COMEDY HATH NO FURY LIKE A WOMAN SCORNED (3/6/2011)

There's nothing like going to a movie on a rainy, dreary day to escape into another world.  I was intrigued when I saw that the Brooklyn Public Library was going to be showing the first film version of Chicago, a silent film produced by Cecil B. DeMille and directed by Frank Urson and (in an uncredited capacity) Cecil B. DeMille. The accompanying music for this showing was provided by Stuart Olderman, silent film pianist extraordinaire whose career began when he met and befriended the great silent film star Lillian Gish.  Program notes prepared by curator Ken Gordon provided a great back story for the film.

The original play by Maurine Watkins is based on Ms. Watkins' experiences as a reporter with the Chicago Tribune where she covered the sensational trials of women being tried for murder.  The character of Roxie Hart was modeled on one of these women, Belva Gaertner, a cabaret singer(of all things!). Phyllis Haver, who plays the role of Roxie in this film, set a very high bar for all future Roxies in her dramatic and comedic portrayal.  As she retired from film-making to marry a millionaire she appeared in only a handful of films.  The film Chicago was thought lost for years until a copy was found in Mr. De Mille's personal archive.

In the film, there are many obvious debts to vaudeville and burlesque.  Characters are one dimensional but are allowed to work within the limited spheres assigned to them.  The program notes comment that character of the husband was modified from the original play so as to elevate the moral tone of the work.  This might have been done to keep the censors at bay (there are a number of suggestive elements in the work) but also appears to have been  penchant for Mr. De Mille.

Of course, I was especially interested in the piano accompaniment.  Mr. Olderman's experience showed  throughout.  While I expected that every action in the film would be accompanied by music, Mr. Olderman established two or three basic musical ideas that he used throughout.  Interestingly, there was a player piano in the film that plays something of an important role.  Overall, the playing was light and bright but not overly intrusive.  Every once in awhile, Mr. Olderman would throw in a sound effect (such as a doorbell ringing).  It was great to experience this legacy of playing from someone who, while probably not old enough to have played in the original silent movie performances, knew many of the performers and players.