BELOW AND CHECK THE TICKET INFO PAGE FOR MORE DETAILS ABOUT ATTENDING

Health and Safety Protocols  The Festival 100% supports efforts of the venue to keep their staff and audience members as safe as possible. Please acquaint yourself with them before arriving.
FESTIVAL PASS-ALL 5 PROGRAMMES NOV 11-13
$71.00 ($62.83+$8.17 HST) & $66 ($58.41+$7.59 HST)
SATURDAY PASS -NOV. 12th -2 programmes
SUNDAY PASS-NOV. 13th-2 programmes
$28 ($24.78+$3.22HST) & $25 ($22.12+$2.88HST)
TSFF reserves the right to replace films if, due to unforeseen circumstances, they cannot be screened.
BUY THROUGH EVENTBRITE OR PAYPAL
See the Ticket Info Page for details on refunds etc.
Our SQUARE STORE also has limited passes for sale. No indidivual tickets.

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November 11, 2022
Time: 7:00 pm
SOUTH 1919 UK
NEW 2K REMASTER B/W WITH TINTING AND TONING, 88 MIN
DIRECTOR: FRANK HURLEY
ACCOMPANIST: MORGAN-PAIGE MELBOURNE
When Sir Ernest Shackleton set out for the Antarctic in early August 1914, he was already a decorated, seasoned, and highly respected explorer. With the race to be first to the Southern Pole over, the remaining challenge was to cross the continent through the pole from one side to the other and Shackleton meant to achieve it.
Joining his crew was experienced photographer Frank Hurley. Hired to film and photograph the expedition, his invaluable record of what was originally to be a significant achievement was destined to record an unbelievable story of leadership, courage, and survival under unimaginable conditions.
Their ship, Endurance*, was stopped by ice just 80 miles from land in January 1915 and as the situation deteriorated, the expedition became trapped until the September thaw. The thaw posed new dangers to their lives-the shifting ice had severely compromised the hull and began to lift it out of the water. The situation had become dire.
 
At every step there was Hurley with his camera. Haunting night shots of the ship, lit by magnesium lights, become nerve-racking when you realize that the men were watching their hope for survival being crushed before their eyes.  The ship finally sank in November, after being stripped of useful materials. More dangerous and extraordinary times were ahead, and, in the end, it was destined to become the greatest survival epic of modern times as Shackleton ensured that every man on the Endurance crew returned home safely.
Considering the conditions, that the film materials survived is miraculous; that it survived in such good quality is remarkable.

*Over a century later in March 2022, Shackleton’s famed ship, Endurance, was found at the bottom of the Weddell Sea and only 6.4 km from when the crew last saw it. A fitting discovery to close the chapter on one of the greatest stories in history.
Programme ends at 8:45pm
Original Restoration & Remastering: BFI (British Film Institute) Film courtesy of Kino-Lorber
$16.00 ($14.16 + $1.84 HST)
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November 12, 2022
Time: 1pm
1000 LAFFS: MACK & MAYHEM
120 MIN WITH INTRODUCTION
ACCOMPANIST: JORDAN KLAPMAN
Keystone Kops. Custard pies. Bathing Beauties. Usually in splicey, scratchy, jittery, jumpy prints.
 
You might *think* you’ve seen the work of Mack Sennett, but you haven’t until you’ve experienced the Canadian-who-invented-movie-comedy’s work on the big screen in gorgeous new restorations, including several courtesy of Paul E. Gierucki and Cinemuseum.
 
Subversive, surreal, cynical, surprisingly subtle at times, and at all times funny,  it’s time for a reappreciation of Mack Sennett and the Keystone Studio. And this is the perfect start.
 
But yes, we admit, you might see a Kop, pie, or bathing beauty or two.
5 fast and furious maelstroms of Sennett mayhem with much thanks to Paul E Gierucki & Cinemuseum for the loaning us the prints.
Introduction by Programmer Chris Seguin

His Trysting Places 1914 Charlie Chaplin, Mabel Normand, Mack Swain
Two husbands on important missions. Charlie's tasked by Mabel to go get the baby’s bottle filled at the store. Meanwhile Mack is given a love letter to mail from a lady who is not his wife! Husbands meet in the restaurant, “issues” develop, and coats are switched. Wives wind up finding things in the coats pockets that cause them to come to the “wrong conclusions”. You see where this is going. Lots of funny gags and sequences.
 
Ambrose’s First Falsehood 1914 Mack Swain, Minta Durfee, Edgar Kennedy, Charley Chase
A husband should know better than to try to fool his wife by saying he’s going to one place but ending up in another.
 
Do-Re-Mi-Boom 1915 Chester Conklin, Charles Arling
A man thinks he’s found the gal of his dreams when he hears her play the piano and sets out to woo her. How? Why, with a stolen organ and a monkey from a grinder. That doesn’t sit well with the lady’s beau or the irate organ grinder. Bombs are planted, the organ grinder is out to teach the thief a lesson, the monkey escapes and soon everything and everyone is in motion. The only question how will it end: kiss or ka-boom?!
 
Nip and Tuck 1923 Billy Bevan, Harry Gribbons, Cameo the Dog
It’s time to re-discover the genius of Billy Bevan. Not as well known as other 1920s comedians, the Australian born was in 191 films. He’s one which you’ve probably seen clips of but rarely ever say the complete film. We’re out to rectify that with two of his best.
 
Galloping Bungalows 1924 Billy Bevan, Natalie Kingston, Sidney Smith
Rich Widow seeks husband with the best moustache.” Well, what man could resist THAT! Hold onto your hats, that’s just the start of what will devolve into a chaotic, wild long chase with portable houses, fire engines, cars galore and, of course, trains.
BONUS CONTEST: Win a copy of Keystone The Life and Clowns of Mack Sennett by Simon Louvish
All advance ticket buyers are automatically entered to win! Draw takes place November 10th. Winner will be notified by email and can pick of their book at the fest.
Programme ends at 3pm
Adult $16 ($14.16+$1.84 HST)
Senior*/Student$13.00 ($11.50 + $1.50) *Senior=65 yrs of age and over
NEW! Children 12yrs and under $10.00 ($8.85 + $1.15 HST) when accompanied by an adult/senior
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November 12, 2022
Time: 4pm
BATTLE OF THE SCREEN DIVAS PART 1
THE SPANISH DANCER 1923 USA
96 MIN
RESTORED B/W  WITH TINTING
DIRECTOR: HERBERT BRENON
CAST: POLA NEGRI, ANTONIO MORENO, ADOLPHE MENJOU, WALLACE BERRY
ACCOMPANIST: MARILYN LERNER
Before Dietrich, before Garbo, there was Negri. She became the first major European star to be signed by a major Hollywood studio (Paramount) and she hit the ground with drive to spare. While The Spanish Dancer marked her 4th film in one year, Pola still had time to become a style icon, wrapping herself tightly in Hollywood mythology and her public hungry for more. Negri's deep penetrating eyes and dancer trained body were perfectly suited to playing the seductive dancer and fortune teller Maritana of the title and she lit up the screen at every instance.
Spendthrift, but penniless, Spanish aristocrat Don Cesar de Bazan (Antonio Moreno-last seen at TSFF in The Temptress) is unceremoniously thrown out of his countryside castle after his latest extravagant party leaves him bankrupt. He catches sight of the sultry Maritana, a Roma dancer, and suddenly his lower income bracket doesn’t seem as harsh. That is until he gets arrested and sentenced to the firing squad by King Philio IV. The lecherous King  (Wallace Berry) tries to make a deal with Maritana for the Don Cesar’s life and things start to get very complicated.
Paramount mounted a grand spectacle of a film complete with eleborate costumes, huge festival scenes, castles and  sets.
Now restored to very close to original glory, this highly entertaining film shines with suggestive and sarcastic wit, inspired cinematography by James Wong Howe, and solid scripting.
Restoration: Eye Film Museum, Netherlands with a restoration premiere at the San Francisco Silent Film Festival in 2013. Film courtesy of Kino Lorber
Programme ends at 6pm
$16.00 ($14.16 + $1.84 HST)
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November 13, 2022
Time: 1pm
BATTLE OF THE SCREEN DIVAS PART 2
WHY CHANGE YOUR WIFE? 1920 USA
90 MIN
DIRECTOR: CECIL B. DEMILLE
CAST: GLORIA SWANSON, THOMAS MEIGHAN, BEBE DANIELS
ACCOMPANIST: TANIA GILL
ROMANCE? DATE NIGHTS? WHAT ARE YOU, SOME KIND OF DEVIANT?
Opposites attract—or do they? Robert (Thomas Meighan) has a fondness for fun side of life and his wife Beth (Gloria Swanson) is a conservatively dressed intellectual stay-at-home type. She tries to persuade him to “culture up” while he seeks to get her to go out and whoop it up with him. When Robert goes to the lingerie shop to get something to spice up the boudoir, the model Sally (Bebe Daniels, killing it as a vamp) sets her sights on acquiring a new beau. Things spin rapidly out of control; there’s a divorce, and a reckoning from both sides. Beth decides to, as we say today, “get a makeover” and in typical DeMille fashion goes completely over the top “Sleeveless, backless, transparent, indecent – go the limit.”  The ravishing fashions and phenomenally weird swimsuits were designed by none other than Natasha Rambova.
Cecil B. DeMille, better known today for his many big budget epics, had an early career range that may surprise people. This film is an invigorating reminder of why DeMille was so popular amongst the filmgoing public. Likewise with Swanson who, as a major star, was better known for her dramas, so it’s refreshing to see that she’s quite good in playing against her star persona as a rather dowdy woman without fashion sense.
Why Change Your Wife? combines all the style and charm of a romantic comedy with a sharp and witty script punctuated by top level intertitles and deftly acted by three skilled stars.  
Programme ends by 3pm
Adult: $16.00 ($14.16 + $1.84 HST)
*Senior/Student: $13.00 ($11.50 + $1.50 HST)
*senior:  65 yrs and over
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November 13, 2022  
Time: 4pm
THE INFORMER 1929 UK
99 MIN
B/W, TINTED
DIRECTOR: ARTHUR ROBISON
CAST: LARS HANSON, LYA DE PUTTI, WARWICK WARD, CARL HARBORD
ACCOMPANIST: BILL O'MEARA
Ripe for rediscovery as one of the great late 1920s films, The Informer, now restored by the BFI, is a perfect example of the richness of visual storytelling from that time. Anchored by director Robison (Warning Shadows 1923), and a first class cast of international stars, the full range of late silent period filmmaking was allowed to unfold.  

Based on Liam O’Flaherty’s popular Irish novel, this gripping noir like thriller is set in early years of the Irish Free State in Dublin. Although stripped of most of its direct political references, probably due to British censorship at the time, there is no mistake that it carries the resonance of revolution throughout. An underground activist cell shatters when one of their members accidentally kills the chief of police and goes on the run. When he returns, a series of events cascades out of control when his friend Gypo betrays him. Gypo must then face the full horror of what he’s done as he flees the relentless pursuit by former comrades bent on revenge and his own gut-wrenching guilt.

This is silent film language at its most powerful, with subtle editing and expressive camera work reminisant of Murnau, restrained performances and anchored by confident direction. It also anticipates the trademark classic noir style of the 40s and 50s with its antihero, conflicting impulses, claustrophobic interiors, time structure (most of the story is set in the period of a day and night), and “invisible” editing. The heartrate raising rooftop chase sequence of almost expressionistic values leads one to wonder if a young Hitchcock, sitting in the cinema, noted it for future reference.   
 
Restoration by the British Film Institute National Archive  Film courtesy of Kino Lorber
Programme ends by 6pm
$16.00 ($14.16 + $1.84 HST)
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HEALTH & SAFETY AT THE CINEMA
The Festival will be following all health and safety protocols set out by the venue (The Revue Cinema for the Festival and the Fox Theatre for the Screening Series) in accordance to their current policies. These may be updated periodically to reflect new guidelines. Please check the venue's health and safety guidelines and contact them with any questions.
Health and Safety Protocols at the Revue Cinema and Fox Theatre
 Check for updates on the Revue Cinema  or Fox Theatre websites.
Please follow all cinema Staff instructions. They are trained in safety protocols and here to keep everyone as safe as possible. Verbal abuse of staff or Festival volunteers will not be tolerated.
 
We ask anyone who feels ill not to attend a screening. If you feel ill during your time at the theatre, please alert a Festival volunteer or Cinema Staff. You will be refunded your Festival purchase.
Masking Policy will be updated to reflect the current health situation.
The Festival will also have masks available, free of charge, for those who forget.
Customers are asked to leave the theatre immediately after their screening to allow time for the staff to clean the theatre and discourage crowding in the building.
 
All Festival Volunteers
All volunteers are asked to complete the Ontario COVID-19 Screening Tool for Workplaces when they arrive at the theatre for their shift to ensure they are symptom-free and have had no exposure to COVID-19. They are also encouraged to monitor for symptoms at home and alert the Festival if they are feeling ill prior to leaving home for the cinema.
  • Screening questions are posted on the front doors for customers to self-screen before entering the building. If they are experiencing any symptoms, they should not enter the building and can contact us to refund their tickets.
  • If a customer begins to feel ill during their time at the theatre, they are asked to alert a Festival volunteer or Theatre management. TSFF will issue a refund for your tickets.
   
© Toronto SILENT FILM Festival 2010-2021
TORONTO SILENT FILM FESTIVAL
© Toronto SILENT FILM Festival 2010-2021
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