Victorin Jasset (director/writer)
Emile Zola (author)
Charles Krauss (lead)
Marcel Vibert (lead)
André Liabel (lead)
Cécile Guyon (lead)
Éclair (production)
Inspired by Emile Zola's novel "Germinal", with the socio-political themes of exploitation and protest replaced by melodrama and the thrill of disaster.
Enrico Guazzoni (director/writer)
Eugenio Bava (cinematographer)
Alessandro Bona (cinematographer)
Henryk Sienkiewicz (author)
Gustavo Serena (lead)
Amleto Novelli (lead)
Società Italiana Cines (production)
Maybe Rome wasn't built in a day, but it only took one night to burn it down (with the help of a few good men with torches), according to this elaborate tale of palace intrigue, divine intervention, and jungle fever in Nero's Rome.
Eleuterio Rodolfi (director)
Mario Caserini (writer)
Edward George Bulwer-Lytton (author)
Fernanda Negri Pouget (lead)
Eugenia Tettoni Fior (lead)
Ubaldo Stefani (lead)
Antonio Grisanti (lead)
Società Anonima Ambrosio (production)
This version puts more focus on the dark deeds of the evil Egyptian high priest.
Lois Weber (director/writer)
Disappointing. No laughs, but at least it's short.
Ubaldo Maria Del Colle (director)
Giovanni Enrico Vidali (director)
Edward George Bulwer-Lytton (author)
Cristina Ruspoli (lead)
Pasquali e C. (production)
Vay e Hubert (production)
This version adds characters, and adds variety to the settings (including animals and spectacular chariot races). Most interesting is the lively background action that adds a sense of ambiguous realism - is that a crap game? Wait - is he supposed to be a femboy? And why does that crazy dance come to the foreground, hiding the villain's attack on Jone?? Strange, but dazzling flick.
Mabel Normand (director/lead)
Charles Inslee (lead)
Alice Davenport (lead)
Charles Avery (lead)
Hank Mann (lead)
Al St. John (lead)
Keystone (production)
Starts slow, but builds: from the comic pairing of Mabel the farm beauty and her geeky Alfred E. Newman-clone “ideal” in the first third, to a symphony of quirky Keystone chaos in the final third. Second half is mostly a rework of The Bangville Police (1913).
Baldassarre Negroni (director)
Giorgio Ricci (cinematographer)
Fernand Beissier (author)
Francesca Bertini (lead)
Leda Gys (lead)
Emilio Ghione (lead)
Celio (production)
The diva plays the Italian-comedy/French-pantomime stock male character with a cute pear butt. Performance is in “classical” style - cinema's euphemism for “deathly boring”.
Charles Giblyn (director)
Lon Chaney (lead)
A tragic tale of a cool porkpie cruelly condemned by fate to live as an outcast amongst the grotesque 10-gallon absurdities of "cow-boys" - that peculiar product of boy-bovine love.
Roscoe 'Fatty' Arbuckle (director/lead)
Minnie Devereaux (lead)
Minta Durfee (lead)
Josef Swickard (lead)
Harry McCoy (lead)
Frank Hayes (lead)
Keystone (production)
Fatty is just about ready to take that walk on the wild side, when he is reined in by his iron Aryan heart (but only after he gets to sweet-smack some savage booty). Without another strong comic to work with, Arbuckle was not at his best. Moreover, even though this story was certainly a novelty, it never goes anywhere and simply is not funny, mainly of historical interest only.
Mario Roncoroni (director)
Giovanni Bertinetti (writer)
Luigi Fiorio (cinematographer)
Valeria Creti (lead)
Giovanni Spano (lead)
Cristina Ruspoli (lead)
Corona (production)
Before Mabuse, there was Fantomas - an earlier take on the criminal mastermind outwitting the detective through deception and disguise. Following the success of Fantomas, came the master criminal Filibus in this story (which also seems to have gotten some inspiration from Jules Verne's "Master of the World"). But while Fantomas and Mabuse are murderous psychos, Filibus seems to be just having fun bouncing between genders, flirting first with the brother then the sister. Is Filibus really a baroness - or a woman at all - or is that just another disguise?
Carmine Gallone (director)
Domenico Grimaldi (cinematographer)
Nino Oxilia (writer)
Lyda Borelli (lead)
Cecyl Tryan (lead)
Fulvia Perini (lead)
Augusto Poggioli (lead)
Pina Menichelli (lead)
Società Italiana Cines (production)
The frequent visual jumps and disconnects make it obvious that parts are missing from this fragmented restoration. As further evidence, one of the three character names listed in the opening credits (“Richard Ruggero”) - presumably a main character - doesn't appear in any subsequent title card. Yet, unlike Malombra [1917], there is no source material to refer to for clarification of the story. In fact, it's possible that even if all fragments existed and were correctly assembled, the result would still be confusing as the story lacks depth and solid construction. It feels less like a coherent story, more like a string of cliche hacks quickly thrown together merely to capitalize on a star's appeal (by crew who didn't even spare the time to name the characters!).
But who cares about story? We're here to see the diva flammin' in high fashion, twisted into sultry poses (even dancing!), with that dreamy gaze that wails her tragic fate of being too hip for this world that doesn't deserve her. Lyda in motion is all the story we need...
Nino Oxilia (director)
Pina Menichelli (lead)
Alberto Nepoti (lead)
Amleto Novelli (lead)
Società Italiana Cines (production)
A poignant reminder (sans melodrama!) that sometimes innocent well-intended action can have unintended consequences. Effective, not in spite of its brevity, but because of it.
William S. Hart (director/lead)
Robert Doran (cinematographer)
Thomas H. Ince (writer)
Richard V. Spencer (writer)
Leona Hutton (lead)
Hart again plays an outlaw gone soft-headed for a dame - this time, a mere flirty waitress at the OK-but-nothing-special Restaurant, who's somehow rolling in cash of dubiously unexplained source. Other than that hilarious drunken one-two sucker punch, not much here to interest anyone who's not already Hart-core.
William S. Hart (director/lead)
Robert Doran (cinematographer)
J.G. Hawks (writer)
Thomas H. Ince (writer)
Margaret Thompson (lead)
Louise Glaum (lead)
Herschel Mayall (lead)
Keno Bates, Sleazeball, runs a saloon. As every Hart movie has shown, saloon owners are despicable scumbags who run crooked gambling halls. When one of Keno's victims refuses to accept that he'd walked into Keno's trap, he lashes out in armed revenge to retrieve his money - just as the “hero” of Hart's The Silent Man (1917) does. Although both Keno and his henchman were armed, they offered no resistance (which would be considered legitimate self-defense), made no attempt to dissuade the man, and afterwards never notified the law.
Instead Keno Bates, Lyncher and his henchman set out after the money they'd swindled, and the hombre who had the gall to grab it back - despite knowing he was armed and desperate.
When Keno Bates, Murderer eyeballs a snapshot of his victim's sister, he warns his henchman to get ready to take their lying to a whole new level, as Keno Bates, Slimebucket starts scheming how to use the murder he just committed to bust a move on the dead man's sister.
Later, when the sister learns that she has been deceived, she reacts like her brother. First, she lashes out murderously against the innocent messenger - the only honest person in the whole flick, and the one who legitimately pulled a weapon in self-defense.
Then she lashes out in armed revenge against Keno Bates, Sucker, who has fallen for a wild vixen in sheep's clothing, who will bring into his life the hell that he rightly deserves, and the DNA that would eventually result in Norman Bates, Psycho.
Yevgeny Bauer (director/writer)
Boris Zavelev (cinematographer)
Ivan Turgenev (author)
Vera Karalli (lead)
Vitold Polonsky (lead)
Georg Asagaroff (lead)
Olga Rakhmanova (lead)
Khanzhonkov (production)
Stark, gripping, haunting, enigmatic - not your average drive-in flick...Go deeper: see review on Silents, Please!
Giovanni Pastrone (director)
Segundo de Chomón (cinematographer)
Gabriele D'Annunzio (author)
Pina Menichelli (lead)
Febo Mari (lead/writer)
Itala (production)
A privileged poetess plucks a peasant painter from his mundane seclusion, flying him to the height of passion in their brief encounter. Breathes new life into a classic “femme fatale theme” (a.k.a., “misogynistic influence” that may be better left dead) by using creative cinematography and careful choreography of the poetess' movements. The result explodes with a visual extravagance within its minimalist domain and, like the painter, the viewer is seduced into an unquenchable thirst for more.
Giuseppe Giusti (director)
Giacomo Angelini (cinematographer)
Fabienne Fabrèges (lead/writer)
Valeria Creti (lead)
Attilio De Virgiliis (lead)
Bonaventura Ibáñez (lead)
Didaco Chellini (lead)
Corona (production)
No, this work is neither insightful nor masterful: the plot has big holes, the star's efforts at seductiveness are tepid at best (go learn from a diva's virtuoso performance), and the finale drags on too long. But there's enough sadistic pleasure and pussy-whipped masochism, phony protests of “I'm-not-that-kind-of-girl”, self-pity and despair, duplicity, double-crossing, debauchery, winks to the audience, and stylish visuals to satisfy the primal urge for sleazy fun.
head city
has waived all rights to all work here that's not stolen from somewhere else.