STRAIGHT SHOOTING, THE GENERAL and More Set for Music Box's Silent Cinema Series, Fall 2013
This fall, Music Box Theatre's monthly Second Saturday Silent Cinema series screens a trio of excellent matinées. John Ford's remarkable first picture Straight Shooting - a Western, naturally - bows today, September 14, followed by Buster Keaton's must-see masterpiece The General on October 12 and the stop-motion sci-fi classic The Lost World on November 9. Named by Chicago magazine as the Best New Film Series of 2011 and hailed by the Chicago Reader's J.R. Jones as one of the best movie matinée series in the city, the Silent Cinema Series is presented the second Saturday of each month at noon. All films are shown authentically in 35mm at proper silent film speed and aspect ratio with live accompaniment by Dennis Scott at the Music Box theatre organ.
September 14: Straight Shooting (John Ford, 1917, 60m). Ford's first feature follows Cheyenne Harry (Harry Carey), a freelance outlaw hired to intervene in a dispute between a scheming rancher and a farmer. Both a tragic murder and growing affection for The Farmer's daughter leads Harry to a moral reckoning regarding his gun-for-hire ethos. Similar to Ford's later Westerns, Straight Shooting never veers into action for the sake of action. It is leisurely and steadily paced, accented by pauses and reflections, yet Ford knows when to heighten the tension, especially in the film's exciting climax. Archival print courtesy of the Library of Congress.
October 12: The General (Buster Keaton, Eddie Cline & Clyde Bruckman, 1926, 75m). Consistently ranked among the greatest films ever made, Buster Keaton's The General is one of the most brilliantly conceived and executed comedies, silent or not. Rejected by the Confederate army as unfit and taken for a coward by his beloved Annabelle Lee (Marian Mack), young Johnnie Gray (Keaton) sets out to singlehandedly win the War with the help of his cherished locomotive. What follows is the most cleverly choreographed comedy ever recorded on celluloid. Johnnie wages war against hijackers, an errant cannon, and the unpredictable hand of fate while roaring along the iron rails - exploiting the comic potential of Keaton's favorite filmic prop: the train. Insisting on accuracy in every detail, Keaton created a remarkably authentic historical epic, replete with hundreds of costumed extras, full-scale sets and the breathtaking plunge of an actual locomotive from a burning bridge into a river.