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From · The Silent West

Hell's Hinges

1916 · Directed by Charles Swickard

William S. Hart as Blaze Tracy, 1916, produced by Thomas Ince, directed by Charles Swickard from a C. Gardner Sullivan script. A weak minister and his sister Faith arrive in the town of Hell's Hinges. Saloon man Silk Miller hires Tracy to run them out; Tracy falls for Faith instead. The church burns. Clara Williams is Faith. Joseph August photographed it. Selected for the National Film Registry in 1994. The town's name is the argument.

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From · Spotlight: Anna May Wong

Daughter of the Dragon

1931 · Directed by Lloyd Corrigan

Lloyd Corrigan, Paramount, 1931, from Sax Rohmer. Anna May Wong is Princess Ling Moy, a nightclub performer who learns she is Fu Manchu’s daughter and is pointed at Scotland Yard. Sessue Hayakawa is Ah Kee, the detective; Warner Oland, again in yellowface, is Fu in his last turn in the part. Wong and Hayakawa, two stars the studios would not let play ordinary leads, share a thriller that still needs a white couple in the background. Seventy minutes, early sound. Wong’s voice is low and exact. The dragon is Rohmer’s.

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From · Spotlight: Louise Brooks

The Canary Murder Case

1929 · Directed by Frank Tuttle, Malcolm St. Clair

Malcolm St. Clair shot this Paramount Philo Vance picture silent in 1928; Frank Tuttle did the sound retakes. Louise Brooks is Margaret Odell, a blackmailing showgirl. William Powell is Vance. Brooks was already in Berlin and would not come back to record lines. Margaret Livingston spoke them, and doubled some shots from behind or in profile. Trade papers noticed. The silent cut is the one that still looks like Brooks.

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02

Film of the Day

Today’s pick

An Eastern Westerner

1920 · Hal Roach

Hal Roach, 1920, Pathé. Harold Lloyd as a New York idler shipped west by his father, Mildred Davis the saloon keeper's daughter, 'Snub' Pollard in the gang. Two reels, silent. A dance-hall hold-up, a hanging tree, and a trick horse that will not stay put.…

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An Eastern Westerner

Films Like “The Return of the Rat”

The Rat

The Rat

1925

The Triumph of the Rat

The Triumph of the Rat

1926

The White Shadow

The White Shadow

1924

The Lodger: A Story of the London Fog

The Lodger: A Story of the London Fog

1927

The Wrecker

The Wrecker

1929

The Blackguard

The Blackguard

1925

The Ghost Camera

The Ghost Camera

1933

The Mysterious Dr. Fu Manchu

The Mysterious Dr. Fu Manchu

1929

The Flying Scotsman

The Flying Scotsman

1929

The Silent House

The Silent House

1929

Raffles

Raffles

1930

Bright Lights

Bright Lights

1930

03

Curated Collections

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20 films

Silent 101

Twenty films, 1902 to 1929, laid out as a map rather than a trophy case. Méliès puts a rocket in the moon's eye. Porter cuts a robbery against a posse. Then the decade's methods arrive: Griffith's close-ups, German sets that look like a mind, Soviet cuts that argue, comedians who treat physics as a problem. Watch what each title thinks a camera is for. A sleepwalker. A clock face. A carriage that collects the dead. Within Our Gates sits next to Griffith; that is not an accident. Sunrise and Joan of Arc are near the end because the form had the most tools and the least speech. Vertov closes it by refusing a story altogether.

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20 films

The Supernatural and the Occult

Cinema reached for ghosts early because the machine could do substitutions. Méliès's 1896 castle trick is counted as the first horror film. After that the uncanny is a technique: Sjöström's double-exposed coach, Christensen lecturing you through a witches' sabbath, Murnau putting a real landscape around a figure that should not walk. Watch shadows that do not belong to anyone. Caligari's sets are a mind. Nosferatu is a contagion. Chaney's Phantom is a ruined face under a mask. White Zombie, 1932, is often cited as the first feature about the living dead, and the horror is labor, not appetite. Vampyr sounds wrong on purpose.

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18 films

French Avant-Garde

French filmmakers in the 1920s treated the camera as a way to think, not just to tell. Epstein and Dulac chased photogénie, the idea that a face or a bottle could have an inner life on film. Clair and Léger cut to a beat. Feuillade's crime serials, shot on real Paris streets, were already dream logic before the Surrealists named it. Watch the seashell and the razor, not the plot. Dulac's The Seashell and the Clergyman has the claim to first Surrealist film; Buñuel and Dalí's Un Chien Andalou is the one people remember. L'Herbier mortgaged his house for L'Argent. The stock-exchange camera does not sit still.

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04

Recently Added

View all
The Return of the Rat

The Return of the Rat

1929

Directed by Graham Cutts

The Triumph of the Rat

The Triumph of the Rat

1926

Directed by Graham Cutts

The Rat

The Rat

1925

Directed by Graham Cutts

The Queen of Spades

The Queen of Spades

1916

Directed by Yakov Protazanov

The Return of Draw Egan

The Return of Draw Egan

1916

Directed by William S. Hart

The Rink

The Rink

1916

Directed by Charlie Chaplin

The Pawnshop

The Pawnshop

1916

Directed by Charlie Chaplin

The Habit of Happiness

The Habit of Happiness

1916

Directed by Allan Dwan

The Good Bad-Man

The Good Bad-Man

1916

Directed by Allan Dwan

The Floorwalker

The Floorwalker

1916

Directed by Charlie Chaplin

The Fireman

The Fireman

1916

Directed by Charlie Chaplin

Poor Little Peppina

Poor Little Peppina

1916

Directed by Sidney Olcott