Tag Archives: 1890s Paris
Barrie Kosky, Susanne Andrade, and Paul Barritt’s production of The Magic Flute is heavily inspired by the silent film era and the spirit of the roaring twenties. In Kosky’s words, “Papageno is suggestive of Buster Keaton, while Monostatos is a bit Nosferatu, and Pamina perhaps a bit reminiscent of Louise Brooks.” There are a plethora of silent films to check out before seeing The Magic Flute, as the silent film era was a rich time for the industry. Filmmakers explored the artistry of the cinematic medium, creating new stories and adapting classic – even operatic – works for a new audience (King Vidor’s excellent 1926 La Boheme film is definitely worth a movie night). Before you step into the world of The Magic Flute, here are a few silent films to watch to get you in the 1920s spirit.
Why Worry (1923)
Director Fred Newmeyer’s adventure comedy centers on hypochondriac Harold Lloyd, who escapes his rich, business focused life to the tropics, only to find himself in the middle of a revolution.
In our Magic Flute, Papageno is basically Buster Keaton with a Harold Lloyd Twist. Similar fashions, similar comedic impulses.
The Gold Rush (1925)
Charlie Chaplin is the king of silent film comedies and The Gold Rush is arguably one of his best pictures. Chaplin stars as a lone prospector, who ventures to Alaska in search of gold, and falls in love with a woman named Georgia. Chaplin’s brand of slapstick comedy permeates the fantasy world of this Magic Flute.
If you’re a Monostatos fan, you’ll love that his character is heavily inspired by Nosferatu. F.W. Murnau’s classic horror film, based on Bram Stoker’s Dracula, tells the story of Count Orlok and his interest in his real estate agent’s wife. The film has a subtle German Expressionist (the style of cinematography that later inspired film noir) feel that helps it retain its rightful place as one of the greatest classic horror films – a must-see for horror junkies everywhere. (LA Opera is presenting Nosferatu this Halloween at The Theatre at Ace Hotel.)
“Having worked in many art forms, I find opera is the most challenging of all, because it is a fusion of all the arts.” – Herbert Ross (Steel Magnolias, The Turning Point) on his first operatic directing experience staging La Bohème at LA Opera in 1992.