King Vidor, 1925. John Gilbert is magnetic. And for the first time in silent cinema I believe two people are in love. It’s no wonder this was the highest grossing silent, it has everything.
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The Battleship Potemkin
Sergei M. Eisenstein, 1925. One of the many searing images from this film. You don’t forget faces like this.
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The Phantom Of The Opera
Rupert Julian and Lon Chaney, 1925. Chaney is a horrific success, but I can’t stop staring at this still frame from the brief sequence in Technicolor. It makes the film seem so strangely modern.
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The Last Laugh
F.W. Murnau, 1924. No intertitles needed! The camera seems to be doing all the work, along with Emil Jannings.
