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Best of Silent Movies PART 3 (1920 -1934)

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Mavi Boncuk | Best of Silent Movies 




SILENT FILMS | PART 3



1920

THE CABINET OF DR. CALIGARI | 1920 PAUL WEGENER
THE PENALTY | 1920 WALLACE WORSLEY
THE PARSON’S WIDOW | 1920 CARL THEODOR DREYER
THE SWALLOW AND THE TITMOUSE | 1920 ANDRÉ ANTOINE

THE GOLEM | 1920 PAUL WEGENER
"In Der Golem, Wegener evokes the legend of the Wandering Jew not only in the context of the Rose Festival sequence, but also through the wording of the Emperor’s decree against the Jews for having “crucified our Lord.” While, in Scholem’s account, Gustav Meyrink’s novel Der Golem (1915) figures the golem as “akind of Wandering Jew, Wegener’s film envisions the messianic Golem as a muscular alternative to Ahasverus. Such a configuration was aligned withthat of Otto Kreisler’s Austrian-Zionist film Teodor Herzl, der Bannerträgerdes jüdischen Volkes (1921), which explicitly presented Herzl as a replacement for the topos of the “Wandering Jew." ( Nicholas Baer Messianic Musclemen Homunculus (1916) and Der Golem (1920) as Zionist Allegories)

THE LAST OF THE MOHICANS | 1920 MAURICE TOURNEUR, CLARENCE BROWN

1921

THE KID | 1921 CHARLIE CHAPLIN
THE PHANTOM CARRIAGE | 1921 VICTOR SJÖSTRÖM
DESTINY | 1921 FRITZ LANG
ORPHANS OF THE STORM | 1921 D. W. GRIFFITH
THE FOUR HORSEMEN OF THE APOCALYPSE |1921 REX INGRAM 
THE SHEIK | 1921 GEORGE MELFORD 
TOL'ABLE DAVID | 1921 HENRY KING 
CAMILLE | 1921  RAY C. SMALLWOOD
SEVEN YEARS BAD LUCK | 1921 MAX LINDER
LITTLE LORD FAUNTLEROY | 1921 ALFRED E. GREEN, JACK PICKFORD 

1922

NOSFERATU, A SYMPHONY OF HORROR | 1922 F.W. MURNAU
HARD LUCK | 1922 BUSTER KEATON, EDDIE CLINE
COPS | 1922 BUSTER KEATON, EDDIE CLINE

1923

OUR HOSPITALITY | 1923 BUSTER KEATON, JACK BLYSTONE
SAFETY LAST | 1923 FRED C. NEWMEYER, SAM TAYLOR
THE NORTULL GANG | 1923 PER LINDBERG

LULU | 1923 SEGUNDO DE CHOMÓN

De Chomón’s last directorial effort is also his finest. After all the incredible pioneering work he did throughout the 1900s, especially in the decade’s waning years, his brief resurgence in a different era of movie-making stands out amid his vast filmography. LULU is an eight-minute stop motion animation short of a cute little monkey settling in for the evening before having to confront a burglar. The models are very cute, and the animation relatively smooth. LULU’s world is miniature and restrained. The short has the power of the best stop motion films; there’s an innate sense of the artistry behind the film and an appreciation for all the work that went into it.

1924

NAVIGATOR | 1924 BUSTER KEATON
HE WHO GETS SLAPPED | 1924 VICTOR SJÖSTROM
BALLET MÉCANIQUE | 1924 FERNAND LÉGER, DUDLEY MURPHY
SHERLOCK JR. | 1924 BUSTER KEATON
GÖSTA BERLINGS SAGA | 1924 MAURITZ STILLER
THE LAST MEN | 1924 F.W. MURNAU
GREED | 1924 ERICH VON STROHEIM
KINO EYE | 1924 DZIGA VERTOV
AELITA | 1924 YAKOV PROTAZANOV
THE THIEF OF BAGDAD | 1924 RAOUL WALSH
THE JOYLESS STREET | 1924 G.W. PABST
THE IRON HORSE | 1924JOHN FORD
THE GREAT WHITE SILENCE | 1924 HERBERT G. PONTING

1925

THE UNHOLY THREE | 1925 TOD BROWNING
THE BIG PARADE | 1925 KING VIDOR
VARIETY | 1925 E.A. DUPONT
BATTLESHIP POTEMKIN | 1925 SERGEI EISENSTEIN
THE BIG PARADE | 1925 KING VIDOR
STRIKE | 1925 SERGEI EISENSTEIN
THE GOLD RUSH | 1925 CHARLES CHAPLIN
LADY WINDERMERE'S FAN | 1925 ERNEST LUBITSCH

1926

THE GENERAL | 1926 BUSTER KEATON
THE ADVENTURES OF PRINCE ACHMED | 1926 LOTTE REINIGER
MOTHER | 1926VSEVOLOD I. PUDOVKIN
FLESH AND THE DEVIL | 1926 CLARENCE BROWN
GOLDEN CLOWN | 1926 A.W. SANDBERG
BATTLING BUTLER | 1926 BUSTER KEATON
FAUST | 1926 F.W. MURNAU
MENILMONTANT | 1926 DIMITRI KIRSANOFF
MIGHTY LIKE A MOOSE | 1926 LEO MCCAREY
A PAGE OF MADNESS | 1926 TEINOSUKE KINUGASA

1927

METROPOLIS | 1927 FRITZ LANG
SUNRISE | 1927 F.W. MURNAU
THE LODGER, A STORY OF THE LONDON FOG | 1927 ALFRED HITCHCOCK
BED AND SOFA | 1927 ABRAM ROOM
NAPOLÉON | 1927 ABEL GANCE
7TH HEAVEN | (1927 FRANK BORZAGE
WINGS | 1927 WILLIAM A. WELLMAN, HARRY D'ABBADIE D'ARRAST
THE GHOST TRAIN | 1927 GÉZA VON BOLVÁRY

1928

THE PASSION OF JOAN OF ARC | 1928 CARL THEODOR DREYER
THE MAN WHO LAUGHS | 1928 PAUL LENI
MALDONE 1928 JEAN GRÉMILLON
THE FALL OF THE HOUSE OF USHER | 1928 JEAN EPSTEIN
SHOW PEOPLE |1928 KING VIDOR
ZVENIGORA | 1928 ALEXANDER DOVZHENKO
QUEEN KELLY | 1928 ERICH VON STROHEIM
THE MAN WHO LAUGHS | 1928 PAUL LENI
STORM OVER ASIA | 1928 VSEVOLOD PUDOVKIN
WIND | 1928 VICTOR SJOSTROM
THE SEASHELL AND THE CLERGYMAN | 1928 GERMAINE DULAC
THE FIRST BORN | 1928 MILES MANDER
SPEEDY | 1928 TED WILDE
THE CROWD | 1928 KING VIDOR
THE CAMERAMAN | 1928 BUSTER KEATON, EDWARD SEDGWICK
THE PASSION OF JOAN OF ARC | 1928 CARL THEODOR DREYER
THE WIND | 1928 VICTOR SJÖSTRÖM
JUJIRO | 1928 TEINOSUKE KINUGASA
STEAMBOAT BILL, JR. | 1928 BUSTER KEATON, CHARLES REISNER
THE DOCKS OF NEW YORK | 1928 JOSEF VON STERNBERG

1929

A COTTAGE ON DARTMOOR | 1929 ANTHONY ASQUITH (SOME SOUND)
BIG BUSINESS | 1929 J. WESLEY HORNE, LEO MCCAREY
FINIS TERRÆ | 1929 JEAN EPSTEIN
UN CHIEN ANDALOU | 1929 LUIS BUÑUEL, SALVADOR DALI
THE WONDERFUL LIES OF NINA PETROVNA) | 1929 HANNS SCHWARZ
RAILS | 1929 MARIO CAMERINI
DIARY OF A LOST GIRL | 1929 G.W. PABST
PANDORA’S BOX | 1929 G.W. PABST
HARBOR DRIFT A.K.A. BEYOND THE STREETS | 1929 LEO MITTLER
BLACKMAIL | 1929: ALFRED HITCHCOCK
DIARY OF A LOST GIRL | 1929 G.W. PABST
A COTTAGE ON DARTMOOR | 1929 ANTHONY ASQUITH
THE INFORMER | 1929 ARTHUR ROBISON
IN THE NIGHT) | 1929 CHARLES VANEL

1930

EARTH | 1930 ALEKSANDR DOVZHENKO
LIMITE  | 1930 MÁRIO PEIXOTO
SALT FOR SVANETIA | 1930 MIKHAIL KALATOZOV

1931

TABU: A STORY OF THE SOUTH SEAS | 1931 F.W. MURNAU
COMRADESHIP | 1931  G.W. PABST
FLUNKY, WORK HARD! / KOSHIBEN GAMBARE | 1931 MIKIO NARUSE

ODNA (ALONE) | 1931 GRIGORI KOZINTSEV AND LEONID TRAUBERG
It was planned as a silent film, but delays permitted the use of sound technology to add a track to it. The main element of the track is Dimitri Shostakovich’s musical accompaniment. (He had also composed the musical accompaniment for The New Babylon.) The music comments on the action, often in a mocking way. Occasionally there are sound effects, and very occasionally, brief lines of dialogue, recorded and added after the filming. The story of a newly graduated Leningrad teacher, (Yelena Kuzmina). She goes furniture shopping with her fiance, Petya, and in a fantasy sequence she imagines teaching a class of neat, obedient city schoolchildren. Instead, she is assigned to work in the Altai mountains in Russian Mongolia, to provide basic education for the youngest children of the shepherds. Upon arrival in the Siberian district, she encounters a dead horse’s skin on display this returns as a motif to emphasize how primitive and in need of education the area is. At first the villagers react with indifference or antagonism, seeing no point in having their children go to school. Oddly enough, the local Soviet official is lazy and also indifferent, leaving her alone with no aid in convincing the villagers to accept her. (This negative depiction of the Soviet official later got the film banned, despite its considerable popularity upon its initial release.) The next-to-last reel of the film, in which the landowner tries to kill Kuzmina, is missing. A restored version of the film accompanied by a reconstruction of the Shostakovich score was released on Dutch and German DVDs in 2007.


1932

I WAS BORN, BUT... | 1932 YASUJIRO OZU
THE NAIL IN THE BOOT | 1932 MIKHAIL KALATOZOV

1933

THE WATER MAGICIAN |1933 KENJI MIZOGUCHI
EVERY NIGHT DREAMS | 1933 MIKIO NARUSE

1934

THE GODDESS | 1934 WU YONGGANG
HAPPINESS | 1934 ALEKSANDR MEDVEDKIN
A STORY OF FLOATING WEEDS | 1934 YASUJIRŌ OZU



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