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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

Synopsis:
The daughter (Mary Philbin) of a rabbi (Nigel De Brulier) is torn between her attraction to a Russian Cossack (Ivan Mozzhukhin) and her revulsion towards him once he invades her village.

Genres, Themes, Actors, and Directors:

• Jews
• Play Adaptation
• Silent Films

Review:
Based on a 1915 Hungarian play by Alexander Brody, this obscure movie by silent film director Edward Sloman remains one of the few early Hollywood portrayals of European Jewish village life, and as such will be of minor interest to film fanatics; unfortunately, however, the storyline itself leaves much to be desired. It tells the tragic tale of an arrogant but handsome Cossack (Mozzhukhin) who meets a beautiful Jewish girl (Philbin) in a meadow one day, flirts with her, and quarrels with her protective father (De Brulier). Upon leading an invasion of Philbin’s village, Mozzhukhin spies De Brulier (who has hidden Philbin in the sacred cabinet where his Torah is kept) and the two quickly enter into a battle of wills. When Mozzhukhin asserts that Philbin’s affections will be the price for not only the life of her fiancee (Otto Matieson) but her entire village, we wonder what kind of choice she will make — but the denouement eventually devolves into a completely unrealistic situation between Mozzhukhin and Philbin, and the film’s coda is even less convincingly handled. Nonetheless, this one does remain worth a look simply for its fascinating glimpse at life for early-20th-century European Jews.

Redeeming Qualities and Moments:

• An interesting and respectful look at traditional Jewish village life
  
  
• Fine cinematography
  
  

Must See?
No, though it’s worth a look if you’re curious. Listed as a Sleeper in the back of Peary’s book.

Links:

• IMDb entry
• NY Times Original Review
• ithankyouarthur Review

Synopsis:
When a financially strapped young businessman (Buster Keaton) and his partner (T. Roy Barnes) learn from a solicitor (Snitz Edwards) that Keaton will inherit seven million dollars from his deceased relative if he marries that evening by 7:00, Keaton immediately proposes to his girlfriend (Ruth Dwyer), but accidentally offends her, and must search elsewhere for a bride when she turns him down.

Genres, Themes, Actors, and Directors:

• Buster Keaton Films
• Comedy
• Inheritance
• Silent Films

Review:
The premise of this Buster Keaton comedy is both inspired and infuriating, the latter due to the lead character’s frustrating passivity, as well an overall sense that the entire situation could have easily been handled in a much more “rational” manner (but then, of course, there would be no comedy). With that enormous caveat stated, however, I’ll concede that there’s much comedic brilliance here to enjoy: Keaton is at the top of his game visually, and the entire affair becomes increasingly surreal on every count (which is perhaps how the film should be viewed). The image of thousands of would-be brides descending on our hapless protagonist is one that will surely linger in your memory (especially if you begin to wonder about the life story behind each of those hard-worn faces…), and Keaton’s final race to make it back home to his beloved will have you scratching your head at the diversity of the geological path he takes.

Note: My reaction to this film reminds me of how I felt while watching Brewster’s Millions (1945), where the exhaustion of watching a financially-loaded time-bomb situation play out had me unexpectedly in knots.

Redeeming Qualities and Moments:

• A clever (if mildly infuriating) premise
  
  
• Some fine visual gags
  
• The inspired “avalanche ending”
  

Must See?
No, though it’s strongly recommended for its final third. Listed as a film with Historical Importance and a Personal Recommendation in the back of Peary’s book.

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

Links:

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

Synopsis:
A would-be news cameraman (Buster Keaton) tries to break into the business with the assistance of a pretty MGM secretary (Marceline Day) who gives him tips on which events to cover.

Genres, Themes, Actors, and Directors:

• Buster Keaton Films
• Comedy
• Movie Directors
• Silent Films

Review:
Buster Keaton’s first film made for MGM Studios (before the imminent demise of his illustrious career) was this simple yet enjoyable tale of a photographer desperate to gain work as a newsreel director — in large part to impress a sweet girl he’s fallen head-over-heels in love with. Despite fairly severe creative constraints imposed by MGM, Keaton (directed by Edward Sedgwick) manages to make the most of this slight storyline: the largely-improvised dressing room scuffle is truly inspired, and the ending is surprisingly satisfactory. While Keaton made many masterful movies — and film fanatics shouldn’t feel obligated to see all of them — I do recommend this one as “must-see” simply given the intrinsic interest of its subject matter.

Note: MGM apparently referred to this film for years as a “perfect comedy”, and showed it to all its directors and producers to learn from.

Redeeming Qualities and Moments:

• A sweet would-be romance between Keaton and Day
  
• Fine slapstick by Keaton
  
• Interesting historical footage of early Chinatown
  

Must See?
Yes, as one of Keaton’s most enjoyable (and cinematically relevant) outings. Listed as a Personal Recommendation in the back of Peary’s book. Selected for the National Film Registry in 2005.

Categories

• Good Show

Links:

• IMDb entry
• NY Times Original Review (scroll down to fourth review)
• The Silent Volume Review
• TCM Article
• Time Out Capsule Review

Synopsis:
A soldier (John Gilbert) on leave from military training falls in love with a beautiful woman (Greta Garbo) who fails to tell him she’s already married; after killing her husband (Marc McDermott) in a duel, Gilbert leaves for overseas service, asking his lifelong friend (Lars Hanson) to look out for Garbo — with unexpectedly heartbreaking effects.

Genres, Themes, Actors, and Directors:

• Clarence Brown Films
• Friendship
• Greta Garbo Films
• John Gilbert Films
• Love Triangle
• Silent Films

Review:
Directed by Clarence Brown, this historical onscreen pairing of Greta Garbo and John Gilbert (their first) is notable as the film which brought Garbo to stardom. Garbo plays a seductive temptress who wreaks havoc on the lifelong friendship between Gilbert and Hanson; unfortunately, other than one potent scene hinting at more complexity with her mysterious character (as she looks at herself vainly in the mirror while trying on widows’ veils), we don’t learn enough about her to really understand her motivations. The primary draw of this disappointingly scripted film is William Daniels’ luminous cinematography, which is consistently a treat to behold, and certainly contributed to Garbo’s imminent cinematic mystique.

Note: It’s difficult to ignore the homoerotic tensions between Gilbert and Hanson, who are often pictured as remarkably physically intimate.

Their blood-brothers friendship ultimately drives the entire narrative, and is the most intriguing (if underdeveloped) aspect of the script.

Redeeming Qualities and Moments:

• Genuine chemistry between Garbo and Gilbert
  
• The creatively filmed duel
  
• Fine, atmospheric cinematography by William Daniels
  
  

Must See?
No, though it’s worth a look simply for its historical relevance as the first of Garbo’s four pairings with Gilbert, and as the film which brought Garbo to stardom. Listed as a film with Historical Importance in the back of Peary’s book. Added to the National Film Registry in 2006.

Links:

• IMDb entry
• NY Times Original Review
• Spinning Image Review
• TCM Article

Synopsis:
The son (Harry Langdon) of a struggling shoemaker (Alec B. Francis) enters a cross-country walking race hosted by a big-name shoe manufacturer (Edwards Davis), hoping to win the prize money as well as the heart of Davis’s daughter (Joan Crawford).

Genres, Themes, Actors, and Directors:

• Comedy
• Harry Langdon Films
• Joan Crawford Films
• Silent Films

Review:
It’s been widely noted that many of the sight gags in Harry Langdon’s feature debut film are reminiscent of those in movies by his comedic peers (Harold Lloyd, Charlie Chaplin, Buster Keaton), making this an inauspicious beginning to his all-too-brief stint in the cinematic limelight. Nonetheless, Langdon’s uniquely hapless persona lends itself well to the series of mishaps he encounters while on his cross-country journey to California: when he finds himself hanging precariously over a deep precipice, for instance, we know that the only way he’ll get out of his dilemma is — despite his best (counterproductive) efforts — through sheer, dumb luck. My favorite scene is an early one, when Langdon meets the love of his life (Crawford) in person for the first time, and doesn’t quite know what to do with himself. Watch for the creepy final scene, in which Langdon is allowed to make explicit fun of his “baby-face” image.

Note: Tramp, Tramp, Tramp is noteworthy for providing Joan Crawford with one of her earliest significant roles; fun use is made of her soon-to-be larger-than-life persona through her presence in a series of posters.

Redeeming Qualities and Moments:

• Langdon’s “meet-cute” with Crawford
  
• Several amusing sight gags
  
  
  

Must See?
No, though it’s worth a look simply as Langdon’s first feature film.

Links:

• IMDb entry
• NY Times Original Review
• Spinning Image Review
• Silent Volume Review
• TV Guide Review
• Time Out Capsule Review

Synopsis:
Dr. Watson (Robert Duvall) tricks Sherlock Holmes (Nicol Williamson) into traveling to Vienna to visit Dr. Freud (Alan Arkin), in hopes of encouraging him to cure his cocaine addiction. Once there, Holmes temporarily forgets his obsession with his arch-enemy Moriarty (Laurence Olivier) by assisting with a case involving a beautiful, drug-addicted singer (Vanessa Redgrave).

Genres:

• Alan Arkin Films
• Alcoholism and Drug Addiction
• Detectives and Private Eyes
• Herbert Ross Films
• Laurence Olivier Films
• Robert Duvall Films
• Samantha Eggar Films
• Sherlock Holmes Films
• Vanessa Redgrave Films

Review:
Critical opinions are highly mixed about this Oscar-nominated adaptation of Nicholas Meyer’s best-selling novel (scripted by Meyer himself), which fancifully explores the consequences of Sherlock Holmes seeking help for his deep-seated cocaine addiction from Sigmund Freud. It’s a clever conceit, and works wonderfully well — at least until the screenplay suddenly shifts (in its final 45 minutes) to an outlandish cross-country chase, which many (myself included) agree is an inappropriate tonal direction for the story to take. Regardless, there’s plenty in this lushly produced movie for both film fanatics and Holmes fans to enjoy, starting with fine performances by the lead actors — most notably Nicol Williamson as Holmes himself. Williamson was better known on stage than on-screen, but his invigorating performance here makes one wish he’d been given more leading cinematic roles. Duvall is appropriately stalwart and loyal as Dr. Watson, and Arkin imbues Freud with just the right amount of self-confidence and quiet brilliance to be convincing. Holmes and Freud are indeed — as imagined here by Meyer — a perfectly matched pair of deductive minds; it’s refreshing to see Holmes humbled just enough to receive help in solving his lifelong neurotic antipathy towards Moriarty.

Redeeming Qualities and Moments:

• Nicol Williamson as Sherlock Holmes
  
• Robert Duvall as Dr. Watson
  
• Alan Arkin as Dr. Freud
  
• Wonderful period sets
  

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

Links:

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