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Charley on the Farm -Ā Pat Sullivan &Ā Otto MessmerĀ (1919)
Short
Scoring a Silent Film By Susan King
New York Timesā film critic Mordaunt Hall was beyond effusive in his review of Ernst Lubitschās 1926 comedy souffle SO THIS IS PARIS (ā26) describing it as a āgay pictureā which āhails from the workshop of that master director Ernst Lubitschā and is doing its share to āuphold the screen artā¦āā He added that the āfarce comedy is titivated with satire. It is a farcical yarn that keeps one amused from the start. The publication named the romantic roundelay starring Monte Blue, Patsy Ruth Miller, Lilyan Tashman and Andre Beranger, as one of the top ten films of the year.
Though several of Lubitschās silent Hollywood films have been released on DVD or aired on TCM, that hasnāt been the case with SO THIS IS PARIS, because the comedy didnāt have a score until now. The virtual TCM Classic Film Festival has the āLubitsch Touchā Sunday evening with the world premiere of the new restoration of SO THIS IS PARIS, presented in a 2K scan off the Warner Bros. nitrate complete with a lively original organ score by and performed by Ben Model.
Over the years, TCM had licensed Modelās scores for silent films in the public domain he had initially done for home video including Baby Peggyās THE FAMILY SECRET (ā24) and Marion Daviesā WHEN KNIGHTHOOD WAS IN FLOWER (ā22). One of the top accompanists and composers of silent film scores, Model had long wanted to work with TCM to commission new scores for their scoreless silent films in their library. After discussions with Charles Tabesh, TCMās SVP for programming and content strategy, Model was able to score SO THIS IS PARIS.
āI knew SO THIS IS PARIS had been shown at the TCM Film Festival a few years prior,ā said Model. āI knew this is a film that Warnersā controls. Itās a film I donāt have to convince anybody about⦠Itās already on everyoneās radar. I also knew that the Library of Congress had material on it.ā And, it turned out TCM had scanned its print of the film. āThey sent me a file and I scored the film.ā
Surprisingly, Model doesnāt compose or play on an actual mighty Wurlitzer, he utilizes a virtual one using a computer program that ābehaves like an actual organ console would.ā Model watched the film once and took a lot of notes for himself: āstory notes where Iām writing down what happens in the scene, what mood I think it would be. Sometimes Iāll write down this should be a minor waltz or something like that. I will also notate for myself in boldface visual cues. Not in a Mickey Mouse coconut sounds when somebody gets hit on the head kind of thing, but just so I can see it at a dramatic moment. ā
Thereās a scene in the beginning of the film where the one couple is rehearsing this Arabian dance and there is a man playing the piano. āWe get a glimpse of the sheet music,ā Model noted. āI thought just in case there are any musicians who are reading [the sheet music], I actually transcribed the first eight or nine ears of the āDance of the Despairā and it kind of works. ā
He doesnāt write all the music out when heās composing. āI improvise, although when Iām recording, itās more like I improvise until itās right. Itās a form of composition where Iām not physically writing notes on a piece of paper. But I still think of it as composition and not just making music until the scene is over. Improvisation was a technique that organists knew.ā
He learned as a young man from the legendary silent film accompanist Lee Erwin that silent film music āshould be interesting enough to hold you, but not pretty enough to distract you. The idea is because silent film is its own universe. I think the idea it to support the film and help the audience. Boost then up into the world and keep them in that world.ā The biggest challenge scoring the film is the three minutes and 13 second Charleston party sequence āwhere nothing happens,ā noted Model. āThe film is forward motion and dramatic action then the movie stops. Itās just shots of a lot of people dancing. I didnāt just want to play until the scene was over. I wanted to try and map something out.ā
So, Model watched the sequence, took down the timing and even created a spreadsheet āso I could figure out not only how many seconds each the segments are. I was able to break it down and discover the internal logical of the editing. I came up with a tempo which is a Charleston tempo or a tempo that the Charleston would be played it.ā He chose not to include the famous Charleston music in the sequence because he thought it would be a distraction. āI chose to play music that was at the Charleston tempo so you could concentrate on what was being done on screen.ā
Alice Howell in Shot in the Excitement (1914)
Ben Model featured this Keystone short on his new YouTube series, Silent Comedy Watch Party, where heĀ accompanies a selection of films live on Sunday afternoons and itās a delight.
Alice Howell is thoroughly adorable in Shot in the Excitement but also kind of looks like someone who might work at a hipster pizzeria in the 2010s. The cannonball gag also killed me. Check it out!
The Silent Comedy Watch Party is a weekly live-streamed silent film show with live piano accompaniment. The show is co-hostedā¦
In case youāre getting bored at home and need a live silent film fix:
āThe Silent Comedy Watch Party is a weekly live-streamed silent film show with live piano accompaniment. The show is co-hosted by film historian Steve Massa and silent film accompanist Ben Model. The shows streams live on Sunday afternoons at 3pm EDT on YouTube, free of charge.ā
I know Iāll be there!

Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
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Falling Leaves -Ā Alice Guy (1912)
Short
Silent reading: Summer 2025 book reviews
Let Me Dream Again: Essays on the Moving Image, by Luke McKernan Sticking Place Books, September 2025, In case there could be anyone reading this site who doesnāt know, Luke McKernan is a media historian, formerly Lead Curator, News and Moving Image at the British Library. Also a formidably erudite and trailblazing blogger on moving image culture, especially silent cinema, but not exclusively.ā¦
Tomorrow: Frank Capra, Ben Model, and Harry Langdon Converge at the Cinema Arts Center
This one is just for New Yorkers and Long Islanders. Tomorrow (August 19, 2025) the Cinema Arts Center in Huntington, L.I. will be showing the first feature film directed by Frank Capra, starring silent comedian Harry Langdon, with live musical accompaniment by the one and only Ben Model. The picture of course is The Strong Man (1926), just a few months shy of its 100th birthday. Itās gotā¦
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