Aside from The Cabinet of Dr. Caligari, Nosferatu or Metropolis, how many German Expressionist films can you name? (Or maybe I should say, how many semi-German-Expressionist-ish films can you name? That’s an easier question.) After all, Caligari didn’t spring forth from thin air, and you’ve always heard that German Expressionism was kind of a big deal.
I guess this was influential, or something.
To help with that question, I’ve compiled a handy list of Weimar-era rarities that you may or may not have heard of before. Keep in mind that “true” German Expressionism is, technically, a very specific genre that used deliberately artificial-looking sets and props, and relied on emotion and psychology instead of realism. Thus, most of these entries are examples of that type of film. (By the way, if you’ve been following my blog for awhile, you’ll probably remember #1 and #2 since I covered them in the past. If you’re a newbie, though–enjoy!) Continue reading →
To kick off the sacred Halloween Time, here’s a listicle that I thought would be fun. Like countless others, I love watching classic horror films around Halloween (spooky, atmospheric ones, not those gory slasher films), and there are certain classics that make up my “must see” list. Now, these aren’t just twelve films I watch every October. Oh no, these are twelve films I have to watch religiously every October, or Halloween will be RUINED (maybe). Plot twist: just a few of them are silent, mainly because I had to narrow the list down to twelve.
On this day back in 1918, the Czech-Slovaks declared war on Germany and Britain officially recognized them as part of the Allies.
As we covered in my first article for WWI in Film Month, film was used for propaganda purposes on a major scale during the Great War–a scale that had never been seen before. Just around the time Edwardian magazine and newspaper writers were declaring, “There are no two ways about it, the moving pictures are here to stay,” government officials across the globe were getting mad gleams in their eyes.
They basically wanted this, in movie form.
Escapist films (your typical dramas and comedies that had nothing to do with the war) were still big draws for theater-goers, but many filmmakers also put out patriotic contributions to the “great cause,” sometimes by government request (as in the case of D.W. Griffith, who was asked by Britain to make what turned out to be Hearts of the World). Some propaganda was practical, such as sharing tips on rationing food or urging people to buy war bonds, while others famously seized upon the stereotype of the “beastly Hun” to create some pretty hair-raising melodramas. (Ads proclaimed these films were sure to “wake up” audiences to the dangers of Germany.)
Von Stroheim as the Menacing Hun in The Heart of Humanity (1918).
So here’s a list of 8 typical WWI propaganda films, some obscure, some that you’ve probably heard of before, and a couple that are downright eyebrow-raising. Continue reading →
I’m guessing that many of you have seen silent films from a number of countries, like Germany, France, Italy, Sweden, and possibly even Japan. But have you ever watched one from Ireland?
Sure and there are Irish silents, indade! And they captured snapshots of traditional rural life in Ireland several years before the famous Easter Rising. Thanks to Trinity College in Dublin, several Irish dramas are available for your viewing pleasure on their official YouTube channel. Continue reading →
People talk about how everyone is six degrees of separation from Kevin Bacon. Well, I’m here to tell you that as far as cinema history’s concerned, everything’s six degrees of separation from Georges Méliès. Maybe three degrees. If there’s a film trope, storyline, or special effect that you’re trying to trace to its origins, I say give up right now, and just assume it’s Méliès. And by way of demonstration, here are at least six things the French wizard seems to have put on film before they were a twinkle in anyone’s eye. Continue reading →