Erich von Stroheim, 1924. A dark American epic. Not as sophisticated as Foolish Wives, but much grander in scale. Zasu Pitts is effectively grotesque while Gibson Gowland exerts a gravitational force on screen.
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Sherlock, Jr.
Buster Keaton, 1924. Film becomes aware of itself. Such a spectacular moment.
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Strike
Sergei M. Eisenstein, 1925. This was hard to follow, but the mood – the wild rage of a revolution – is effectively captured. The first Soviet film on my list is not a horror, fantasy, or comedy, but instead a visceral anecdote firmly grounded in reality.
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The Thief of Bagdad
Raoul Walsh, 1924. Fairbanks’ physicality is off-the-charts.
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