SFSFF: NAPOLÉON (1927)—The Evening Class Interview With Charles ("Charlie") Tabesh

I first met Charles ("Charlie") Tabesh, the Senior Vice President of Programming for Turner Classic Movies (TCM), when Tabesh and Robert Osborne attended the 2007 summer edition of the San Francisco Silent Film Festival (SFSFF). Not only was Osborne on hand to introduce Camille (1921), but—on behalf of TCM—he accepted SFSFF's commendation to TCM for their continuing contributions to the silent film genre.

At that time I asked Charlie Tabesh to talk about TCM's commitment to the silent film genre and he replied: "As far as the silent film programming and why we do it and why it's important to us, there are three things I can think of off the top of my head that really explain it: One, we are not ad-supported. As a programmer, that's great because it gives us all sorts of flexibility and it allows us to not do things that advertisers would want to try to reach a mass audience, or whatever. Strategically, then, doing something niche like silent film, gives us really passionate advocates for the channel because we're the only place you can get it. There are a lot of people all over the country where the only way you're going to see a silent film is on Turner Classic Movies and that's really key because then you have those people going to their cable affiliates saying, 'I really want TCM. Give me TCM.' From a business perspective, that really helps us. It helps us and we're not hurt by the fact that it's very niche because we don't have to worry about advertisers. That's really good.

"The second thing on that is that our general programming strategy and philosophy is we're the history of movies. We're the history of the film and we're the place to go to learn about it. Of course, that means sometimes that includes newer films and people might complain when we play a newer film, but that also includes silent films. You can't be the history of movies and not include silent movies. [Third,] to narrow that further, we're also very much about context. We don't just put movies up on there; everything is themed and there is an idea or a reason behind it. So not only are we about film history, but in the way we look at film history by looking at actors, or directors, or various themes. No matter what theme you do—if you're doing romantic comedies—silent film is a part of that. They're actors and actresses that were both in silent films and sound films and—if we're going to do a tribute to Garbo—we're going to show both her silent and sound films. Silent films are a piece of film history and that's what TCM is all about."

When it was announced in January that TCM had signed on to be the media sponsor for SFSFF's upcoming international premiere of Abel Gance's Napoléon (1927), fully-restored by Kevin Brownlow with the original score by Carl Davis, I was delighted and contacted Charlie Tabesh to congratulate TCM. My thanks to Heather Sautter for facilitating our recent conversation.

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Michael Guillén: Charlie, thanks for taking a few minutes this morning to talk to me about the international premiere of Abel Gance's Napoléon. You are no stranger to interacting with the San Francisco Silent Film Festival. I first met you and Robert Osborne back in July of 2007 when you were brought out to San Francisco to be honored by SFSFF for Turner Classic Movies (TCM) silent film programming on Sunday nights.

Charlie Tabesh: That was great. It was really a fantastic experience.

Guillén: In January of this year SFSFF announced that TCM had signed on to be the official media sponsor for the Napoléon premiere. Can you talk to how that came about?

Tabesh: We are friendly and have a good relationship with the various people that are putting it on, both people from SFSFF and Patrick Stanbury and Kevin Brownlow, all of who are working on the project. They approached us about being partners and for TCM this Napoléon premiere is such an important event for film lovers and for film history that we really wanted to be affiliated and associated with it. We figured out a way to work with them and I'm really glad.

Guillén: What does TCM's involvement as an official media sponsor actually entail?

Tabesh: Well, that's not really my area. That gets into the marketing department and how they handle the sponsorship. I know we've done some programming on air in support of it. There was some Napoléon-themed programming in January around it to help talk about it and there will be Abel Gance films coming up in March to lead people into it.

Guillén: Will TCM in any way be filming the event? Or doing any interstitial footage of the event?

Tabesh: No, we won't be filming, partly because the legal rights—as you know—are what have kept this film out of circulation for so long. Filming around the event would be problematic and so we aren't planning on doing that.

Guillén: We've spoken before about TCM's silent film programming and discussed TCM's Young Composers initiative. Is that initiative still in effect?

Tabesh: No. We don't do that particular program any longer. It was a great experience and a great program for us but, to be honest, it was very expensive. But TCM is still funding the scoring of silent films.

Guillén: I'm aware that the third edition of the TCM Classic Film Festival in Hollywood is coming up soon. Do you screen silent films there?

Tabesh: We've programmed silent films the last two years and we will continue to do so this year. Every year we do silent films. Some are big name well-known films and others are more obscure; but, we do have a silent film program.

Guillén: One of the things we discussed when you were in San Francisco was after Robert Osborne commented that the appreciation of silent cinema appears to be a bit stronger on the West Coast due to an advantageous time zone. Your Sunday night programming hits us at prime time, whereas it's airing at midnight on the East Coast. Has that issue ever been addressed?

Tabesh: You're exactly right and that's still true. It's a challenge. Anything we do is a bit of a challenge because we have one feed. It's true that the silent films are smackdab in prime time for the West Coast. The one thing that has maybe changed since we last talked is the prevalence of DVRs so that our audience on the East Coast can now tape the silent films if midnight is too late for them. Again, that applies to all things that we do. We have an 8:00 franchise on Saturday nights that is perfect for the East Coast but it's maybe a little bit early for the West Coast. TCM has to try to balance that and make each coast as happy as we can.

Guillén: In recent years I've been intrigued to witness this resurgence of interest in silent cinema, of which TCM has clearly played a part. Do you have any thoughts on why there has been this rekindled interest in silent cinema?

Tabesh: I hope that's true that TCM has had something to do with that. The only thing I can think of is consistency. We've stayed with silent cinema and it's always been part of our mission so maybe just over time people have had the opportunity to catch some silent programming on air and discovered they're really good films. Initially, when you're not used to it, when it's not something you're familiar with, you might put up a little bit of a block and say, "I don't want to sit there and watch a silent movie. What do you mean no dialogue?" But once you give it a try, you're hooked, depending on the film and what your own tastes are. It's great that a movie like The Artist (2011) has helped to revive an interest in silent film.

Guillén: Can you speak to the amount and/or the quality of silent films TCM has in their library?

Tabesh: Within the Turner library itself we have the MGM and the Warner Brothers silents. Not all of them are in great shape so we've gone through a process of determining which materials are good and what we can save, preserve and score from that list. We also work with various studios whose films we license and we work with a lot of independent companies like Milestone Films, Kino and Jeff Mosino from Flicker Alley who has helped fund a lot of great restoration work. A lot of what we do is directly from the library that Ted Turner bought a few years ago, and a lot of what we do is working with these other companies that are as passionate about silent film who are putting them out on DVD. TCM is their television partner in a lot of cases. It just depends on the project. Sometimes Jeff will approach us and he's so passionate about a particular project and is persuasive enough that TCM goes, "Sold. Let's do it." A good example would be J'Accuse! (1919), the Abel Gance film that TCM will be screening [on Sunday, March 18, 9:00PM PT]. TCM funded that restoration some years ago. We can't do all of the restoration of silent films, but we can do quite a bit.

Guillén: I recall when the newly-restored print of J'Accuse! was screened at SFSFF in 2009. I wasn't aware that TCM was involved in that restoration; but, it's great to hear. I was actually going to ask if TCM has screened any Abel Gance films on the network?

Tabesh: We've screened J'Accuse! and La Roue (1923) and a version of Napoléon, but not the version that will be screening in the Bay Area.

Guillén: Will there be any chance of Brownlow's current restoration of Napoléon ever being screened on TCM?

Tabesh: It's so complicated. I hope we can someday; but, for right now, it's a long shot that it would be done anytime soon.

Guillén: All the more reason to catch the Paramount screening! Another wonderful feature of TCM's programming is your invitation to guest hosts to educate audiences about film. Will you have Brownlow or Carl Davis on TCM to speak about silent cinema?

Tabesh: It's funny you ask that. I was just thinking yesterday—not specifically about that idea—but, thinking about doing something with film historians and having them come on TCM. I don't know. Both Brownlow and Davis are in London, you know. We had Kevin Brownlow out last year at the TCM Classic Film Festival and I was really hoping that Carl Davis—when he was out in San Francisco—would stick around and come to our festival too; but, unfortunately, he's not going to be able to do that. I'm hoping we can invite him out next year or some time down the line. If we can get them here and set up a time for them to co-host movies on TCM, I would love to make that work, with them or other historians.

Guillén: Charlies, thanks again for taking the time today. I want to congratulate TCM on its continuing support of silent cinema. It was fantastic to hear that you signed on to be the media sponsor for the Napoléon screening and—if I don't see you at The Paramount—I will certainly see you in Hollywood at the Classic Film Festival.

Tabesh: Oh good! I'm really glad.

SFSFF 2010: THE STRONG MAN (1926)—Kevin Brownlow Introduction

Matthew Kennedy hosted a brunch in honor of Photoplay Productions, this year's recipient of the Silent Film Festival Award, whereat he introduced me to Kevin Brownlow. Brownlow was quick to disavow credit for the discovery of the Metropolis print found in Buenos Aires, Argentina, though he remained flattered by Fernando Peña's sentiment at the previous evening's screening that—if it were not for Kevin Brownlow—many archivists, Peña included, would not have become enamored with and dedicated to the preservation and restoration of silent films.

Brownlow carries himself with Old World elegance, mannered and respectful, though a bit cautious when strangers rush up to fawn over him. This is, perhaps, the wisest policy. On stage, however, he is in full command of his persona: erudite, generous and compelling. He and his colleague Patrick Stanbury accepted the 2010 Silent Film Festival Award from SFSFF Executive Director Stacey Wisnia on behalf of Photoplay Productions, who provided SFSFF the 35mm print of Frank Capra's The Strong Man (1926), courtesy of Douris, Ltd. As Brownlow mentioned earlier to Wisnia, he has been studying silent film longer than the era of silent film lasted.

"When I first started involving myself in screening and presenting silent films 40+ years ago in the 1960s," Patrick Stanbury stated in his acceptance of the award, "I couldn't dream of the possibility of not only restoring films but bringing them back to a large audience in such a wonderful theater as this. I'm delighted to be here in San Francisco and very grateful for this award. Photoplay has always believed in putting back the best possible quality prints on the screen and the film you're going to see today—The Strong Man—is an exceptional print made off the original negative, better than which you should not be able to get. And here to tell you more about this...." Stanbury conceded the microphone to Kevin Brownlow.

Expressing that it was marvelous to be at SFSFF at long last, Brownlow admitted he was most impressed "in every direction" with the souvenir program and its well-researched essays. He wondered what he could possibly add to Roberto Landazuri's contribution? He was equally impressed with the enthusiasm of the audience and hoped to ship them all out to England when they do their silent film festival. Confirming as "very true" the SFSFF slogan—"True art transcends time"—, Brownlow added that it is equally true when they say that art is the concealment of effort. Nothing proves that more than The Strong Man, starring Harry Langdon.

"Once upon a time," Brownlow reminded, "Harry Langdon was the fourth great comedian. Now he's fallen into undeserved obscurity. Certainly, he was a quieter comic than the others—you had to concentrate harder—but, he was highly rewarding. His was a simple child-like and immensely vulnerable character who stared at the world like a startled white mouse.

"This masterpiece comedy somewhat disconcertingly starts in WWI, Harry being a Belgian soldier captured by a German who turns out to be Zandow the Great [Arthur Thalasso]. After the war this strong man is invited to America and takes Harry as his assistant. They search for Mary Brown, a girl who wrote to him in the trenches and a surprising number of women admit to being Mary Brown. Capra and co-writer Arthur Ripley and, incidentally, an uncredited Tay Garnett cleverly weave the social problems of the 1920s—prohibition, organized crime, prostitution—into the comedy.

"Harry manages to meet Mary Brown and finds she's blind. Her father, a pastor, objects to Harry marrying her because of his work in the music hall. One night when he has to stand in for the strong man, he causes a riot. It's interesting that Charlie Chaplin should choose a blind girl for his own love interest in his own great comedy City Lights. Chaplin had one of those magpie minds that would pick up an idea, forget where it came from and it would come out as his, which I think is a legitimate artistic method of production.

"Priscilla Bonner who played the blind girl remembered Frank Capra as 'very sure of himself'; but, you know, there are so many conflicting facts about this picture and no two historians ever seem to agree on them. ...But Langdon was so reassured—and this comes from Photoplay, after who we named our company—that he went on a golfing holiday, leaving Capra and Ripley to work on the story for the next film Long Pants and that proved to be a miserable experience.

"Capra told me that Langdon read the wonderful reviews from New York—people went crazy for this man—and [Langdon] just couldn't handle it. He couldn't handle the renown and success. So when he made Long Pants, he said, 'I want to do more pathos.' [Capra] said, 'No, no, pathos is already in your comedy.' [Langdon] said, 'Do you know more than those critics in New York?'

"Biographer Joseph McBride talked with Priscilla Bonner and she described the difficult situation that followed: Langdon and Ripley freezing Capra out in a situation that left a most unsatisfactory film for Langdon—that was Long Pants—and also for Capra. Langdon fired Capra with the next film. That was the end of what might have been an incredible run of comedies had Capra and Langdon stayed together. Getting rid of such a brilliant partner was the kind of dumb thing that Langdon might have done in one of his comedies.

"Last year in Bologna we saw a series of exceptional films—silent and early sound—which demonstrates that Capra was among the brightest talents in a business already crammed with talent. ...Joseph McBride's book is called Frank Capra: The Catastrophe of Success (1992). Yes, he was full of self-confidence. Capra claims Langdon did not create his character, he did! He and Arthur Ripley. This has been contested by biographer Joyce Rheuban [Harry Langdon: The Comedian as Metteur-en-Scène, Rutherford, New Jersey, 1983] who says the character was well-established in vaudeville before Langdon went anywhere near pictures. What Ripley and Capra were able to do was to recognize what made Langdon unique and to let him be himself on film.

"Whether you agree with McBride's study of Capra's character or not, you have to acknowledge he was a superlative film director and—in this case—he was working with a superlative comedian and a superlative cameraman Elgin Lessley, Keaton's cinematographer, who was the main cameraman on The Strong Man.

"By coincidence, it was the first silent film that I saw on a nitrate print from the Museum of Modern Art who totally by accident had sent it to the National Film Theatre. I hope you get something of the same thrill that I got." [That coincidence is fondly remembered in Brownlow's recent Sight and Sound essay on "the luster of nitrate."]

Cross-published on Twitch.