KOCHI: Samantha Leroy is, put simply, a guardian of silent cinema preservation. She has been serving as the head of programming at the Fondation Jérôme Seydoux – Pathé in Paris since 2020, curating year-round lineups of silent films.
Her journey began with cinema studies and projection work, before launching into archival film research and programming at the Cinématheque française.
Samantha is dedicated to preserving cinematic legacy and history, playing an important role in initiatives like coordinating the international festival of restored films, Toute la mémoire du monde, and co-organising the International Federation of Film Archives Winter School on ‘Programming Film Heritage’.
TNIE sits down for a quick chat with Samantha, who anchored some sessions at the recent Film Preservation & Restoration Workshop India 2024 in Thiruvananthapuram.
What’s it like working with silent films, especially when cinema, culture, and audiences have changed so drastically over time?
When working with silent films, one is in contact with a kind of lost world, because silent cinema was completely different from what followed. The people who made these films are no longer here, though we can read interviews or texts, such as Buster Keaton’s memoirs or Charlie Chaplin’s writings.
What’s fascinating is reading how film historians and critics viewed these films throughout the history of cinema. The perspective was different then, and now we have another lens through which to view them. Watching silent films reveals the evolution of vision, which is interesting in itself.
These films connect us with history and help us understand the human experience. Watching them today isn’t just about the past; it’s about making connections to the contemporary world, and that’s incredibly valuable for understanding ourselves.
At a time when there are so many options to watch films online or at home, what makes the silent cinema experience special?
Watching a silent film in a theatre with live music — whether it’s a piano or a full orchestra — is a completely different experience. Watching on a big screen creates an emotional sensation that’s hard to match. Many people think silent cinema is just Chaplin or Keaton, or that it’s dark and hard to understand. But when audiences discover the variety and beauty in silent films, they’re excited to return, as the music truly adds another dimension. For children, they don’t see silent films as anything different; to them, it’s just another film. The earlier we introduce young audiences to silent cinema, the more open-minded they will be.
How do different musicians with different styles impact the experience of live accompaniment for silent films?
Each musician brings their own sensibility and improvisational style, making every performance unique and keeping the experience fresh for audiences. With silent films, the music is all about improvisation, so no two screenings sound the same. The piano is often the main instrument, but we sometimes add small ensembles of three or four instruments, depending on the space and the film’s needs.
Even with a limited setup, we have experimented with instruments like the cello, flute, trumpet, saxophone, drums, and even electronic music.
Once, we even used Indian music accompaniment for ‘Shiraz’, a silent film restored by the British Film Institute. This variety of instruments and styles allows us to create different moods and atmospheres.
What’s the most rewarding part of your work?
I get to discover a lot, and also learn every day. One of the biggest discoveries is often an entire national cinema. For example, in Czech or Danish silent films, we know famous directors like Denmark’s Carl Theodor Dreyer or Benjamin Christensen, who are still well-known today. But then, I find other films influenced by them or from other directors, revealing different national perspectives on cinema.
Countries such as Denmark and Sweden were producing brilliant films as early as 1910 or 1911. Sadly, many of these films have faded from memory. Rediscovering them is an emotional experience. As a programmer, my role is to connect these films with the audience and allow them to feel the same thrill of discovery I do.
What’s your take on Indian silent cinema?
I love Indian films, and I was amazed by [Shyam Benegal’s] ‘Manthan’ at the screening here — it was fantastic! But when it comes to Indian silent films, unfortunately, most of them have been lost. I did have the chance to show ‘Shiraz’, a beautiful Indian silent film.
Additionally, at the Fondation Pathé, we restored a rare Indian film called ‘Behula’, which was shot by a French operator from Pathé. It was filmed in India with a French director, Camille Legrand.
The film was never released, and when Legrand returned to France, he took the negative with him. We were lucky to find it, and after restoring it, we had to reconstruct the story, which was quite challenging, especially since it’s based on an Indian folk legend. I had the opportunity to present it in Mumbai two years ago.