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100 SILENT FILMS

July 3, 2011 By urbanora in Publications Tags: Silent film 15 Comments

Who can resist a list? Everyone loves to take part in top ten lists of this or
top 100s of that, pitting personal preference against the canon. Debates on
which are the top silent films, be they box office (a contentious areas given
the unreliability of data from the silent era), most popular or most esteemed.
The Silent Era website maintains a top 100 silent films based on votes supplied
by visitors to the site. It comes across as a mixture of popularity and critical
esteem, and the top ten (as of today, but they haven’t changed much in ages) has
a stale familiarity about it:

> 1. The General (USA 1926), d. Buster Keaton and Clyde Bruckman
> 2. Metropolis (Germany 1927), d. Fritz Lang
> 3. Sunrise (USA 1927), d. F.W. Murnau
> 4. City Lights (USA 1931), d. Charles Chaplin
> 5. Nosferatu (Germany 1922), d. F.W. Murnau
> 6. The Gold Rush (USA 1925), d. Charles Chaplin
> 7. La passion et la mort de Jeanne d’Arc (France 1928), d. Carl Theodor Dreyer
> 8. Das Cabinet des Dr. Caligari (Germany 1920), d. Robert Wiene
> 9. Bronenosets ‘Potyomkin’ (USSR 1925), d. Sergei M. Eisenstein
> 10. Greed (USA 1924), d. Erich von Stroheim

All great films, and all films that you would recommend to anyone first getting
interested in silent films and wanting to know what to see. But there is no
surprise.

Very different is 100 Silent Films, by Bryony Dixon, just published by Palgrave
Macmillan/BFI, and one of a series of books recommending 100 moving image titles
in a variety of genres. Dixon points out in her introduction that silent film is
not a genre – it is the first thirty or so years of cinema and embraces almost
all genres – and also makes it clear that her 100 films and not the 100 best,
but rather 100 titles which represent the breadth as well as the greatness of
the type.

It’s certainly an idiosyncratic list of films, each of which is described across
a couple of pages, and arranged alphabetically by title to avoid any sense of a
top 100. These are silent films to see because it will be an adventure to do so.
There are the familiar warhorses, of course – all bar one of the top ten above
are represented (City Lights is the casualty) – but what one notices far more
are the choices that delight or intrigue: Ernst Lubitsch’s The Oyster Princess
(Germany 1919), William Wellman’s Beggars of Life (USA 1928), Sun Yu’s Daybreak
(China 1933), Lois Weber and Phillips Smalley’s Suspense (USA 1913), Yakov
Protazanov’s The Queen of Spades (Russia 1916), Tomu Uchida’s Policeman (Japan
1933), Joris Ivens’ Rain (Netherlands 1929), or Henri Frescourt’s Monte Cristo
(France 1929).

Dixon is a strong advocate of British silent film, and fifteen of the titles
were produced in Britain, which might raise an eyebrow or two. But it’s hard to
disagree much with the choices, from James Williamson’s iconic The Big Swallow
(1901), to Alfred Hitchcock’s Blackmail (1929), Arthur Robison’s The Informer
(1929), Anthony Asquith’s A Cottage on Dartmoor (1929) or Walter Summer’s
overlooked masterpiece of drama-documentary The Battles of Coronel and Falkland
Islands (1927).

Alfred Butterworth & Sons, leaving the works, Glebe Mills, Hollinwood (Mitchell
& Kenyon 1901)

Dixon is keen to demonstrate the full breadth of of silent film, so there is a
lot more here than the traditional feature film. She includes advertising films
(The Spirit of his Forefathers, c. 1900), newsreels (Topical Budget 93-1 The
Derby, 1913 – the ‘suffragette’ derby), and actualities, such as Mitchell &
Kenyon’s Alfred Butterworth & Sons, leaving the works, Glebe Mills, Hollinwood
(1901). There are assorted magical early cinema titles from Gaston Velle, Albert
Capellani and Georges Méliès (Voyage à travers l’impossible rather than Voyages
dans la lune). And there are examples of the avant garde (Manhatta), documentary
(Drifters), propaganda (The Battle of the Somme), animation (Winsor McCay’s How
a Mosqutio Operates) and even natural history (Oliver Pike’s Les hôtes de
l’air). There’s even one token modern silent, Guy Maddin’s delirious The Heart
of the World (Canada 2000).

And so on. What makes the book successful, however, is not really its
eclecticism and disdain for established classics (though one senses one or two
titles have been included because the publishers insisted upon it). Rather it is
the unpretentious, informal style of writing. Dixon knows her subject deeply,
but writes as much for the person just starting to explore the field as the
afficionado. Jargon is largely banned. It almost reads like a blog. The emphasis
is on availability (there are few titles here that aren’t to be found on DVD or
online somewhere) and the reader is soon totting up a list of must-see-soon or
must-buy-soon titles (I know I have).

In short we have as good an introductory guide to silent film as you might hope
to find, one calculated to please the newcomer and the expert. No one will agree
with all of Dixon’s choices, but no one will be the poorer for seeking out each
one of them. It’s just the pocket-book guide needed to accompany the resurgence
of interest in silent film we’ve witnessed in the past few years.

Now if you’d asked me to name 100 silent films, well…


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15 RESPONSES

 1.  David_Holm says:
     July 4, 2011 at 8:20 am
     
     Four years ago, I wrote an article about lists of silent films. Silent Era
     had a nonsense approach (I don’t know if today is different), so their list
     is full of American Films, even popular films with doubtful quality. After
     that article I decided to begin a project, at Cine-Clasico.com (users have
     access to a lot of silent films), goal went (go) beyond the top list,
     trying discovery and discussion, we use a weighted vote for that. Results
     will be better in several years, but today already we can see a more
     heterogeneous list:
     
     1. Sunrise: A Song of Two Humans (F.W. Murnau, 1927)
     2. Metropolis (Fritz Lang, 1926)
     3. Nosferatu (F. W. Murnau, 1921)
     4. Bronenosets Potyomkin (Sergei M. Eisenstein, 1925)
     5. Greed (Erich von Stroheim, 1924)
     6. The General (Clyde Bruckman y Buster Keaton, 1927)
     7. City Lights (Charles Chaplin, 1931)
     8. La Passion de Jeanne d’Arc (Carl Th. Dreyer, 1928)
     9. The Gold Rush (Charles Chaplin, 1925)
     10. Modern Times (Charles Chaplin, 1936)
     11 Körkarlen (Victor Sjöström, 1921)
     12 Zemlya (Aleksandr Dovzhenko, 1930)
     13 Der letzte Mann (F.W. Murnau, 1924)
     14 Das Cabinet des Dr. Caligari (Robert Wiene, 1919)
     15 The Crowd (King Vidor, 1936)
     16 Intolerance: Love’s Struggle Throughout the Ages (D.W. Griffith, 1916)
     17 Faust (F. W. Murnau, 1926)
     18 Der Müde Tod (Fritz Lang, 1921)
     19 Chelovek s kino-apparatom (Dziga Vertov, 1926)
     20 Ménilmontant (Dimitri Kirsanoff, 1926)
     21 The Unknown (Tod Browning, 1927)
     22 Entr’acte (René Clair, 1924)
     23 He Who Gets Slapped (Victor Sjöström, 1924)
     24 Napoleon (Abel Gance, 1927)
     25 Oktyabr (Sergei Eisenstein, 1928)
     26 La chute de la maison Usher (Jean Epstein, 1928)
     27 Die Büchse der Pandora (Georg Wilhelm Pabst, 1929)
     28 Un chien andalou (Luis Buñuel, 1929)
     29 Die Nibelungen (Fritz Lang, 1924)
     30 Mat (Svolod Pudovkin, 1926)
     31 Le voyage dans la lune (Georges Méliès, 1902)
     32 Sherlock Jr. (Buster Keaton, 1924)
     33 Häxan (Benajmin Christensen, 1922)
     34 Safety Last! (Newmeyer-Taylor, 1923)
     35 Berlin: Die Sinfonie der Grosstadt (Walter Ruttmann, 1927)
     
     Saúdos
     
     
     
 2.  Benoit says:
     July 4, 2011 at 10:10 am
     
     It is true that the top 10 you publish here is not very surprising (old
     familiar names & titles… and beautiful works…), but still… No Flaherty —
     though that has become the general rule for quite a number of years… And no
     Griffith, which probably is a sign of something. Some time ago (how much?),
     such a list without Intolerance of Birth of a Nation would have been quite
     unthinkable…
     
     
     
 3.  urbanora says:
     July 4, 2011 at 7:28 pm
     
     The object of the post was not to indicate the top 100 silent films (a daft
     exercise really) but to draw attention to a book that says here are 100
     silent films of particular interest and importance – not quite the same
     thing.
     
     That said, top 10s are always fun, so here’s my top 10 silents – and neer a
     Griffith or a Flaherty to be seen (though A Corner in Wheat comes close):
     
     1. The village de Namo – Indochine (France 1899 d. Gabriel Veyre)
     2. The Big Swallow (UK 1901 d. James Williamson)
     3. Burnham Beeches (UK 1909 d. Gaston Quiribet)
     4. Les quatre cents farces du diable / Satan’s Merry Tricks (France 1906 d.
     Georges Méliès)
     5. L’aveugle de Jerusalem / The Blind Man of Jerusalem (France 1908 d.
     Louis Feuillade)
     6. The Battle of the Somme (UK 1916 d. J.B. MacDowell, Geoffrey Malins)
     7. Our Hospitality (USA 1923 d. John G. Blystone, Buster Keaton)
     8. Pass the Gravy (USA 1928 d. Fred Guiol, Leo McCarey)
     9. Otona no miru ehon – Umarete wa mita keredo / I Was Born But… (Japan
     1933 d. Yasujirô Ozu)
     10. Tianming / Daybreak (China 1933 d. Sun Yu)
     
     Four of those make the Dixon 100 (which I haven’t published in full because
     people should go out and buy the book).
     
     
     
 4.  Benoit says:
     July 4, 2011 at 8:57 pm
     
     I may have been misunderstood here: I was not saying that such a top 10
     should include a Flaherty or a Griffith (as for me, perhaps it would, I
     never really asked myself the question — though I probably will now!). I
     just thought that not so long ago, such a list would have. But maybe I am
     wrong…
     
     
     
 5.  urbanora says:
     July 4, 2011 at 9:24 pm
     
     You are right. Tastes and canons change. But, looking at the Silent Era top
     100, Griffith is at no. 15 (Birth of a Nation ), 16 (Intolerance), 21
     (Broken Blossoms), 33 (Way Down East) and 57 (Orphans of the Storm), while
     Flaherty makes to to no. 31 (Nanook of the North) and 61 (Tabu). There’s
     life in the old warhorses yet.
     
     
     
 6.  urbanora says:
     July 4, 2011 at 9:36 pm
     
     … while Dixon’s book lists Way Down East, The Birth of a Nation, The
     Adventures of Dollie (Griffith’s directorial debut) and Nanook of the
     North.
     
     
     
 7.  David_Holm says:
     July 4, 2011 at 10:27 pm
     
     Actually, Tabu is not a Flaherty’s film. Even today, several sites say
     Flaherty was the director of film, with Murnau, but that isn’t true.
     Flaherty only wrote the story with Murnau, that’s all.
     
     
     
 8.  urbanora says:
     July 4, 2011 at 10:50 pm
     
     Of course it isn’t his film (he does get a producer credit, I think). I
     stand corrected.
     
     
     
 9.  Joe Thompson says:
     July 5, 2011 at 1:07 am
     
     I’m glad Dixon tried to cover a wide of variety of films, and not just
     features. I’ll keep an eye open for the book.
     
     
     
 10. Treguard Dunshelm says:
     September 1, 2011 at 2:38 pm
     
     Hi, I’m currently putting as many of Bryony Dixon’s 100 silent films (even
     if its just a clip) in to a youtube playlist called very originally: 100
     silent films by bryony dixon bfi film guides pocket book. It’s surprising
     how much stuff is up there.
     
     
     
 11. urbanora says:
     September 1, 2011 at 6:44 pm
     
     Maybe it’s not that surprising. Dixon has tried to emphasise films that are
     available in one form or another, and if something hasn’t been legitimately
     uploaded to YouTube then it’s on DVD somewhere and usually that means
     someone’s ripped at least some of it onto YouTube.
     
     A nice idea, though, so I shall overcome my usual aversion to the cavalier
     approach to copyright (while such a concept still exists) on YouTube and
     provide the link:
     http://www.youtube.com/user/TreguardLordDunshelm#grid/user/4A35176D3A80CDE7
     
     
     
 12. Treguard Dunshelm says:
     September 4, 2011 at 2:37 pm
     
     Thanks for putting up a link:) Although I’ll probably be the only one that
     uses it! And then I’ll only watch the the shorts and intros to longer films
     as I don’t like watching stuff on the internet for long (half an hour
     max.).
     
     I’ve managed to represent about 80% of the 100 somehow. It’s not a perfect
     list: Blackmail isn’t silent, Gance’s Napoleon is boiled down to a couple
     of short clips and there’s a bird film by Oliver Pike but not the one in
     the book etc. I didn’t put up any kino-pravda film that wasn’t #21 though.
     
     The good thing about doing the playlist apart from watching (& planning to
     watch) films I never would have otherwise & wanting to see ‘Casanova’ or
     ‘Kean’ and finding they’re not on (legitimate) DVD, grr, is that I’ve
     realised that I don’t have to stick w/ boring film history docs in the hope
     of seeing an interesting clip I’ve read about, now I can find a clip on the
     web or similar. I think this was in Dixon’s mind when writing the book.
     
     
     
 13. urbanora says:
     September 4, 2011 at 8:40 pm
     
     I think Dixon wants people to see silent film afresh, and to point to films
     which can be found on the web, by whatever means they got there. If viewing
     them leads people to seek out the DVDs (for the better viewing experience)
     or demand that such films end up on DVD (for the benefit of all) so very
     much the better.
     
     
     
 14. Treguard Dunshelm says:
     September 6, 2011 at 1:25 pm
     
     That’d be great! I demand ‘The Lure of Crooning Water’ on DVD, please.
     
     
     
 15. urbanora says:
     September 6, 2011 at 11:00 pm
     
     OK Bryony, can we have The Lure of Crooning Water on DVD, please. I mean,
     if the BFI can publish Fun at St Fanny’s on DVD, surely anything’s
     possible…
     
     
     


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 * Glorious Gloria
 * Gorgeous George O'Brien
 * Harold Lloyd
 * Harry Langdon Society
 * Henry B. Walthall
 * Laurel & Hardy
 * Lillian Gish
 * Lon Chaney Home Page
 * Louise Brooks Society
 * Madcap Mabel
 * Martin and Osa Johnson Safari Museum
 * Mary Pickford Institute for Film Education
 * Mary-Miles-Minter.com
 * Max Linder
 * Montague Pyke
 * Nita Naldi, silent vamp
 * Norma Talmadge Website
 * Olive Thomas
 * Oscar Micheaux
 * Pola Pola Pola!
 * Ramon Novarro
 * Rex Ingram
 * Ronald Colman – Gentleman of the Cinema
 * Ronald Colman in Silent Pictures
 * Sidney Olcott
 * Siegmund Lubin
 * sydchaplin.com
 * Taylorology
 * Texas Guinan
 * The Compleat Muybridge
 * The World of Charley Chase
 * Tribute to Betty Bronson
 * Unsung Divas of the Silent Screen
 * Who’s Who of Victorian Cinema
 * William Haggar
 * Women Film Pioneers Project


PUBLICATIONS

 * 1895
 * Bright Lights Film Journal
 * Early Popular Visual Culture
 * Film History
 * Image
 * KINtop
 * Media History Digital Library
 * The Projection Box
 * The Silent Treatment


RESOURCES

 * American Memory
 * Biblioteca Digital das Artes do Espetaculo
 * Bibliothèque numérique du cinéma
 * British Newspaper Archive
 * British Pathe
 * California Digital Newspaper Collection
 * Chronicling America
 * CineFiles
 * Early Cinema Gateway
 * Early Visual Media
 * Europa Film Treasures
 * Filmarkivet
 * Flipbook.info
 * Fondation Jérôme Seydoux Pathé
 * Gallica
 * George Eastman House – Dryden Theatre
 * Guardian Archive
 * Hathi Trust Digital Library
 * Images of a Forgotten War
 * Internet Archive
 * JSTOR (Early Journal Content)
 * Kansas Board of Review Movie Index
 * National Fairground Archive
 * New York State Archives
 * New York Times
 * Newsfilm Online
 * Papers Past
 * screenonline
 * Stage Archive
 * Terra Media
 * Times Digital Archive
 * Trove
 * Variety Archives
 * Western Silent Films Lobby Cards Collection
 * Who’s Who of Victorian Cinema
 * WildFilmHistory
 * William K. Everson Collection


TECHNOLOGY

 * American WideScreen Museum
 * Bioscope.biz
 * Brian Pritchard
 * Buckey’s Film History and Resources Page
 * Cinématographes
 * Cinegraphica
 * Cinematographica
 * Grahame Newnham’s Web Pages
 * Historical Film Colors
 * One Hundred Years of Film Sizes
 * The Impossible Cameras


WITH THANKS FOR THE LINK

 * 20filmwords
 * 7 inch cinema
 * A Broken Heart and a Glass of Beer
 * A Year in the Dark
 * A.P. at the Movies
 * Ambrotypes and Ferrotypes
 * Anagnorisis
 * Andy Nicastro
 * Animation Academics
 * Ann Harding's Treasures
 * Antti Alanen film diary
 * Archives and Auteurs
 * arkivfeber
 * Bigger Picture Research
 * Bluegrass Film Society
 * Bouphonia
 * Burnt Retina
 * Cahiers2Cinéma
 * Cine Silente Mexicano
 * Cinema Styles
 * Commentary Track
 * COUNTERpoint
 * Covering Culture
 * David Thompson
 * davidbordwell.net
 * e-l-i-s-e
 * Edna’s Place
 * Edwardian Promenade
 * El diablo quizás
 * El Maquinista de Treblinka
 * European Film Star Postcards
 * Film of the Year
 * Film Studies for Free
 * FilmBuff Newsreel
 * Fisherscircle
 * flycz
 * Half/Films
 * harvey@deneroff.com
 * Hearing the Movies
 * Initials ZS
 * Kinetografo
 * Kinodelirio
 * Kuukkeli
 * l’eclisse
 * Malcolm Lowry @ the 19th Hole
 * Man without a Star
 * Mirror Mirror
 * Modärna tider
 * Moondust
 * Mugu Brainpan
 * My Cabinet of Distractions
 * Nitrato, Acetato & Poliéster
 * Ockhams Axt
 * On Cinema
 * Out from Under
 * Pasión Silente
 * Raymond Owen
 * Recanto Silente
 * Reel Culture
 * Rushblogg
 * Screenville
 * sempre in penombra
 * simon’s music den
 * Sound and Vision
 * Spectacular Attractions
 * Stanley Stories
 * Strictly Vintage Hollywood
 * Tatws Newydd
 * The Art and Culture of Movies
 * The Blue Lantern
 * the Cine Tourist
 * The Classic Film Show
 * THE FUTURIST!
 * The Lens
 * The Pneumatic Rolling-Sphere Carrier Delusion
 * The Rob Kozlowski Chicago Theater and Vintage Film Medicine Show
 * The Tainted Archive
 * Voyages Extraordinaires
 * Wide Awake and Writing
 * Winds from the East
 * Wiped News
 * WSBC (Women and British Silent Cinema)
 * Yan Bin Chronicles


CALENDAR

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