Thursday 9 January 2020
Pand P (Leenderweg 65, 5614 HL Eindhoven)
Thursday night is opening night for NSFF 2020. Order your tickets via our ticket page.
THE SPANISH DANCER
Director: Herbert Brenon
Cast: Pola Negri, Antonio Moreno, Wallace Beery, Kathlyn Williams, Gareth Hughes
It’s a common occurrence in the movie industry, still to this day: two films based on the same source material competing against each other in the same year. This phenomenon is as old as Methuselah.
Or rather, Maritana, in this particular instance, because back in 1923, THE SPANISH DANCER and ROSITA crossed their cinematic swords, as both were inspired by the 1872 opera Don César de Bazan.
THE SPANISH DANCER is considered to be the superior of the two, especially because of Pola Negri’s performance as Maritana. She steals the show as a gypsy dancer and fortune teller, who’s trying to keep the jealous King of Spain at bay.
In her personal life, she also had a way of winding men – and the press – around her finger. She wasn’t just an actress, she was a style icon, who lived flamboyantly and exorbitantly. She’d either drive her white Rolls-Royce (with white velvet interior and ivory door handles), or take strolls with her pet. ‘Pet’ appeared to be a broad concept in Negri’s case, since she was known to occasionally take her pet tiger for a walk down Sunset Boulevard.
THE SPANISH DANCER (1923) will be shown on Thursday night, 9 January 2020, at 8:00 PM in Pand P, Eindhoven, The Netherlands. The silent film will be musically accompanied LIVE by Daan van den Hurk (piano) and Tijn van der Sanden (guitar).
Friday 10 January 2020
Pand P (Leenderweg 65, 5614 HL Eindhoven)
On day 2 of NSFF 2020 you’ll be able to experience a cinematic whirlwind, attend a lecture given by David Robinson, and watch a masterful French comedy. Pay attention when ordering your tickets: there are special ‘dagkaarten’ (day passes) available!
MAN WITH A MOVIE CAMERA
Director: Dziga Vertov
Cast: Mikhail Kaufman
The Russian experimental silent film (during the Sovjet era) MAN WITH A MOVIE CAMERA from 1929 isn’t actually a film. It’s a visual experience. Directed by Dziga Vertov and edited by his wife Elizaveta Svilova, this documentary (including also staged fragments) is a cinematic whirlwind, a masterclass in filmmaking. It took them three years to finish the film.
At the time the film was not well received at all. Colleague filmmaker Sergei Eisenstein even called it ‘pointless camera hooliganism’, but nowadays the film is considered one of the highlights in film history.
MAN WITH A MOVIE CAMERA will be musically accompanied LIVE by Meg Morley.
LECTURE: ‘THE FORGOTTEN STAR’
Film historian en Chaplin biographer David Robinson holds a lecture about forgotten star Aimée Campton. This lecture is free to attend! Fragments of her ‘Maud films’ will be musically accompanied LIVE by Daan van den Hurk (piano).
‘Only one year ago, you would have searched in vain for any mention of the name of Aimée Campton in film history,’ Robinson writes. ‘Since then however, two films have surfaced to reveal the charm and wit which also gave her a brilliant two-decade starring career – now equally mysteriously forgotten – on the Paris stage.
‘Aimée was an English girl, born Emily Cager in Brighton in 1882, who became a dancer with The Tiller Girls – the world’s first precision dance troupe. The Tiller Girls appeared at the Folies Bergère in 1900, and Emily stood out for her personality, her singing, and her cute English accent. Within a year, now renamed Aimée Campton, she was a star, and the wife of France’s premier comedian Charles Prince (better known by his alter ego Rigadin). After this she regularly starred in her own shows. When she had time she would link up with the handsome actor René Hervil, to make an intermittent series of films featuring the character Maud. The films launced Hervil on a long and distinguished career as a director. The two Maud films that have surfaced in the past year are smart and sophisticated: the earliest, LES CHARMES DE MAUD (1912), fearlessly anticipates MeToo.
‘A new chauvinism overtook France at the end of the First World War, and Aimée, with her cute accent, was suddenly rejected. Forgotten, she found consolation in the arms of the new proprietor of the Folies Bergère, Paul Derval, with who she remained until her death in 1930.’
LES DEUX TIMIDES
Director: René Clair
Cast: Maurice de Féraudy, Pierre Batcheff, Véra Flory, Jim Gérald, Françoise Rosay
In the French comedy LES DEUX TIMIDES (English title: TWO TIMID SOULS) a man is accused of physically abusing his wife. He’s undoubtedly guilty, but receives the highest possible prison sentence because of his shy, nervous lawyer. After he’s released, he’s out for revenge. He takes it upon himself to seduce a woman who’s the lawyer’s object of affection – which is not too difficult, given the lawyer’s too ‘timid’ to ask her to marry him.
LES DEUX TIMIDES is light, sharp and elegant; trademarks of René Clair. He used to be one of the biggest French directors of his day, famous for THE PHANTOM OF THE MOULIN-ROUGE (1925) and his breakthrough film ENTR’ACTE (1924), among many others.
The film will be musically accompanied LIVE by Maud Nelissen (piano).