Tag Archives: Silent

Tod Browning – The Unknown (1927)

Quote:
A criminal on the run hides in a circus and seeks to possess the daughter of the ringmaster at any cost. Read More »

Hiroshi Shimizu – Nanatsu no umi: Kohen Teiso-hen AKA Seven Seas: Frigidity Chapter (1932)

“Seven Seas, the first of Shimizu’s great silent films of the 30s, was scripted by Kogo Noda, Ozu’s close associate, from a novel by Itsuma Maki (a pen name of the noted writer, Umitaro Hasegawa). The film is a lengthy work interweaving characters from different backgrounds and social strata in a narrative centered around the experiences of its heroine, Yumie Sone. Over two hours long, Seven Seas was released theatrically in two parts, with the first part entitled “Virginity Chapter” coming out in December 1931, while the second part, “Frigidity Chapter,” followed in March 1932. Read More »

Robert Siodmak & Edgar G. Ulmer & Billy Wilder – Menschen am Sonntag (1930)

Criterion wrote:
Years before they became major players in Hollywood, a group of young German filmmakers—including eventual noir masters Robert Siodmak and Edgar G. Ulmer and future Oscar winners Billy Wilder and Fred Zinnemann—worked together on the once-in-a-lifetime collaboration People on Sunday (Menschen am Sonntag). This effervescent, sunlit silent, about a handful of city dwellers (a charming cast of nonprofessionals) enjoying a weekend outing, offers a rare glimpse of Weimar-era Berlin. A unique hybrid of documentary and fictional storytelling, People on Sunday was both an experiment and a mainstream hit that would influence generations of film artists around the world. Read More »

Lois Weber – Shoes (1916)

Quote:
Eva Meyer is poor shop girl working at a five-and-dime. She is the sole wage earner for three younger sisters, a mother who struggles to hold everything together, and a father who prefers beer and penny dreadfuls to work. Each week, Eva returns to her cold-water flat and dutifully hands over her meager earnings to her mother. But her wages barely cover the grocer’s bill and cannot provide for decent clothing. With only cardboard to patch the holes in the soles of her shoes, Eva’s life becomes harder with each rainy day and every splinter. In constant pain and with no solution in sight, the disheartened girl considers the uninvited advances of Charlie, a cad with clearly dishonorable intentions.
So begins Lois Weber’s SHOES, perhaps her finest masterpiece and one of the great feminist films in the history of cinema. Read More »

Maurice Tourneur – The Wishing Ring: An Idyll of Old England (1914)

AMG wrote:
According to film historian William K. Everson, to offer a fully detailed synopsis of Maurice Tourneur’s delightful period piece The Wishing Ring “would do a disservice to its charm.” Suffice to say that the film’s wide-eyed heroine Vivian Martin comes into possession of a ring which she believes to have magical powers. Armed with this belief alone, the girl is able to change the course of her entire life. Read More »

Samuel Beckett & Alan Schneider – Film (1965)

F I L M I N F O
1. Samuel Beckett made a single work for projected cinema. It’s in essence a chase film; the craziest ever committed to celluloid. It’s a chase between camera and pursued image that finds existential dread embedded in the very apparatus of the movies itself. The link to cinema’s essence is evident in the casting, as the chased object is none other than an aged Buster Keaton, who was understandably befuddled at Beckett and director Alan Schneider’s imperative that he keep his face hidden from the camera’s gaze. The archetypal levels resonate further in the exquisite cinematography of Academy Award-winner Boris Kaufman, whose brothers Dziga Vertov and Mikhail Kaufman created the legendary self-reflexive masterpiece Man With a Movie Camera. Commissioned and produced by Grove Press’s Barney Rosset, FILM is at once the product of a stunningly all-star assembly of talent, and a cinematic conundrum that asks more questions than it answers. Read More »

Ernst Lubitsch – Die Puppe AKA The Doll (1919)

Quote:
The Baron of Chanterelle (Max Kronert) demands that his nephew Lancelot (Hermann Thimig) get married to preserve the family line. A skittish and effeminate fellow, Lancelot does not wish to marry, so when his uncle presents him with 40 enthusiastic brides, he hides out with a group of monks. The gluttonous monks learn about Lancelot’s potential cash reward for his nuptials, so they cook up a plan: he can marry a doll… Read More »