Scenes from Dante's Inferno (1911) compared to Gustave Doré’s illustrations for an 1857 edition of The Divine Comedy

TCM Silent Sunday Nights this November is showing films from three big 1910s Hollywood stars in Mary Pickford, Sessue Hayakawa, and Roscoe "Fatty" Arbuckle:

11/9 Body and Soul (1925)
11/16 The Cheat (1915)
11/23 Johanna Enlists (1918)
11/30 Roscoe Arbuckle comedies (1916-1926)

Another Pordenone Silent Film Festival is in the books!

From Soviet city symphonies to Hollywood adventure films, here are my favorite five films that I watched through this year's online program:

theeverydaycinephile.com/articles/202...

I had a blast talking about my favorite films of 1905, a very monumental year for cinema.

Here's my five favorite 1905 films, ranging from slapstick chases to ripped-from-the-headlines dramatizations:

Sure there might been a couple of heascratchers at the #Oscars like usual but I think films like ANORA, NICKEL BOYS, THE BRUTALIST, DUNE 2 and I’M STILL HERE are films we’ll be talking about for a long time.

Yay for cinema!

Favorite first-time watches in February 2025:

The Iron Mask (1929)
Andrei Rublev (1966)
Paris, Texas (1984)
Anora (2024)

A month and a half left of 2024 and zeroing in on my yearly goal to finish watching all Best Picture winners and films on the AFI 10th anniversary list.

Six left to go!

So excited for this season of TCM’s The Plot Thickens Podcast on John Ford. I loved the first episode delving into his underrated silent career.

podcasts.apple.com/us/podcast/t...

4 films you love and gave five stars, one each from the 40s, 50s, 60s and 70s. #Filmsky

Found out my local library had a surprising amount of Pre-Code collections so I am all set for the rest of #PreCodeApril!

It's not every day my love of silent movies is relevant to modern pop culture.

So I made a YouTube video for anybody wanting to know more about Clara Bow's life and career before #TTPD drops next week.

theeverydaycinephile.com/articles/cla...

Insane how Von Sternburg got almost a free leash to do whatever he wanted with lighting.

He could completely cover up his leading man's face, as he does with Herbert Marshall in Blonde Venus (1932), and not only get away with it but heighten a normal conversation to intense melodrama.

My favorite first time watches this March:

THE SMILING MADAME BEUDET (1923)
THE HUNCHBACK OF NOTRE DAME (1939)
DILLINGER (1945)
SERGEANT RUTLEDGE (1960)

My New Years movie resolution was to watch more films on my Letterboxd watchlist than I add.

So far I’m doing pretty good.

Just started a book on the history of American screen censorship and found this delightful quip:

Me whenever I am writing about 'firsts' in early film history:

Watched WHAT PRICE GLORY? (1926) and although I’m not the best lip reader I found plenty of colorful language throughout.