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Synopsis:
In the 1800s, a young man (Buster Keaton) traveling to claim his inheritance in Appalachia falls for a girl (Natalie Talmadge) he meets along the way. Soon he learns that Talmadge belongs to a family his ancestors have been feuding with for generations, and that her father (Joe Roberts) and brothers (Ralph Bushman and Craig Ward) will do anything to kill him.

Genres, Themes, Actors, and Directors:

• Buster Keaton Films
• Comedy
• Feuds
• Historical Drama
• Silent Films

Review:
Our Hospitality is notable as Buster Keaton’s first “official” feature-length film (Three Ages, which came out two months earlier, was released as a single full-length feature, but actually created as three separate “shorts” in case it failed in its longer form). Our Hospitality demonstrates Keaton’s typically keen attention to historical detail, with several fun props — i.e., a miniature steam engine known as Stephenson’s Rocket, and a pedal-less bicycle called a Dandy Horse — actual replicas of authentic items. It also showcases several of his most inventive and daring set pieces — most memorably the peerless waterfall finale, which was filmed on a set but nonetheless placed Keaton in harm’s way several times (including sending him to the hospital once for inhaling too much water). Meanwhile, the storyline itself, while incredibly simple in concept — Keaton tries to avoid being killed! — remains humorously inventive throughout.

Redeeming Qualities and Moments:

• Fun historical set pieces and props
  
  
• Many enjoyable sight gags and scenarios
  
  
  

Must See?
Yes, for its historical relevance as Keaton’s first (authentic) feature length film, and for its sheer inventiveness. Listed as a Personal Recommendation in the back of Peary’s book.

Categories

• Historically Relevant

(Listed in 1001 Movies You Must See Before You Die)

Links:

• IMDb entry
• Combustible Celluloid Review
• DVD Savant Review
• DVD Talk Review
• TCM Article
• Time Out Capsule Review

Synopsis:
Count Vronsky (John Gilbert) falls in love with married Anna Karenina (Greta Garbo), who abandons her husband (Brandon Hurst) and child (Philippe De Lacy) to be with him.

Genres, Themes, Actors, and Directors:

• Greta Garbo Films
• Infidelity
• John Gilbert Films
• Romance
• Silent Films

Review:
Greta Garbo starred as the tragic literary heroine Anna Karenina twice during her relatively brief on-screen career. This earlier (silent) version constitutes a highly pared-down adaptation of Tolstoy’s classic novel, telling a simple romantic morality tale of illicit desires, challenging choices, and conflicted outcomes. It was directly made to bank upon the onscreen chemistry exhibited by real-life couple John Gilbert and Greta Garbo (who starred together the previous year in Flesh and the Devil); highlighted by William Daniels’ fine soft focus cinematography, they once again make for an appealingly sensuous pair of star-crossed lovers. However, the film as a whole isn’t really must-see viewing for anyone other than Garbo completists.

Note: This film notoriously had two different endings: one more authentic to the book (i.e., depressing), and one tailor-made for audiences wanting a more cheerful resolution. This latter ending is the one I saw, on a version aired for TCM which was taped live during a screening at UCLA — complete with an audience laugh-track (and not always during “appropriate” moments!).

Redeeming Qualities and Moments:

• Fine on-screen chemistry between Garbo and Gilbert
  
• Lovely cinematography by William Daniels
  

Must See?
No; this one is only must see for Garbo fans.

Links:

• IMDb entry
• Silent Era Review
• NY Times Original Review
• TCM Article

Synopsis:
A young woman (Bessie Love) whose father is reported lost in the Amazon convinces an eccentric professor (Wallace Beery) and several others — including a reporter (Lloyd Hughes) and a sportsman (Lewis Stone) — to accompany her on a rescue mission, where they quickly discover the presence of dinosaurs.

Genres, Themes, Actors, and Directors:

• Fantasy
• Lewis Stone Films
• Silent Films
• Wallace Beery Films

Review:
This early film adaptation of Arthur Conan Doyle’s 1912 novel is notable for its groundbreaking animation by Willis O’Brien, who would soon go on to bigger fame for his work on King Kong (1933) (and win an Academy Award for 1949’s Mighty Joe Young). The undeniably creaky storyline is simply a convenient excuse to introduce breathtakingly “realistic” (for the time) scenarios of dinosaurs battling each other on an Amazonian plateau; unfortunately, because the creatures engage exclusively with each other rather than the human intruders, what we’re left with are multiple shots of the characters looking up at distant action happening above and behind them, never truly seeming at risk for their lives. At least the situation is redeemed somewhat once the intrepid explorers bring a live specimen back to London, and we see the beast wreaking havoc a la King Kong on the city streets. (And it’s interesting to know that some audience members at the time were apparently convinced that what they were seeing on-screen really happened.)

Note: This film has a storied history of being nearly destroyed, then found, then finally restored to a length closer to its original running time; check out Digitally Obsessed’s review for a blow-by-blow account of scenes and images inserted into the restored edition.

Redeeming Qualities and Moments:

• Truly groundbreaking stop-motion animation
  

Must See?
Yes, simply for its astonishing early animation. Listed as a film with Historical Importance in the back of Peary’s book.

Categories

• Historically Relevant

Links:

• IMDb entry
• Moria Review
• DVD Savant Review
• Digitally Obsessed Review
• Silent Volume Review
• NY Times Original Review
• TCM Article
• Wikipedia Article
• Time Out Capsule Review

Synopsis:
While camping with his enabling butler (Snitz Edwards), a wealthy milquetoast (Buster Keaton) falls in love with a “mountain girl” (Sally O’Neill) who comes to believe he’s a champion prizefighter (Francis McDonald) with the same name.

Genres, Themes, Actors, and Directors:

• Boxing
• Buster Keaton Films
• Comedy
• Mistaken or Hidden Identities
• Play Adaptation
• Silent Films

Review:
Widely considered one of the “least” of Buster Keaton’s films (primarily because it’s based on a play rather than an original cinematic conceit), this nonetheless remains an enjoyable treat for silent comedy fans. Keaton, as always, is at the top of his game, consistently delighting us with one visual gag after the other: Alfred (Keaton) finding no animals available to hunt in a forest literally teeming with critters:

… Alfred’s table sinking in the mud as he romances his new love interest:

… Alfred’s wild attempts at faux-boxing with a disheartened trainer.

It’s been noted that Keaton was actually too physically dexterous (check out his muscles!) to be convincing as a weakling, but this simply makes his slapstick maneuvers all that much more impressive. Meanwhile, it’s refreshing to note that Keaton’s character originally intends to tell his girl the truth, but literally gets sucked into marriage before he can say a word; his deception thereafter is simply meant to save face in front of the love of his life, and one can’t really fault him for that.

Note: If you decide to check out the original New York Times review, be sure to read all the way to the end, where you’ll find a giggle-worthy final line advertising an accompanying short.

Redeeming Qualities and Moments:

• The amusing opening scenes
  
• Some fun visual/physical gags
  
  

Must See?
No, but like so many of Keaton’s films (even his “lesser” titles), it’s recommended. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review (scroll down to second review)

Synopsis:
An inept new cowhand (Buster Keaton) tries to protect a cow (Brown Eyes) he’s become smitten with from being slaughtered.

Genres, Themes, Actors, and Directors:

• Buster Keaton Films
• Comedy
• Cowboys
• Silent Films
• Westerns

Review:
This surprisingly heartwarming tale of a gentle, hapless young man who becomes smitten with a cow (!) represents perhaps the most Zen-like qualities of Buster Keaton’s infamously stone-faced persona. At first we believe his “Friendless” is merely hopelessly naive and impractical, as he places a bucket underneath the udders of “Brown Eyes” and waits patiently for her milk to arrive. Soon, however, we begin to suspect a slightly different tendency at play: when collecting eggs, for instance, he quietly stands aside to wait for a hen to lay her final product; when tasked by a couple of prankster ranchhands with bull-herding some cattle into a pen, he does so elegantly and efficiently; later, when he realizes that a misplaced train full of cattle needs to be brought to the L.A. stockyards, he simply lets the cattle loose and anticipates they will follow him. (Do they? I’ll leave that spoiler for you to discover yourself.) Though this amiable comedy may not be among Keaton’s finest work, it’s an enjoyable outing while it lasts, and is recommended for one-time viewing.

Note: It’s impossible to ignore how eerily reminiscent the final scenes in Go West are with the central sight gag in Seven Chances (1925) — released earlier that same year — in which Keaton’s hapless protagonist is followed by a “herd” of would-be brides.

Redeeming Qualities and Moments:

• A surprisingly heartwarming premise
  
  
• Amusingly surreal imagery in the final third
  

Must See?
No, but it’s recommended, and certainly a must for Keaton fans.

Links:

• IMDb entry
• NY Times Original Review
• DVD Savant Review
• Time Out Capsule Review

Synopsis:
In Victorian London, Sherlock Holmes (John Neville) and Dr. Watson (Donald Houston) investigate a rash of murders committed by “Jack the Ripper”.

Genres, Themes, Actors, and Directors:

• Anthony Quayle Films
• Detectives and Private Eyes
• Historical Drama
• Jack the Ripper
• Murder Mystery
• Serial Killers
• Sherlock Holmes Films

Review:
This mid-century Holmesian thriller is notable as the first film to show the literary icon tracking the notorious Victorian-era serial killer known as “Jack the Ripper”; Bob Clark’s Murder By Decree (1979) tackled the same subject. John Neville — perhaps best known for playing the title role in Terry Gilliam’s The Adventures of Baron Munchausen (1988) — does a fine job as Holmes, and the storyline itself remains engaging throughout; with that said, this one will primarily be of interest to Holmes fans, and isn’t must-see for all film fanatics. Keep your eyes out for Judi Dench (I’ll admit I didn’t recognize her) in a small but key supporting role — and be sure to read TCM’s article for the lowdown on a host of other recognizable cast members.

Redeeming Qualities and Moments:

• John Neville as Sherlock Holmes
  
• Fine period sets
  

Must See?
No, though it’s worth a look for Neville’s fine central performance as Holmes.

Links:

• IMDb entry
• NY Times Original Review (scroll down to third review)
• SciFilm Review
• Spinning Image Review
• Moria Review
• TCM Article
• Time Out Capsule Review

Synopsis:
When Sherlock Holmes (Basil Rathbone) and Dr. Watson (Nigel Bruce) receive a letter requesting assistance from a recently murdered woman, they travel to her hometown, where the villagers are convinced her death was caused by a legendary monster.

Genres, Themes, Actors, and Directors:

• Basil Rathbone Films
• Detectives and Private Eyes
• Horror Films
• Murder Mystery
• Sherlock Holmes Films

Review:
This eighth entry in the fourteen-film series of Basil Rathbone/Nigel Bruce Holmes flicks (most made for Universal Studios) is generally considered to be the best of the bunch, and it does indeed pack plenty of atmospheric punch. Only the first two films in the series were set in Doyle’s original Victorian-era London; this and others were updated to the 1940s. With that said, the setting and overall ambiance of The Scarlet Claw — which takes place in Quebecois-Canada — come across as rather timeless; meanwhile, the film itself is reminiscent of The Hound of the Baskervilles in its presentation of a mysterious fiend bounding across mist-shrouded moors. What’s most interesting about The Scarlet Claw (based on an original story) is its decidedly horror-tinged flavor, with one murder scene in particular wonderfully predating Psycho (1960). Watch for some truly startling special effects by John P. Fulton, known for his excellent work on The Mummy (1932), The Invisible Man (1933), Bride of Frankenstein (1935), The Ten Commandments (1957), and Vertigo (1958), among other titles.

Redeeming Qualities and Moments:

• Some genuinely creepy, horror-infused moments
  
• Atmospheric cinematography and sets
  
• John P. Fulton’s special effects
  

Must See?
No, though it’s certainly recommended. Listed as a Personal Recommendation in the back of Peary’s book.

Links:

• IMDb entry
• Spinning Image Review
• SciFilm Review
• TCM Article
• Time Out Capsule Review

Synopsis:
An American girl (Lillian Gish) living in France falls in love with the American boy (Robert Harron) living next door; but before they can marry, he goes off to fight against the Germans in World War I.

Genres, Themes, Actors, and Directors:

• D.W. Griffith Films
• Lillian Gish Films
• Romance
• Silent Films
• World War I

Review:
D.W. Griffith’s follow-up to Intolerance (1916) was this patently propagandist wartime melodrama, designed to encourage Americans to assist the British in fighting the Great War (though by the time the film was released, Americans were already squarely involved). The story itself is little more than a crutch upon which Griffith hangs his admittedly impressive footage of battles and the wartime havoc wreaked upon nearby villagers — but viewers will likely find themselves struggling to stay engaged overall. A minor subplot involving a vamp (Dorothy Gish) who tries to steal the affections of Lillian Gish’s betrothed doesn’t really go anywhere; the bulk of the film is concerned with following Harron as he struggles to survive a near-fatal skirmish, then goes undercover as a spy, while Lillian pines for her presumed-dead lover and must defend her virtue against Evil Germans. Check out TCM’s article to read more on the inception and production of this film, which is worth a look for historical purposes but not all-around must-see viewing.

Redeeming Qualities and Moments:

• A powerful early depiction of the ravages of World War I
  

Must See?
No; this one is only must-see for Griffith completists.

Links:

• IMDb entry
• TCM Article
• Silents Are Golden Review

Synopsis:
A con-artist (Charlie Chaplin) convinces a farmer’s daughter (Marie Dressler) to elope with him to the city after stealing her father’s stash of money. Once there, he quickly takes up with his former flame (Mabel Normand), but shifts his allegiances once again when he hears that Tillie (Dressler) has inherited a million dollars from her deceased uncle.

Genres, Themes, Actors, and Directors:

• Charlie Chaplin Films
• Comedy
• Con-Artists
• Inheritance
• Marie Dressler Films

Review:
Directed by Mack Sennett, this early Charlie Chaplin/Marie Dressler vehicle is notable as the first feature-length comedy film, and as such will be of at least passing interest to film fanatics. Unfortunately, the movie itself is little more than an extended slapstick scenario, with Chaplin’s “Little Punk” doing whatever it takes to milk poor Dressler of her familial funds, overweight Dressler mugging like crazy for the camera, and Mabel Normand having fun playing Chaplin’s no-good sidekick (watch for an interesting scene in which she and Chaplin watch a silent film about cons like themselves). Given that Peary doesn’t list short films in his book, it’s a bonus as well to see the Keystone Kops showing up near the end of the story; regardless of how much one actually enjoys their antics, film fanatics should at least be familiar with their schtick.

Redeeming Qualities and Moments:

• An early glimpse at several silent screen icons
  
  

Must See?
Yes, but simply for its historical importance as the first feature-length comedy. Available for free viewing at www.archive.org.

Categories

• Historically Relevant

Links:

• IMDb entry
• Cinematic Threads Capsule Review