If my experience at The Toronto Silent Film Festival was a hockey game, it would have been tied after two periods. So far there had been one joyous experience, and one not-so-joyous. The programme on Monday night would break the tie – and I’m happy to report that the joyful experiences have won the game.

The film unspooling on Monday was Rene Clair’s ITALIAN STRAW HAT, and in a neat twist, the film itself wasn’t even the main attraction. What did pack them in was a chance to hear the film’s score as performed on a full Wurlitzer organ. The fully operational beast of an instrument now resides in Casa Loma, so seeing a film in such a unique venue gave the night an extra shot of wonder.

The Wurlitzer is an animal unto itself in the way that it at times can feel like it is standing in for an entire orchestra. There are 4 keyboards, allowing the organist to add multiple layers to the score simultaneously. At any given moment, one can feel like they are hearing a string section and a piano performing in concert, and yet when one looks to the right of the screen, one sees just one dapper dude making all that noise.

The evening was kicked off with an introduction by the organist himself Clark Wilson. Hearing him speak set the tone perfectly, as his passion for the music and his knowledge of its history provided a measure of appreciation for the instrument itself, and for what was to come.

The story of THE ITALIAN STRAW HAT is one of farce, one where one odd mishap leads to a crazy domino effect on a wedding day. As a groom is driving his horse-drawn carriage to meet up with his bride and wedding party, he gets stalled on the roadside when he loses an item. As he stops to retrieve it, he returns to find his horse eating an Italian straw hat. Understandably, the woman who owns the hat isn’t too fussed that her accessory has become an entree, and her gentleman friend is even less fussed. They task the groom with replacing the hat, lest he face the unfortunate consequences.

Watching the film unfold (again, on DVD/blu-ray) in the high-ceiling’d Great Hall of Casa Loma would have been treat enough (though I could have done with a more comfortable chair). The history inherent in its aesthetic suited a silent film screening splendidly, and underlined the “something extra” one doesn’t get by watching these films at home. It was like digging into a sundae that used premium ice cream before adding the nuts and whipped cream.

While it was the third evening in a row with a live accompanist, this was the first time one was so prominent. Matter of fact, Wilson and The Wurlitzer got a picturesque framing in front of a tall gothic window. More than once I found my eyes drifting from the screen to the musician, fascinated by his multitasking on those sets of keys, and the way his glorious score filled the room. As the sun set behind Wilson and the lights of the city skyline grew visible in the distance, it became clear that this placing of the musician in relation to the screen was no accident. Kudos must be given to the organizers for this set up, since at a glance it’s diagonal layout in the room could seem puzzling.

The film itself was a joy, finding a way to infuse a story of one long misunderstanding with enough gentle humour to sustain its healthy runtime. What’s more is that the film ends with a beautiful series of images that encapsulate the entire story wonderfully, and feel like they were ahead of their time. The crowd on hand was party to a real treat, and they vocalized their appreciation with a standing ovation.

So while there is one more night of action at TSFF, my time with the festival has reached its end. Looking back on it as a whole, I’m both appreciative and encouraged by the experience. The festival, finishing out its third year, has the minimal amount of growing pains and is already showing signs of “what could be”. In speaking with programmers before the festival began, we mused on what effect the popularity of THE ARTIST could be on the festival (at a glance, I have to believe that it gave interest a boost). Now comes the real test; seizing momentum and proving it’s more than a fad.

If you are in or around Toronto next spring, I’d recommend giving this festival some time and attention. As my night at Casa Loma proved, some of these showings are truly something special.