Announcing: The Return Of The Silent Movie Day Blogathon!

Hello everyone, I hope you’ve been enjoying the ‘Merica themed posts so far this summer! Let’s kick off August with some happy news–the Silent Movie Day blogathon is coming back! Credit goes to Shawn of The Everyday Cinephile, who asked me: would you like to cohost it this year? Yes, please!

As described on this holiday’s official site:

Silent Movie Day is an annual celebration of silent movies that anyone can take part in. We believe that silent film is a vital, beautiful, and often overlooked part of film history. Our goal is to advocate for its presentation and preservation.

This day provides an opportunity for academics, aficionados, programmers, archivists and enthusiasts to gather around their shared appreciation of this unique period in visual arts and culture. It is also a time to rally around silent film initiatives for preservation and access, as well as raise awareness of the small percentage of film that remains from this period of the motion picture industry.

If this sounds good to you and you’d like to participate, read on!

When: Tuesday, September 29, 2026

Where: The Everyday Cinephile and your truly, Silent-ology.

How: To participate, please choose any silent film-related topic you like. You can cover a specific silent film, a star or director, a silent film-related event, or even just share why you love silent cinema. You can either leave a comment below on this post or at The Everyday Cinephile. Alternatively, you can email me or Shawn with your topic and blog address. On the day of the blogathon itself, please send the link to your post whenever it’s ready. Easy!

Details:

• No more than two posts per participant, please.
• New posts only!
• Please mention the blogathon in your post with a link to the blogathon home page. (Adding a little info about Silent Movie Day is swell too!)
• Participants can also send in videos or alternative forms of media for their submission. Past blogathons here on Silent-ology have included artwork, tribute videos, even a homemade film commentary.
• Choose one of Shawn’s wonderful event banners below to spread the word about the blogathon and Silent Movie Day! Aren’t they great?

We’re looking forward to seeing what everyone thinks up and to celebrate Silent Movie Day with you this September!

The Roster:

The Everyday Cinephile | TBA

Silentology | TBA

Classic Film & TV Corner | Rudolph Valentino’s Relationship with June Mathis

Taking Up Room | The Power of the Press (1928)

Silver Screenings | Manhandled (1924)

Cinematic Scribblings | Every-Night Dreams (1933)

Crítica Retrô | Forbidden Fruit (1921)

nitrateglow | Priscila Dean’s collaborations with director Tod Browning

The Midnite Drive-In | Dr. Mabuse the Gambler (1922)

Bill LeFurgy | Mae Murray’s move to motion pictures and To Have and To Hold (1916)

Softening The Scars: Silent Civil War Films Of 1911-1915

During the 1900s and 1910s there was one genre of American film that skyrocketed in popularity, becoming more prevalent in those few years than at any other time since. It wasn’t the western, or even the slapstick comedy–but the Civil War film. 

The Drummer Girl of Vicksburg (1912).

Created with an eye towards the 50th anniversary of the war, which was commemorated for several years starting in 1911, these 10- to 30-minute films drew on American history from many angles. Some recreated historical battles, others told tales of heroism, some centered around spies, and others showcased grim family tragedies. It’s profound to think that more than a few of the white-haired theater patrons had personal memories of the conflict, and that their children and grandchildren had grown up with exciting stories of gunfire and cannons. Since cinema was such a young art form at the time, those battle stories could finally, for the first time, be portrayed at something close to full scale.

The Battle of Bull Run (1913).

Repost: Obscure Films: “The Coward 1915

Recently, I finished a piece for my Classic Movie Hub column that was supposed to be pretty straightforward: Civil War films in the silent era. But, like with any silent film topic, not only was there much more to this subject than I’d remembered but one time frame in particular–1911-1915–was uniquely worthy of study in its own right. Currently I’m delving into this bit of history for an impending Silent-ology piece, and until it’s ready why not take a look at this relevant film review?

The Ince feature The Coward, while lesser-known today, is surprisingly riveting. The stakes are high, the actors skilled, and the whole look of the film is like 19th century photographs come to life. It also makes the old, alien mindset of “family honor” much more real for us today. I hope you enjoy this review, leave comments if you wish–and stay tuned!

Obscure Films: “The Coward” (1915)

Thoughts On: “America” (1924)

Wishing all my fellow countrymen a happy America 250!! I can’t tell you how excited I’ve been to get to celebrate a milestone like this, a once-in-a-lifetime event. I hope my fellow Americans celebrate heartily and well this weekend–I know I will! Thanks for reading during this busy time, and Happy Fourth!

Overlooked and underdiscussed, D.W. Griffith’s America (1924) has the rare distinction of being the silent era’s only prominent feature to focus specifically on the American Revolution itself. There were other films set during the Revolutionary War that also boasted big budgets, such as Marion Davies’s Janice Meredith (1924), and there were nicely-produced features that focused on historical figures like Nathan Hale or Betsy Ross. But when it came to lengthy films explicitly about the war itself walking the fine line between drama and docu-drama, America stands alone.

Released as it was in 1924, a time still steeped in post-WWI weariness, it didn’t take off quite the way we’d imagine. And while viewing it today, you might sense that despite some definite highlights Griffith’s America could’ve been–and should’ve been–so much more.

Obscure Films: “1776, or The Hessian Renegades” (1909)

Time to bring this lightly-edited review out of the vaults! This obscure Biograph short not only contains one of Mary Pickford’s earliest film appearances, but it was also my first contribution to a blogathon back in Ye Olde Days of 2014! Yes, the year I started Silent-ology…how time flies. Please note my long-held love of em dashes long before AI was a thing–and enjoy!

Miss Pickford in this rare (clear) still.

Before his streak of famous epics and melodramas like Intolerance, Broken Blossoms, and Way Down East (and, yes, The Birth of a Nation), D.W.Griffith passed the time by making a paltry 500 or so short films for the American Biograph Company. This meager assortment spanned the years 1908-1914 and featured a wealth of dramatic, sentimental, political, and at times even comedic subjects. These films are records of more than just stories and actors, but of the amazingly quick evolution of film techniques and the growing sophistication of filmmaking.

Where Are All The Silent Revolutionary War Films?

When we examine what types of films were trendy in the silent film days, we’ll find the era well-stocked with Civil War films, WWI propagandistic adventures, tales from the pioneer days, and of course an abundance of Westerns. But what about Revolutionary War films?

D.W. Griffith’s America (1924).

They were curiously few and far between, much like they admittedly still are today. When you consider how much closer in time audiences of the early 20th century were to the American Revolution than we are today, this seems a bit strange. Wrap your mind around this: back in 1925 the events of 1776 were barely turning 150 years old!

There was certainly a reverence at the time for figures like George Washington, and the Sons and Daughters of the American Revolution were very well-known organizations. Theater owners happily dressed their lobbies with bunting and American flags for the Fourth of July, and every town, no matter how little, seemed to put on a proud Independence Day parade. So why the disparity? I think there’s more than a few reasons, some involving the close proximity many Americans had with events from our history books, and some that depend on knowing a bit of cinema history.

“Three American Beauties” (1906), An Early Patriotic Novelty

In the days of nickelodeons and travelling shows when most films were under ten minutes long, audiences were typically treated to whole programs of travelogues, comedies, little dramas, and other early films. These often ran continuously throughout the day and were changed up 2-3 times a week. Just imagine the high demand for new films!

Exhibitors might add a bit of flair to ending a program by showing a lantern slide thanking audiences for their patronage or by showing a short novelty film. The Edison studio’s Three American Beauties (1906), directed by Edwin S. Porter, was one such novelty film. It ran under a minute long and featuring some of the lovely hand-stenciling that was so specific to the era. Take a minute to appreciate its straightforward charm:

Announcing…

…A new Silent-ology project for the summer of 2026. Because why settle for just one usual theme month, when I can spread it out over the whole summer?

2026 is a milestone year for Americans like myself: the 250th anniversary of the United Sates. In honor of this Semiquincentennial (or the Bisesquicentennial or Sestercentennial, if you will), I want to take my time and explore certain questions: how did Americans view patriotism back in the dynamic, fast-changing era of the early 20th century? A time when half the country grew up on farms and many country lanes were simple dirt roads, and also a time when mighty brick factories and skyscrapers were sprouting up in cities throughout the country?

A Big Thanks To My Fellow Film Bloggers!

As the 12th Buster Keaton blogathon comes to a close (although I’m still reading through your excellent posts, as I’m sure many people are!), allow me and “summer of 1926 Buster Keaton looking completely and totally in his element” say:

I love any and all Buster-related topics, but it sure was fun having all the nods to The General during it’s 100th anniversary. Many thanks to all the bloggers for committing their time and skills to help celebrate that milestone here on Silent-ology! The summer of 1926 was very special for Buster (not to mention the excited residents of Cottage Grove) and I dare say we’re helping to keep a bit of that long-ago spirit alive.

It wouldn’t be a Silent-ology Busterthon without thanking the participants with a “draw a name” style giveaway, so I shall grab my 1920s cloche hat accordingly! One lucky participant gets a copy of Ben Model’s excellent new book The Silent Film Universe, which I highly recommend.

And here we go!

The winner is:

Congratulations to Therese of The Thoughts of One Truly Loved! We will be in touch. And thanks again to everyone who participated in this fine annual tradition!

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The Great Locomotive Crash: How Keaton Filmed “The General’s” Most Famous Scene

Day 2 of the 12th Annual Busterthon is in full swing, be sure to check out any new posts! This is my new post for the event; hope you enjoy!

It was the single the most expensive shot in a 1920s film–the mighty train crash in Buster Keaton’s Civil War comedy The General (1926). The climax of a lengthy chase that takes up the majority of the film, it was not only a stunning shot but was a real nail-biter to capture on film.

Anyone acquainted with Buster Keaton’s career is aware of the supposed backstory: a huge crowd of onlookers gathered to watch the filming, not sure exactly what they were going to witness. When the train crashed through the bridge, it was a genuine shock–some women even fainted when the head of a dummy (a stand-in for the engineer) floated by.

This isn’t quite what happened. In reality, onlookers absolutely knew a train stunt was going to happen, hence why the location drew such big crowds. But it was indeed an exciting event that took a ton of planning, a lot of set up on the fateful day itself and more than a little bit of good luck.