The Top 100 Silent Era Films

The General is a 1926 American silent comedy film released by United Artists. Inspired by the Great Locomotive Chase, which happened in 1862, the film stars Buster Keaton who co-directed it with Clyde Bruckman. It was adapted by Al Boasberg, Bruckman, Keaton, Paul Girard Smith (uncredited) and Charles Henry Smith (uncredited) from the memoir The Great Locomotive Chase by William Pittenger.

At the time of its initial release, The General, an action-adventure-comedy made toward the end of the silent era, wasn't well received by critics or audiences, resulting in mediocre box office (about a half million dollars domestically, and approximately one million worldwide). Because of its then-huge budget ($750,000 supplied by Metro chief Joseph Schenck) and failure to turn a significant profit, Keaton lost his independence as a filmmaker and was forced into a restrictive deal with MGM. In 1956, the film entered the public domain (in the USA) due to the claimant's failure to renew its copyright registration in the 28th year after publication.

The film has been reevaluated, and is now considered by critics as one of the greatest films ever made. In 2007, The General was ranked #18 by the American Film Institute on their 10th Anniversary list of the 100 best American movies of all time.

Metropolis is a 1927 German expressionist epic science-fiction film directed by Fritz Lang. The film was written by Lang and his wife Thea von Harbou, and starred Brigitte Helm, Gustav Fröhlich, Alfred Abel and Rudolf Klein-Rogge. A silent film, it was produced by Erich Pommer in the Babelsberg Studios by Universum Film A.G.. It is regarded as a pioneer work of science fiction movies, being the first feature length movie of the genre.

Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia, and follows the attempts of Freder, the wealthy son of the city's ruler, and Maria, a poor worker, to overcome the vast gulf separating the classes of their city. Metropolis was filmed in 1925, at a cost of approximately five million Reichsmarks. Thus, it was the most expensive film ever released up to that point.

The film was met with a mixed response upon its initial release, with many critics praising its technical achievements and social metaphors while others derided its "simplistic and naïve" presentation. Because of its long running-time and the inclusion of footage which censors found questionable, Metropolis was cut substantially after its German premiere: large portions of the film were lost over the subsequent decades.

Numerous attempts have been made to restore the film since the 1970s-80s. Giorgio Moroder, a music producer, released a version with a soundtrack by rock artists such as Freddie Mercury, Loverboy and Adam Ant in 1984. A new reconstruction of Metropolis was shown at the Berlin Film Festival in 2001, and the film was inscribed on UNESCO's Memory of the World Register in the same year, the first film thus distinguished. In 2008, a damaged print of Lang’s original cut of the film was found in a museum in Argentina. After a long restoration process, the film was 95% restored and shown on large screens in Berlin and Frankfurt simultaneously on 12 February 2010.

Sunrise is a 1926 Australian silent film co-directed by Raymond Longford, who took over during filming. It was the second film from Australasian Films following their recommencement of production, after Painted Daughters.

It is considered a lost film.

City Lights is a 1931 American romantic comedy film written by, directed by, and starring Charlie Chaplin. The story follows the misadventures of Chaplin's Tramp as he falls in love with a blind girl (Virginia Cherrill) and develops a turbulent friendship with an alcoholic millionaire (Harry Myers).

Although sound films were on the rise when Chaplin started developing the script in 1928, he decided to continue working with silent productions. Filming started in December 1928, and ended in September 1930. City Lights marked the first time Chaplin composed the film score to one of his productions and it was written in six weeks with Arthur Johnston. The main theme used as a leitmotif for the blind flower girl is the song "La Violetera" ("Who’ll Buy my Violets") from Spanish composer José Padilla. Chaplin lost a lawsuit to Padilla for not crediting him.

City Lights was immediately successful upon release on January 30, 1931, with positive reviews and box office receipts of $5 million. Today, critics consider it not only one of the highest accomplishments of Chaplin's career, but one of the greatest films ever made. In 1992, the Library of Congress selected City Lights for preservation in the United States National Film Registry as being "culturally, historically, or aesthetically significant". In 2007, the American Film Institute's 100 Years... 100 Movies ranked City Lights as the 11th greatest American film of all time. In 1949, the critic James Agee referred to the final scene in the film as the "greatest single piece of acting ever committed to celluloid".

Nosferatu, eine Symphonie des Grauens (translated as Nosferatu: A Symphony of Horror; or simply Nosferatu) is a 1922 German Expressionist Vampire horror film, directed by F. W. Murnau, starring Max Schreck as the vampire Count Orlok.

The film, shot in 1921 and released in 1922, was an unauthorized adaptation of Bram Stoker's Dracula, with names and other details changed because the studio could not obtain the rights to the novel (for instance, "vampire" became "Nosferatu" and "Count Dracula" became "Count Orlok"). Stoker's heirs sued over the adaptation, and a court ruling ordered that all copies of the film be destroyed. However, one print of Nosferatu survived, and the film came to be regarded as an influential masterpiece of cinema.

The Gold Rush is a 1925 American silent comedy film written, produced, directed by, and starring Charlie Chaplin in his Little Tramp role. The film also stars Georgia Hale, Mack Swain, Tom Murray, Henry Bergman, and Malcolm Waite. Chaplin declared several times that this was the film for which he most wanted to be remembered.[2] Though a silent film, it received an Academy Awards nomination for Best Sound Recording

The Passion of Joan of Arc (French: La Passion de Jeanne d'Arc) is a 1928 silent French film based on the actual record of the trial of Joan of Arc. The film was directed by Carl Theodor Dreyer and stars Renée Jeanne Falconetti as Joan. It is widely regarded as a landmark of cinema, especially for its production, Dreyer's direction and Falconetti's performance, which has been described as being among the finest in cinema history. The film summarizes the time that Joan of Arc was a captive of England. It depicts her trial and execution.

Danish film director Dreyer was invited to make a film in France by the Société Générale des Films and chose to make a film about Joan of Arc due to her renewed popularity in France. Dreyer spent over a year researching Joan of Arc and the transcripts of her trial before writing the script. Dreyer cast stage actress Falconetti as Joan in her only major film role. Falconetti's performance and devotion to the role during filming have become legendary among film scholars.

The film was shot on one huge concrete set modeled on medieval architecture in order to realistically portray the Rouen prison. The film is known for its cinematography and use of close-ups. Dreyer also didn't allow the actors to wear make-up and used lighting designs that made the actors look more grotesque.

The film was controversial before its release due to conservative French nationalists being skeptical of the Danish Dreyer making a film about a French historical icon. Dreyer's final version of the film was cut down due to pressure from the Archbishop of Paris and from government censors. For several decades it was released and viewed in several re-edited versions that attempted to restore Dreyer's final cut. In 1981 a film print of Dreyer's final cut of the film was discovered in a mental institution in Oslo, Norway and re-released.

Despite the objections and cutting of the film by clerical and government authorities, it was a critical success when first released and has consistently been considered one of the greatest films ever made since 1928. It has been praised and referenced to by many film directors and musicians.

The Cabinet of Dr. Caligari (German: Das Cabinet des Dr. Caligari) is a 1920 German silent horror film directed by Robert Wiene from a screenplay by Hans Janowitz and Carl Mayer. It is one of the most influential films of the German Expressionist movement and, according to Roger Ebert, is "the first true horror film".

The film used stylized sets, with abstract, jagged buildings painted on canvas backdrops and flats. To add to this strange style, the actors used an unrealistic technique that exhibited "jerky" and dance-like movements. This film is cited as having introduced the twist ending in cinema.

The premiere of a digitally restored version of the film took place at the 64th Berlin International Film Festival in February 2014. This restoration will have its U.S. premiere at the San Francisco Silent Film Festival "Silent Autumn" event at the Castro Theatre on September 20, 2014.

Battleship Potemkin, sometimes rendered as Battleship Potyomkin, is a 1925 silent film directed by Sergei Eisenstein and produced by Mosfilm. It presents a dramatized version of the mutiny that occurred in 1905 when the crew of the Russian battleship Potemkin rebelled against their officers of the Tsarist regime.

Battleship Potemkin has been called one of the most influential propaganda films of all time, and was named the greatest film of all time at the Brussels World's Fair in 1958.

Greed is a 1924 American silent film, written and directed by Erich von Stroheim and based on the 1899 Frank Norris novel McTeague. It stars Gibson Gowland as Dr. John McTeague, ZaSu Pitts as his wife Trina Sieppe and Jean Hersholt as McTeague's friend and eventual enemy Marcus Schouler. The film tells the story of McTeague, a San Francisco dentist, who marries his best friend Schouler's girlfriend Trina. Shortly after their engagement, Trina wins a lottery prize of $5,000. Schouler jealously informs authorities that McTeague had been practicing dentistry without a license and McTeague and Trina become impoverished. While living in squalor, McTeague becomes a violent alcoholic and Trina becomes greedily obsessed with her winnings, refusing to spend any of it despite how poor she and her husband become. Eventually McTeague murders Trina for the money and flees to Death Valley. Schouler catches up with him there for a final confrontation.

Von Stroheim shot more than 85 hours of footage and obsessed over accuracy during the filming. Two months were spent shooting in Death Valley for the film's final sequence and many of the cast and crew became ill. Greed was one of the few films of its time to be shot entirely on location. Von Stroheim used sophisticated filming techniques such as deep-focus cinematography and montage editing. He considered Greed to be a Greek tragedy, in which environment and heredity controlled the characters' fates and reduced them to primitive bête humaines (human beasts).

During the making of Greed, the production company merged into Metro-Goldwyn-Mayer, putting Irving Thalberg in charge of the production. Thalberg had fired von Stroheim a few years earlier at Universal Pictures. Originally almost eight hours long, Greed was edited against von Stroheim's wishes to about two-and-a-half hours. Only twelve people saw the full-length 42-reel version, now lost; some of them called it the greatest film ever made. Von Stroheim called Greed his most fully realized work and was hurt both professionally and personally by the studio's re-editing of it.

The uncut version has been called the "holy grail" for film archivists, amid repeated false claims of the discovery of the missing footage. In 1999 Turner Entertainment created a four-hour version of Greed that used existing stills of cut scenes to reconstruct the film. Greed was a critical and financial failure upon its initial release, but by the 1950s it began to be regarded as one of the greatest films ever made; filmmakers and scholars have praised it for its influence on subsequent films.

Pandora's Box (German: Die Büchse der Pandora) is a 1929 German silent melodrama film based on Frank Wedekind's plays Erdgeist (Earth Spirit, 1895) and Die Büchse der Pandora (1904). Directed by Austrian filmmaker Georg Wilhelm Pabst, the film stars Louise Brooks, Fritz Kortner, and Francis Lederer. Brooks' portrayal of a seductive, thoughtless young woman whose raw sexuality and uninhibited nature bring ruin to herself and those who love her, although initially unappreciated, eventually made the actress a star.

The Crowd is a 1928 American silent film directed by King Vidor and starring Eleanor Boardman and James Murray.

The picture is an influential and acclaimed feature and was nominated for the Academy Award for Unique and Artistic Production. In 1989, this film was one of the first 25 films to be selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant".

The Wind is a 1928 American silent romantic drama film directed by Victor Sjöström. The movie was adapted by Frances Marion from the novel of the same name written by Dorothy Scarborough. It features Lillian Gish, Lars Hanson and Montagu Love. It was one of the last silent films released by Metro-Goldwyn-Mayer.

Napoléon is a 1927 epic silent French film directed by Abel Gance that tells the story of Napoleon's early years. On screen, the title is Napoléon vu par Abel Gance, meaning "Napoleon as seen by Abel Gance". The film is recognised as a masterwork of fluid camera motion, produced in a time when most camera shots were static. Many innovative techniques were used to make the film, including fast cutting, extensive close-ups, a wide variety of hand-held camera shots, location shooting, point of view shots, multiple-camera setups, multiple exposure, superimposition, underwater camera, kaleidoscopic images, film tinting, split screen and mosaic shots, multi-screen projection, and other visual effects. A revival of Napoléon in the mid-1950s influenced the filmmakers of the French New Wave.

The film begins in Brienne-le-Château with youthful Napoleon attending military school where he manages a snowball fight like a military campaign, yet he suffers the insults of other boys. It continues a decade later with scenes of the French Revolution and Napoleon's presence at the periphery as a young army lieutenant. He returns to visit his family home in Corsica but politics shift against him and put him in mortal danger. He flees, taking his family to France. Serving as an officer of artillery in the Siege of Toulon, Napoleon's genius for leadership is rewarded with a promotion to brigadier general. Jealous revolutionaries imprison Napoleon but then the political tide turns against the Revolution's own leaders. Napoleon leaves prison, forming plans to invade Italy. He falls in love with the beautiful Joséphine de Beauharnais. The emergency government charges him with the task of protecting the National Assembly. Succeeding in this he is promoted to Commander-in-Chief of the Army of the Interior, and he marries Joséphine. He takes control of the army which protects the French–Italian border, and propels it to victory in an invasion of Italy.

Gance planned for Napoléon to be the first of six movies about Napoleon's career, a chronology of great triumph and defeat ending in Napoleon's death in exile on the island of Saint Helena. After the difficulties encountered in making the first film, Gance realised that the costs involved would make the full project impossible.

The film was first released in a gala at the Palais Garnier (then the home of the Paris Opera) on 7 April 1927. Napoléon had been screened in only eight European cities when Metro-Goldwyn-Mayer bought the rights to it, but after screening it in London, it was cut drastically in length, and only the central panel of the three-screen Polyvision sequences were retained before it was put on limited release in the US. There, the silent masterpiece was indifferently received at a time when talkies were just starting to appear. The film was restored in 1981 after twenty years' work by silent film historian Kevin Brownlow.

The Birth of a Nation (originally called The Clansman) is a 1915 American silent drama film directed by D. W. Griffith and based on the novel and play The Clansman, both by Thomas Dixon, Jr. Griffith co-wrote the screenplay (with Frank E. Woods), and co-produced the film (with Harry Aitken). It was released on February 8, 1915. The film was originally presented in two parts, separated by an intermission. It was the first 12-reel film in America.

The film chronicles the relationship of two families in Civil War and Reconstruction-era America: the pro-Union Northern Stonemans and the pro-Confederacy Southern Camerons over the course of several years. The assassination of President Abraham Lincoln by John Wilkes Booth is dramatized.

The film was a commercial success, but was highly controversial owing to its portrayal of African-American men (played by white actors in blackface) as unintelligent and sexually aggressive towards white women, and the portrayal of the Ku Klux Klan (whose original founding is dramatized) as a heroic force. There were widespread African-American protests against The Birth of a Nation, such as in Boston, while thousands of white Bostonians flocked to see the film. The NAACP spearheaded an unsuccessful campaign to ban the film. The outcry of racism was so great that Griffith was inspired to produce Intolerance the following year.

The film is also credited as one of the events that inspired the formation of the "second era" Ku Klux Klan at Stone Mountain, Georgia, in the same year. The Birth of a Nation was used as a recruiting tool for the KKK. Under Democratic President Woodrow Wilson, it was the first motion picture to be screened in the White House.

Despite the film's controversial content, Griffith's innovative film techniques make it one of the most influential films in the commercial film industry, and it is often ranked as one of the greatest American films of all time.

ntolerance is a 1916 silent film directed by D. W. Griffith and is considered one of the great masterpieces of the Silent Era. The three-and-a-half hour epic intercuts four parallel storylines, each separated by several centuries: A contemporary melodrama of crime and redemption; a Judean story: Christ’s mission and death; a French story: the events surrounding the St. Bartholomew's Day massacre of 1572; and a Babylonian story: the fall of the Babylonian Empire to Persia in 539 BC. Each story had its own tint in the original print. The scenes are linked by shots of a figure representing Eternal Motherhood, rocking a cradle.

Intolerance was made partly in response to criticism of Griffith's previous film, The Birth of a Nation (1915), which was criticized by the NAACP and other groups as perpetuating racial stereotypes and glorifying the Ku Klux Klan.

Sherlock, Jr. (1924) is an American silent comedy film directed by and starring Buster Keaton and written by Clyde Bruckman, Jean Havez and Joseph A. Mitchell. It features Kathryn McGuire, Joe Keaton and Ward Crane.

In 1991, Sherlock, Jr. was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant," and on June 14, 2000 the American Film Institute, as part of its AFI 100 Years... series, ranked the film as #62 in the list of the funniest films of all time (AFI's 100 Years... 100 Laughs).

The Big Parade is a 1925 American silent film directed by King Vidor and starring John Gilbert, Renée Adorée, Hobart Bosworth, and Claire McDowell. Adapted by Harry Behn from the play by Joseph Farnham and the autobiographical novel Plumes by Laurence Stallings, the film is about an idle rich boy who joins the US Army's Rainbow Division and is sent to France to fight in World War I, becomes a friend of two working class men, experiences the horrors of trench warfare, and finds love with a French girl.

The film was groundbreaking for not glorifying the war or ignoring its human costs, exemplified by the lead character's loss of a leg from battle wounds. It heavily influenced all subsequent war films, especially All Quiet on the Western Front (1930).

Safety Last! is a 1923 romantic comedy silent film starring Harold Lloyd. It includes one of the most famous images from the silent film era: Lloyd clutching the hands of a large clock as he dangles from the outside of a skyscraper above moving traffic. The film was highly successful and critically hailed, and it cemented Lloyd's status as a major figure in early motion pictures. It is still popular at revivals, and it is viewed today as one of the great film comedies.

The film's title is a play on the common expression, "safety first," which places safety as the primary priority to avoid accidents. Lloyd performed some of his climbing stunts despite losing a thumb and forefinger in an accident while making a film four years earlier.

The Phantom of the Opera is a 1925 American silent horror film adaptation of Gaston Leroux's 1910 novel Le Fantôme de l'Opéra. It was directed by Rupert Julian and starred Lon Chaney, Sr in the title role of the deformed Phantom who haunts the Paris Opera House, causing murder and mayhem in an attempt to make the woman he loves a star. The movie remains most famous for Chaney's ghastly, self-devised make-up, which was kept a studio secret until the film's premiere.

The picture also features Mary Philbin, Norman Kerry, Arthur Edmund Carewe, Gibson Gowland, John St. Polis, and Snitz Edwards. The last surviving cast member was Carla Laemmle (1909–2014), niece of producer Carl Laemmle, who played a small role as "prima ballerina" in the film when she was about 15.

The film was adapted by Elliott J. Clawson, Tom Reed and Raymond L. Schrock and was directed by Rupert Julian and with supplemental direction by Lon Chaney[citation needed] and Edward Sedgwick

Broken Blossoms is a 1936 British drama film directed by John Brahm and starring Emlyn Williams, Arthur Margetson, Basil Radford and Edith Sharpe. Director Bernard Vorhaus was technical supervisor.

The film is based on the short story "The *beep* and the Child" by Thomas Burke from his collection Limehouse Nights (1916), and was produced at Twickenham Studios in London. The story had previously been adapted by D. W. Griffith for his film Broken Blossoms (1919) starring Lillian Gish.

The Last Laugh (German: Der letzte Mann (The Last Man)) is a German 1924 silent film directed by German director F. W. Murnau from a screenplay written by Carl Mayer. The film stars Emil Jannings and Maly Delschaft. It is the most famous example of the short-lived Kammerspielfilm or "chamber-drama" genre. It is noted for its near-absence of the intertitles that characterize most silent films; moreover, none of the intertitles in The Last Laugh represent spoken dialogue. In 1955 the film was remade starring Hans Albers.

The Kid is a 1921 American silent comedy-drama film written by, produced by, directed by and starring Charlie Chaplin, and features Jackie Coogan as his adopted son and sidekick. This was Chaplin's first full-length film as a director (he had been a co-star in 1914's Tillie's Punctured Romance). It was a huge success, and was the second-highest grossing film in 1921, behind The Four Horsemen of the Apocalypse. In 2011, The Kid was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant." One of the first major films to combine comedic moments with dramatic elements, The Kid is widely considered one of the greatest films in cinematic history.

Steamboat Bill Jr. is a 1928 feature-length comedy silent film featuring Buster Keaton. Released by United Artists, the film is the last product of Keaton's independent production team and set of gag writers. It was not a box-office success and proved to be the last picture Keaton would make for United Artists. Keaton would end up moving to MGM where he would make one last film with his trademark style, The Cameraman, before all of his creative control was taken away by the studio.

The director was Charles Reisner, the credited writer was Carl Harbaugh (although Keaton wrote the film and publicly called Harbaugh useless but "on the payroll"), and also featured Ernest Torrence, Marion Byron, and Tom Lewis.

The film was named after a popular Arthur Collins song, "Steamboat Bill".