Trader Joe’s Silent Movie Mondays
I Love New York
At the Paramount Theatre
APRIL 4–25, MONDAYS AT 7PM
Seattle Theatre Group (STG) and Northwest Film Forum present Trader Joe’s Silent Movie Mondays this April at The Paramount Theatre in Seattle, Mondays at 7pm. This all-classic silent film series, I Love New York, is accompanied by live music from the historic Mighty Wurlitzer Organ, one of the last three remaining organs of its kind to reside in its original environment, played by critically acclaimed organist Jim Riggs.
From its wealth of familiar destinations like Coney Island and Yankee Stadium, to the energy of its citizens like Babe Ruth and the dockworkers on the bowery, the films in I Love New York collectively portray our nation’s most iconic city as dangerous, corrupt, frazzling, beautiful and seriously sexy. Capturing the pain, loneliness, anger, anxiety, risk and triumph of the city that never sleeps, these ravishing pictures give us a nostalgic longing for the early days of New York City, showing the dirty things, outside and inside, that were early contributors to that wondrous phrase “I Love New York.”
April 4 – It
April 11 – Speedy
April 18 – The Crowd
April 25 – The Cameraman
(Clarence G. Badger, 1927, USA, 35mm, 72 min)
The 1927 masterpiece It stars Clara Bow as Betty Lou Spence, a poor sales girl at a large department store. In this straight-forward Cinderella-esque story, Betty sets her sights on winning the love of the rich owner’s son, Cyrus Walthm Jr. (Antonio Moreno).
(Harold Lloyd, 1928, USA, 86 min)
Speedy was both Harold Lloyd’s last silent film as well as his only film to get an Oscar nomination. A fine example of why Lloyd was even more popular than Chaplain or Keaton at the end of the silent era. This fast paced dramatic comedy explores the theme of modernization, pitting the last horse drawn trolley in the city against the evil forces of the transit monopoly.
(King Vidor, 1928, USA, 100 min)
This realistic, bittersweet drama of the day-to-day existence of an ordinary American is as relevant today as it was in 1928, just before the great stock market crash. In director King Vidor’s Academy Award nominated timeless silent masterpiece we see James Murray, an everyman white-collar worker, trying to make it with his wife in the big city of New York.
(Buster Keaton & Edward Sedgewick, 1928, USA, 67 min)
The first film he made after moving to MGM, The Cameraman is arguably Buster Keaton’s last truly great work before the studio system stifled him. Here “The Great Stone Face” is cast as an aspiring, but lousy, newsreel cameraman in quest of the perfect shot, and, of course, the requisite pretty but oblivious Keaton ingénue.