Silent films have a way of burrowing their stories into your mind and taking root. With this preview of the San Francisco Silent Film Festival 2022, let us plant a few seeds.
If the escapism in Vittorio De Sica’s Miracle in Milan seems simple-minded, even simpler is the cure to society’s ills.
Robert Siodmak’s reverse immigration film, Deported, and drama about capital and labor, The Whistle at Eaton Falls, were the last he’d make for Hollywood.
Márta Mészáros’ film Adoption is empathetic and beady-eyed about the negotiations and indignities of those caught up in social prejudices, especially women.
Restored 1936 Technicolor film Dancing Pirate crosses the early talkies’ vogue for absurd musicals with its other vogue for Hollywood Mexicana.
German director Robert Siodmak‘s 1930 comedy Farewell is a far cry from 1957’s Nazi-influenced crime thriller, The Devil Strikes at Night.
Silent film star Louise Brooks’ first role was that of a “moll”, an uncredited bit part in the evocatively titled The Street of Forgotten Men.
We thoroughly inspect the four 1930s features and bonuses in The Film Detective’s The Sherlock Holmes Vault Collection.
Alfred Werker’s fantasy-dabbling Repeat Performance and John Sturges not-your-typical western The Capture may – or may not – be actual film noir.
Philip Kaufman’s 1978 remake of sci-fi pod people film Invasion of the Body Snatchers achieves a level of unease above and beyond the novel and the 1956 film.
Eyebrows tilting and nostrils flaring and emanating pheromones of intoxicating effluvia, Foreigners like Valentino’s Sheik had un-American sex all over Hollywood.
Flicker Alley’s set of Hollywood B-films from 1934 provide sociological snapshots of the limits of respectable cinema.
