National Silent Movie Day

Today we celebrate the first annual National Silent Movie Day. It's a day to celebrate, and bring attention to preserving and creating access to silent movies." Fans of this forgotten art form are thrilled for the recognition, but for many of us, everyday is silent movie day. My hope for this date, and for the future, is that September 29th will peak the curiosity of those who are not aware of the beauty and wonderment that is silent film. And hopefully, we'll get a few converts today, and the through years to come.

It's been a frustrating journey attempting to get viewers on board the silent movie train. There seems to be this preconceived notion that all films made before 1930 were pie throwing comedies full of wild chases and knockabout humor. And while true, the comedies of the the 1910's were often outlandish slapstick extravaganza's, they did become more sophisticated over the years. By the 1920's all styles of comedy, from romantic to satire and everything in between, were being viewed and enjoyed by the movie going public. In fact, some of the best comedies and comic performances I've seen have been from the silent era.

I won't go into the genius of Charlie Chaplin, Buster Keaton, or Harold Lloyd. Their films are readily available as well as numerous books on their lives and their impact on modern film. They each had their own unique style that developed and grew from their early years of physical comedy. What so many people are not aware of, though, are the volume of really good comedy films and actors from the silent era that did not rely on physical humor to carry a film

Silent movie fans are very familiar with the work of Marion Davies, but to the casual movie goer she was nothing more than the long time mistress of William Randolph Hearst. His newspapers may have given her glowing reviews and built up her career, but a look back at her films will prove that she didn't need a sugar daddy to become a star. If anything, I believe the impact Hearst had on her career actually held her back from meeting her true potential. Her comic work in The Patsy is quite impressive, but it's the movie, Show People, alongside her co-star, William Haines, that is proof that many of the comedies of the silent era were much more than just pratfalls.

And speaking of William Haines, there's a reason he was one of the top box office draws by the end of the 1920's. Today he is more well known as the man who left a thriving Hollywood career to live his life as an openly gay man, becoming one of the country's top interior designers. But in his early years he was one of the most charming actors upon the screen. Haines's silent films, especially his wonderful work in Brown of Harvard, Go Tell the Marines, and the aforementioned Show People are perfect examples of the quality of acting in the silent era.

The "IT Girl," Clara Bow

Throughout the years, many people have heard the term, "IT Girl" and think of the '70's and '80's models, Marisa Berenson or Grace Jones. However, they weren't the first. One of the earliest "IT Girls" was the famed model of the early 1900's, Evelyn Nesbit. She would soon be forever replaced by silent film star, Clara Bow. And Bow's staring vehicle, appropriately titled, IT, proved then, and still today, the appeal this winning actress had over both men and women. I can't imagine anyone watching that movie today and not believing that Clara Bow had "IT."

The list of non-physical comic stars and movies of the 1920's are way too numerous to be included here, but I feel the need to mention Colleen Moore, Neil Hamilton, Gloria Swanson, Wallace Reid, Bebe Daniels, and Beatrice Lillie, who in the film Exit Smiling, is celluloid proof of an actress matching Charlie Chaplin in her equal mixture of comedy and pathos. However, I feel the true master of silent comedy without relying on slapstick was Constance Talmadge.

Unfortunately, many of her films are either lost or in private collections unattainable to the public. The ones that are available, though, are a gold mine of light-hearted fun and romance. I would recommend starting with what I consider to be Constance Talmadge's best film, Her Sister From Paris, co-staring a very young Ronald Coleman. She plays twin sisters - one married to her husband, and the other, the object of his desires. Other actors have played twins before, but one can usually tell them apart by a wig or some character trait. Not here. The transformation from one sister to the other is done with no change in make-up or hairstyle, and yet the audience has no problem knowing who is who at all times - a true sign of the talent and charm of Constance Talmadge.

But enough of the comedies. Now on to the dramas. Another misconception of the silent era is that all the serious films are laughable because of melodramatic cartoonish overacting. This is simply not true. When the sound era took over, the studios were, for some reason, embarrassed by their earlier efforts. If the old silent films weren't destroyed they were often recut and rereleased with the film being sped up while adding silly narration that would not only change the plots, but severely cheapen the movies as well. This, along with popular sound films like Singing in the Rain, which poked fun at the silent era, helped destroy the beauty and art that is the silent film.

The movie, The Crowd often makes many film scholars top 50 list. The direction and vision of director King Vidor is one of the reasons, but it's the realistic, heartbreaking portrayal of dreams shattered by marriage, from actors James Murray and Eleanor Boardman that etch itself into the memories of those who have seen the film. And considering there is not one spoken word of dialogue, this classic releases a powerhouse of emotions.

Another excellent movie from that same year, 1927, was Sunrise: A Song of Two Humans, which gave Janet Gaynor the very first Oscar for Best Actress. Unfortunately, her co-star, George O'Brien, wasn't even nominated. That's a shame for he gives an equally compelling performance as a man who rediscovers his love of his wife while in the process of plotting her murder. There's nothing laughable here - only top notch acting that can easily stand beside the best performances of today.

Paul Robeson in Body and Soul

Unfortunately, there were great films and performances in the early days of moviemaking that were not seen by all. Sadly, segregation was alive and thriving in the 1920's and because of that, films with all black casts featuring stories for black audiences by black filmmakers, like Oscar Micheaux, were shown only in black movie theatres. These were called at the time, "race films" and they tackled all subjects their audience could relate to while at the same time giving them encouragement to "further the race" in a positive direction.

One of the best performances of the silent era, or any era, came from Paul Robeson in the "race film" Body and Soul. His ultra realistic portrayal of a man impersonating a minister in a small town is a powerful look at trust, religion, and greed, which to this day is still relevant. Less then 100 of the silent films made for black audiences survive today, but thanks to the work of the Library of Congress they are slowly being saved from oblivion. And the good news is that many are available on DVD.

Renee Falconetti in The Passion of Joan of Arc

In talking about the excellent acting that can be found in the silent era, it would be a crime not to mention Renee Falconetti. Many modern day film critics, including Roger Ebert, have said that her work in The Passion of Joan of Arc is one of the greatest performances in the history of film. And I don't know anyone who has seen this film that would disagree with that statement.

I have not even touched the surface on the many great movies and actors of the silent era. I didn't get into the wonderfully realistic performances that can be found by Louise Brooks in Pandora's Box, Lillian Gish in both Broken Blossoms and Way Down East and of course just about anything that featured Lon Chaney. My hope here, is that on this, the first annual Silent Movie Day, those of you who may not be familiar with the silent era, will not only give these films a thought, but give them your attention as well. I'm confident you will find many that will impress you.

The Best Female Performances of 1920

In 1920 there were no ceremonies to award the best movies and performances of each year. I would like to remedy that. Based on reviews of the time, as well as having watched these films myself, I would like to highlight what I believe to be the best performances by an actress of the year 1920. Since award worthy accomplishments were rarely acknowledged one hundred years ago, I feel honoring the past, now, is better than never. Of course, with so many lost films and others unavailable to the public, it's impossible to know for sure what the best of the year actually was. These honors you are about to read come only from me, a humble fan who watches a lot of silent movies.

So let's start with what I believe to be the best female performances of 1920, beginning with LILLIAN GISH in "Way Down East."

Lillian Gish in "Way Down East"

With the exception of maybe Buster Keaton or Lon Chaney, nobody put more of themselves into a role than Ms Gish did. Her work in "Way Down East" is no exception. The harrowing climax set during a blizzard, featuring its female star adrift on a piece of ice heading toward a waterfall, was the real thing. There were no stunt doubles, fake props, or safe working conditions. Besides putting herself in physical danger, Lillian Gish's performance also takes her and the audience on an emotional ride. Her portrayal of a young innocent girl tricked into having sex, who then becomes pregnant and alone, is both heart breaking and empowering. I truly believe if the Oscars were around in 1920, Lillian Gish's performance in "Way Down East" would have been a contender.

Lillian Gish would have had fierce competition, though, from several other equally compelling actresses, beginning with OLIVE THOMAS for her work in "The Flapper."

Olive Thomas in "The Flapper"

The untimely death of Ms Thomas just four months after the film's release, is not a factor in "The Flapper" having one of the best female performances of 1920. Many young actresses became more well known than Olive Thomas for playing rebellious youth, but it was in "The Flapper" where audiences saw it first, setting the stage for Joan Crawford, Colleen Moore, Clara Bow, Louise Brooks, and countless others. Olive Thomas had "It" long before the term was invented, and her work in "The Flapper" is celluloid proof. Had she lived, I believe this gifted actress would be remembered for her talent instead of her death. And one can only speculate on how far her career may have gone. Based on her efforts in "The Flapper," I would say pretty far. However, hers wasn't the only female performance to open the eyes of the world to the ways women were becoming individuals of their own.

What Olive Thomas did for the female youth, TORA TEJE in the film, "Erotikon" did for sexual equality.

Tora Teje in "Erotikon"

Before audiences discovered the sensuality of Greta Garbo, there was Tora Teje. And her performance in the film "Erotikon" is one of the more memorable ones of 1920. Although, tame by today's standards, her playful approach to marital infidelity must have been scandalous one hundred years ago. At the risk of sounding cliche, it is hard to keep your eyes off her in this film. There had been portrayals of bored wives before in the movies, but through Tora Teje's multi-layered characterization, we see not only first hand her frustrations with a loveless marriage, but also her bold attempts at managing her gnawing urge for physical intimacy. In the hands of another actress, her character could have easily become one dimensional and predictable, which is far from the case here.

While sex appeal certainly went along with the performances of the first three actresses profiled here, it was not a factor in the work of VERA GORDON in "Humoresque,"

Vera Gordon in "Humoresque"

Vera Gordon, the oldest of my nominees, wasn't even mentioned on the poster alongside her younger co-stars, Alma Rubens and Gaston Glass. However, her role as the strong-willed mother with dreams of her son escaping poverty through his musical talents, is the foundation of this wonderful film. Like today, unless already established, older actors rarely sustained a movie, but the success of "Humoresque" fell on the shoulders of Ms Gordon and she carries the film with grace, pathos, and honesty. Her name may not have been mentioned in the promotion of the movie, but it is the only one you will remember when finished viewing.

Another award worthy performance from 1920 which cannot be ignored is that of EVELYN PREER in "Within Our Gates."

Evelyn Preer in "Within Our Gates"

Sadly, if the Oscars were held in 1920, Evelyn Preer would not have been nominated due to the color of her skin. These are my Oscars, though, and her work deserves to stand equal alongside the other deserving female performers of 1920. "Within Our Gates" is the intense tale of an African-American woman and her travels North to raise money for her southern rural school, only to discover that racism and white supremacy extend beyond the South. Ms Preer was popular with the black arts community, which dubbed her "The First Lady of the Screen," appearing regularly in what was called at the time, "Race Films." She was never given the opportunity to work in "White" Hollywood, which is shameful, for she would have been so good in "Uncle Tom's Cabin," opposed to the white actors that were cast in black face.

Not all of the top female performances of 1920 were in leading roles. I can think of two supporting players, whose work contributed greatly to the success of their films. The first is BARBARA BEDFORD in "Last of the Mohicans."

Barbara Bedford in "Last of the Mohicans"

Ms Bedford's role as the kidnapped daughter of a Colonel, who offers her life to save her sister, is devastatingly painful to watch. Although not the star of the movie, it's the work of Barbara Bedford in this film that gives the audience an emotional sucker punch that takes quite a while to recover from. And even though she might not have had as much screen time as the others mentioned, Barbara Bedford's work in "Last of the Mohican's" deserves to be considered one of the best of 1920.

And finally there's BEBE DANIELS in "Why Change Your Wife?"

Bebe Daniels in "Why Change Your Wife"

As the free spirited jazz baby that catches the eye of a married man, Ms Daniels manages to steal every scene she's in, including several with screen legend, Gloria Swanson. Good comic performances tend to get overlooked come awards season, but it's hard not to notice Bebe Daniels in "Why Change Your Wife?" Her charm is contagious and helps elevate this light romantic comedy to the award worthy level.

So who gets my imaginary Oscar for the best actress of 1920? They all do. How can a person pick one performance over another when all are deserving? And who's to say drama is harder than comedy? To the modern movie goer, most of these names mean nothing, but their work has given me, and countless others, such joy and admiration that the least I can do is to try to keep their contributions alive - starting with this blog you just read.

Edna Purviance 1895 - 1958

 Edna Purviance (pronounced per-vie'-ance) was Charlie Chaplin's leading lady in the comedian's early years with the Essanay, Mutual, First National, and United Artists studios. She performed as his love interest in over thirty films while simultaneously playing that role in real life on and off throughout their working relationship.

She had never intended on being an actress. After her natural good looks and easy going personality were spotted at a cafe, she was suggested to Chaplin after he had come up empty on his search for a female co-star. Her lack of experience didn't concern him. He felt it was actually more of a plus that she had never been in front of a camera - feeling he could train her much easier without her falling back on old habits. Chaplin was, however, worried she might not be suited for comedy. His fears were put to rest when at a party he performed an improvisational act pretending to be a hypnotist. Chaplin pulled her from the crowd and whispered directions to her, which she spontaneously followed impeccably.

In 1915, Edna Purviance made her film debut in A Night Out. And even though a lot of her screen time in that film was played opposite Bud Jamison, her bits with Chaplin not only showed her adaptability to his style of comedy, but also proved the two of them together had chemistry. It was a chemistry that carried beyond the celluloid as they soon became a couple in real life as well.

In her first several films, Chaplin wisely didn't push his novice leading lady into doing more than just looking pretty. Her inexperience, though, was overshadowed by her natural charm, and as she gradually found comfort in front of the camera, her roles became more demanding. And the larger the part, the more her winning personality shined through.

Although, Edna Purviance was never considered a slapstick actress, she managed to hold her own when physical comedy was needed. She took her first pratfall (falling off a tree branch) in A Jitney Elopement, and proved she could handle even more physical challenges in the knockabout film, Work. But it was her genuine charisma as a leading lady that made her performances so special.

Although she gained experience in front of the camera, she never really developed into a great actress. She certainly had the potential, though. Her work in A Burlesque on Carmen  proved she could become a character other than herself. And her performance in The Vagabond showed she could handle any emotion. But Edna Purviance was ultimately just a regular girl, who, together with a mixed ensemble of ex-vaudevillians, found herself a key component in the early years of a comedy genius. And like Chaplin's other talented supporting players, she was never given the opportunity to outshine the star.

Early on, to make up for her lack of training, she relied on her winning personality. And it's her fun-loving nature that shines through in almost every film in which she appeared. When watching Edna Purviance, we rarely see the character, but instead, the audience is given the gift of witnessing her contagious persona. This is obvious in her early films. And the more she appeared in front of the camera, her true self came through. She had a natural magnetism, and it is easy to see what Chaplin saw in her, both professionally and personally.

However, Edna Purviance's weight fluctuated from film to film. And according to Chaplin himself, he felt she was becoming too matronly looking for the roles she would normally play. Instead of moving on without her, though, he decided to write and direct a drama in which she would star. 

That drama was A Woman of Paris. It would be her first leading role and Chaplin had hoped the film would be the beginning of her career as a dramatic actress. But Chaplin ignored her greatest asset - her personality - which was nowhere to be found in this film. And even though the movie is quite good, and Edna Purviance does an adequate job, she is upstaged by her co-star, the then unknown, Adolphe Menjou. To make matters worse, since Charlie Chaplin wrote and directed the film, the public not only anticipated a comedy, but also expected to see him on the screen. And although it faired well with the critics, A Woman of Paris, was a box office flop in 1923.

Chaplin tried to help her once again when he was producing a film directed by the up-and-coming director, Josef von Sternberg, called A Woman of the Sea. This would be Edna Purviance's first time on a movie set without Charlie Chaplin, and according to von Sternberg, she was extremely timid and uncomfortable in front of the camera. The film was destroyed after one showing.

After one more failed film, Education of a Prince, her career was over. And while the public soon forgot Edna Purviance, Charlie Chaplin never did. He kept her on his payroll for thirty years until her death in 1958.

The film performances of Edna Purviance never fail to show a young woman with an infectious personality, opposed to the actress that the public thought she was. But nothing says it more clearly than a 1916 interview with Photoplay magazine when she was asked what her hobbies were, and she responded, "Oh, act, I guess."

The Saphead - 1920

"The Saphead" is an enjoyable film, as long as you are not expecting a Buster Keaton comedy. It's true, Mr. Keaton is the star of the movie, but any similarity between this film and the ones that have made him so popular, are practically non existent. He does fall down the stairs once, and briefly crushes a mans hat while trying to retrieve his own, but that is about it. If it wasn't for the fact that his character never smiles, one may wonder if it was the great stone face they were actually watching. Well, it is, but what you see instead of a Buster Keaton slapstick adventure, is rather, an actor playing a role in an ultra light, romantic comedy.

Douglas Fairbanks had starred on Broadway in the popular play "The Henrietta," but when it was adapted for the screen, he was not available to revive his role. Having been familiar with the work of Buster Keaton, Fairbanks suggested the up and coming comic actor for the part. It would be the first full-length film that Buster Keaton would star in, making "The Saphead" a rather unassuming start to his career in features.

The plot is rather involved, but to sum it up quickly, it's about a family of eccentric rich people and the up and down love affair between Bertie (Buster Keaton) and his adopted sister, Agnes, played by Beulah Booker. Throw in a desperate brother-in-law, a mistress, an illegitimate child, some wall street bully's, and mix them together with a little dumb luck, and you have an entertaining, but predictable film.

If you're the type of person that loves to watch silent movies, "The Saphead" is worth a view. However, if you're a huge Buster Keaton fan and just want to see inventive visual gags and jaw dropping stunts, you'd be better off skipping this one. It's a pleasant silent film if you don't let your love of Buster get in the way.

Marion Davies 1897 - 1961

One can only speculate if William Randolph Hearst made Marion Davies famous, or actually hindered her success. It's no secret of their lengthy affair and that he had his own production company, Cosmopolitan Productions, which his newspapers used to promote his film company's biggest star, Ms Davies. It's also well documented that he preferred her to appear in miscast period costume dramas, opposed to what she was best at; light romantic comedy.

With her career forever linked with the married Hearst, it's made her true talents as a comedic actor easy to push aside. I certainly had no interest in her work until I repeatedly heard how good "Show People" was. And as much as I enjoyed the movie, I was still swayed by the thought of a career being built by one's rich lover - especially since the powerful lover was the man that destroyed the reputations of both Roscoe "Fatty" Arbuckle and Virginia Rappe in order to sell more newspapers.

However, the more films I watched that featured Marion Davies, the more I realized I should give this talented actress a fair chance. I started by giving "Show People" another view. The first time watching, I couldn't help but feel that Constance Talmadge or even Bebe Daniels would have been so much better in the role. However, now, after numerous viewings, Ms Davies without a doubt, owns the character of Peggy Pepper, as well as the much deserved renewed interest in her career.

While many consider Mabel Normand one of the early female role models in film comedy, it's Marion Davies that took the same goofy appeal and refined it, making her truly a comic performer that is hard to not notice. And if one were to ever think her charming work in "Show People" was just a fluke, then they should check out "The Patsy" and they will soon discover that the talent of Marion Davies was real.

Thanks to Undercrank Productions, and the very talented musician, Ben Model, many of the films of Marion Davies are getting new life on DVD. And like when I first discovered the silent work of Lon Chaney, John Gilbert, Greta Garbo and so many others, I now consider viewing a Marion Davies picture equally thrilling. So, if you avoided her films because you thought her career was given to her, think again. She had the talent to not only make it on her own, but could quite possibly have been even more famous without the influence of her rich lover. Her surviving films prove that.

Erotikon - 1920

Leave it to the country that brought us Greta Garbo to deliver one of the most flirtatious and sexy comedies of the silent era. "Erotikon" succeeds on so many levels, one often forgets that it is billed as a comedy. And while the movie doesn't really provoke outward laughs, it does manage to let a naughty grin linger on the face long after the closing credits have passed.

Directed by Mauritz Stiller, "Erotikon" features Lars Hanson as a lonely sculptor fighting his longings to commit adultery with the wife of his best friend, while she appears to have the same compulsion for another man; her flight instructor. The husband doesn't seem to notice either of their antics because he has a roving eye of his own; toward his niece.

American audiences would not be seduced by Greta Garbo for another six years, but was given a taste of the passionate danger they had yet to witness, thanks largely in part by Swedish actress, Tora Teje, in the role of the sexually playful wife, Irene. Through her multi-layered embodiment of the character, we not only see the frustrations of a loveless marriage, but also her brash attempts at satisfying her escalating urges for physical intimacy.

Released in 1920, "Erotikon" was one of several films that brought attention to the ever growing evolution of the sexually independent female. The United States released a similar movie that year, "Why Change Your Wife?" with Gloria Swanson, which was fun, but tame in comparison, making it appear that in the early part of the twentieth century Sweden was most definitely at the forefront of social change.

Today's audiences may view "Erotikon" as out-dated fluff, but one must remember the subservient rules women were expected to follow prior to 1920 to fully appreciate how fresh and risque this movie must have felt at the time. Also featured in this wonderful ensemble are the talents of Anders de Wahl as the befuddled husband, and as his love interest, none other than the future Mrs. Lars Hanson, Karin Molander.

The Mating Call - 1928

"The Mating Call" is another one of those Howard Hughes produced silents that may never see a legitimate DVD release due to the complicated mess of the late billionaire's estate. Thankfully TCM is still around to share this treasure with their many dedicated viewers. And what an adventure this movie takes its audience on.

Part romance, part thriller, "The Mating Call" tells the story of a farmer who just wants to be left alone. Unfortunately he can't shake the advances of his ex-wife and her jealous husband, who happens to be in charge of the local branch of the Ku Klux Klan. To add to the complicated plot, the farmer marries an immigrant straight off of Ellis Island in hopes of keeping his unwanted guests at bay.

Intrigued? You should be, for when it comes to wild stories and their many twists, nothing tops the silent era for its daring originality. And "The Mating Call" is no exception.

Thomas Meighan stars as the likable hero. Meighan was an interesting actor, for he didn't share the dashing good looks of his contemporary leading men, nor did he have the charisma that make so many actors popular. However, it was his lack of both of those star-making traits that made him perfect for the role of the awkward farmer caught in a circle of lust and murder.

With his average looks and laid back portrayal, he made for the perfect acting partner with the two actresses that share the movie with him. Renee Adoree is her usual charming self as the immigrant willing to do anything to stay in this country. Oddly enough, her always powerful screen presence did not overshadow Meighan's subtle approach. Instead it brought out a shy tenderness in his portrayal, adding another layer to the complicated relationships that make up the story.

And speaking of layers, the top acting prize in this film goes to Evelyn Brent as the pushed aside ex-wife. It's a role that could have easily been one dimensional, but Brent manages to make her character not only unpredictable, but fresh, bizarre, and totally original. Every scene she is in, it's hard to keep your eyes off her. It's amazing watching this actress be in total control of a character that is so impulsively out of control. Of all the reasons to seek out this film, the performance of Evelyn Brent makes the top of the list.

"The Mating Call" is much more than a series of good performances, though. This film also serves as a reminder of how free and original many of the silent movies were. And as sad as it is that over seventy per cent of the content of the silent era is most likely lost forever, we can be grateful that this movie and so many other equally good efforts have been preserved and still pass the test of time.