Piping into the silence

Most events at Royce Hall are just about what’s happening on stage.

But when UCLA Live and the UCLA Film and Television Archive present “Royce Hall Organ and Film” this Sunday, screening silent film standard “Safety Last” with live original organ accompaniment by UCLA organist Christoph Bull, the hall itself will be part of the show as well.

This presentation of “Royce Hall Organ and Film” uniquely involves the physical space of the hall to accentuate the time-capsule effect of the film. While Bull’s organ accompaniment might freshen the story, Sunday’s performance is very much a step back in time, considering the hall’s history that links so closely to the Skinner organ he will play and the movie itself.

“It is nice to play an instrument that has been around since the beginning. The organ was installed as the hall was being built, so it is an integral part of the hall. And the movie is from 1923, the organ and hall (are) from 1929, 1930, so they are from the same era,” Bull said.

Bull, also a UCLA Department of Music professor, has previously paired film with organ in more avant-garde undertakings for UCLA Live but took a decidedly less conceptual approach this season. Working with UCLA Live Director David Sefton, Bull chose a relatively more accessible film.

“We wanted to do a film that was geared more to the whole family, that would appeal to parents and their kids,” Bull said.

The choice of a silent film was one that will require some modifications to his performance based on this difference in both genre and audience.

“I find with these family events that children are less inhibited with their reactions: They laugh and shout at things. Sometimes I back off a little bit and let them laugh. I like that response,” Bull said.

Laughing would not be unusual for “Safety Last,” a comedy classic featuring the memorable scene of silent film star Harold Lloyd dangling from a clock’s minute hand, earning Lloyd the nickname “King of Daredevil Comedy.” The film was instantly beloved for its everyman protagonist and is preserved by the National Film Registry.

While the movie’s firm status as a classic might maintain its relevance in contemporary culture, the pairing of visual with live music to create a new piece of art is an anachronistic way of presenting it to a new generation not so easily charmed by the novelty of its old age.

“That is what makes it very exciting, because it is an old movie, but with the music it makes it fresh,” Bull said.

With a clear visual narrative of the film operating in this performance, Bull is aware that there is a delicate balance between his accompanying organ being mere soundtrack and being an overbearing presence.

“Ideally the music should not distract from the movie. Some people I talk to say they forgot that someone was actually playing the music live, and I like to hear that because it means the music didn’t distract from the movie, that they became one,” Bull said.

Though many organists with endeavors similar to Bull’s might prefer a completely spontaneous performance, Bull is keeping practical considerations in mind so his accompaniment might be as supportive as possible.

“I want to know the movie very well by the performance. Usually I jot down a few things ““ notes I can fall back on ““ so by the time the show comes around I will know the story. There will be no surprises,” Bull said.

At the same time, however, he realizes the freedom afforded by a young, jovial audience and such a lighthearted film.

“It is not totally fixed. I’ll still be open, and usually the energy of the audience will make me do different things, the energy of the moment. It’s a prepared improvisation,” Bull said.

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