It's been a good year for silent film.
In June, the National Film Preservation Foundation announced that some 75 once-thought-lost American silent films found in New Zealand will be returned to the United States. And in October, Russia presented digitally preserved copies of 10 previously "lost" American silent films to the Library of Congress. The gift is reportedly only the tip of the iceberg -- many, perhaps hundreds of films not seen in decades may only exist in the film archives of the Russian state.
In silent film circles, the biggest news story of the year was likely the restoration of Fritz Lang's 1927 expressionist sci-fi masterpiece, Metropolis. This almost complete version toured the country, received heaps of press, and played to packed houses pretty much wherever it was shown.
The restored version of Metropolis -- featuring some 25 minutes of additional footage -- has also just been released on DVD and Blu-ray. It heads the list of the year's best new silent film releases. Here are a few others as well, in no particular order; each are well worth checking out.
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Adam Sheets said on 3 Friday 2010 pm31 11:04 pm: Thanks for taking the time to post this, knowing in advance that most of the modern audience couldn't care less about silent films. There are a few here I didn't know had been released. "He Who Gets Slapped" has always been a favorite of mine. |
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Those serious about silent film should also keep an eye out for silent film new releases from Milestone, Grapevine Video, and Unknown Video. Each also has an extensive catalog of previous releases.
Thomas Gladysz is an arts journalist and author. His interview with Allen Ginsberg on the subject of photography is included in Sarah Greenough's "Beat Memories: The Photographs of Allen Ginsberg" (National Gallery of Art, 2010). And recently, he wrote the introduction to the Louise Brooks edition of Margarete Bohme's classic novel, "The Diary of a Lost Girl" (PandorasBox Press, 2010). Gladysz will speak about "The Diary of a Lost Girl" at the Village Voice Bookshop in Paris on January 13, followed by a screening of the film at the nearby Action Cinema.
Follow Thomas Gladysz on Twitter: www.twitter.com/thomas_gladysz
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And I still love The Gold Rush and Charlie Chaplin.
Buster's "Steamboat Bill Jr" never fails to amaze and bring a laugh...mostly amaze though!
However, it is ~almost~ complete. There is still one scene missing where Joh Frederson and Rowtwang got toe to toe with each other. Rumor has it that it was way too damaged to include in this latest resto effort. Perhaps one of these days we'll get to see the totally complete Metropolis one day.
I wonder, is there a list of the recently discovered US silents found overseas???
I'm still holding hope that Lon Chaney's "London After Midnight" surfaces soon. Not supposed to be one of his best but those darned stills (that survive) look mighty compelling.
On the other hand, I just watched some of Harold Lloyd's short films from 1918 to 1922 and I was quite blown away. I have always been a great fan of Chaplin and Keaton, but thought Lloyd's reputation was a bit overblown. From these shorts, it became clear to me that Lloyd does deserve to be up there in the pantheon with Chaplin and Keaton. He may not be as sweet as Chaplin or as transcendent as Keaton, but he riffs on his gags like a great jazz artist. He's the visual equivalent of Bob Hope or Robin Williams at their best.
I was riveted all the way through. Margaret Livingston was frighteningly cruel in her role as conniving mistress. I would love to see a bold indie director attempt something silent that was as powerful as this.
Some of my favorite silents: Lillian Gish in Broken Blossoms AND The Wind - she is luminous. Pandora's Box, Show People, The Crowd. Looking forward to the new Metropolis, Chicago and Miss Mend.
Also Grapevine Video is an excellent source. I've been buying films from them since VHS. Anyone else have a film starring Mary Miles Minter?
Can you believe it's 2010 and we're discussing the films of Mary Miles Minter? I'm quite thankful for these independents that allow us to see these films almost 100 years later.