Best Silent Movies

  • The Artist

    The Artist (PG-13, 2011)

    Jean Dujardin, Bérénice Bejo, John Goodman, James Cromwell, Penelope Ann Miller
    Hollywood 1927. George Valentin (Jean Dujardin) is a silent movie superstar. The advent of the talki... read morees will sound the death knell for his career and see him fall into oblivion. For young extra Peppy Miller (Berenice Bejo), it seems the sky's the limit - major movie stardom awaits. The Artist tells the story of their interlinked destinies. -- (C) Weinstein
    • moviesbewithyou2
      moviesbewithyou2: . The black and white and silent element of the movie is used as a beneficial, ironic element. It's about a movie star during
      Reviewed 16 days days ago
    • fb528078416
      fb528078416: .

      Amazing storytelling and acting. The movie successfully utilizes the unique character of silent films.
      Reviewed 3 months days ago
    • fb601816010
      fb601816010: Who would've thought a silent movie could be so entertaining? ;-) Lots of clever visual and sonic touches and a film with h
      Reviewed 2 months days ago
  • WALL-E

    WALL-E (G, 2008)

    Ben Burtt, Elissa Knight, Jeff Garlin, Fred Willard, Macintalk
    Disney and Pixar join forces for this computer-animated tale about a wide-eyed robot who travels to ... read morethe deepest reaches of outer space in search of a newfound friend. The year is 2700, and planet Earth has long been uninhabitable. For hundreds of years, WALL-E (Waste Allocation Load Lifter Earth-Class) has been taking out the trash, and collecting precious knick-knacks in order to stave off the boredom of his dreary routine. Little does WALL-E realize that he has recently stumbled onto a secret that could save planet Earth, and once again make the ravaged planet safe for all humankind. When highly advanced search robot EVE makes friends with WALL-E and realizes the value of his remarkable discovery, she excitedly races back to let the humans know that there's hope for their home planet after all. But after centuries alone in space, WALL-E can't stand the thought of losing the only friend he's ever known, and eagerly follows her into the deepest reaches of space on the adventure of a lifetime. Along the way, the friendly trash-collecting robot who has always known what he was made for gradually begins to understand what he was meant for. Finding Nemo director Andrew Stanton returns to the helm for this family-friendly sci-fi adventure featuring the voices of Fred Willard, Jeff Garlin, and Ben Burtt. ~ Jason Buchanan, Rovi
    • fb1729406813
      fb1729406813: It's one of those nearly silent films I'd love to watch over and over again
      Reviewed 7 months days ago
    • asjklasjklas
      asjklasjklas: Influenced by the silent film era and the sci-fi genre and narrated through effective visual delight and little dialog
      Reviewed 6 months days ago
    • fb1025970122
      fb1025970122: . The chracters are so likeable, the first part of the film or the "silent section" i enjoyed most-it showed true humanity in a robot-it expressed tons of emotions thro
      Reviewed 2 years days ago
  • Sunset Boulevard

    Sunset Boulevard (Unrated, 1950)

    William Holden, Gloria Swanson, Erich von Stroheim, Nancy Olson, Fred Clark
    Billy Wilder's Sunset Boulevard ranks among the most scathing satires of Hollywood and the cruel fic... read morekleness of movie fandom. The story begins at the end as the body of Joe Gillis (William Holden) is fished out of a Hollywood swimming pool. From The Great Beyond, Joe details the circumstances of his untimely demise (originally, the film contained a lengthy prologue wherein the late Mr. Gillis told his tale to his fellow corpses in the city morgue, but this elicited such laughter during the preview that Wilder changed it). Hotly pursued by repo men, impoverished, indebted "boy wonder" screenwriter Gillis ducks into the garage of an apparently abandoned Sunset Boulevard mansion. Wandering into the spooky place, Joe encounters its owner, imperious silent star Norma Desmond (Gloria Swanson). Upon learning Joe's profession, Norma inveigles him into helping her with a comeback script that she's been working on for years. Joe realizes that the script is hopeless, but the money is good and he has nowhere else to go. Soon the cynical and opportunistic Joe becomes Norma's kept man. While they continue collaborating, Norma's loyal and protective chauffeur Max Von Mayerling (played by legendary filmmaker Erich von Stroheim) contemptuously watches from a distance. More melodramatic than funny, the screenplay by Wilder and Charles Brackett began life as a comedy about a has-been silent movie actress and the ambitious screenwriter who leeches off her. (Wilder originally offered the film to Mae West, Mary Pickford and Pola Negri. Montgomery Clift was the first choice for the part of opportunistic screenwriter Joe Gillis, but he refused, citing as "disgusting" the notion of a 25-year-old man being kept by a 50-year-old woman.) Andrew Lloyd Webber's long-running musical version has served as a tour-de-force for contemporary actresses ranging from Glenn Close to Betty Buckley to Diahann Carroll. ~ Hal Erickson, Rovi
    • ohagankieran
      ohagankieran: . If that weren't enough, there's even a cameo by silent film great Buster Keaton (among others).

      One of the most appealing aspects of this film is h
      Reviewed 4 years days ago
    • SJMJ91
      SJMJ91: . Norma is an aging ex silent film star who has moved away to live in a mansion on Sunset Boulevard. Her one companion is M
      Reviewed 4 years days ago
    • tsigur
      tsigur: . I also enjoyed seeing some other great silent film era legends in the film like Buster Keaton and Cecil B. DeMille. Extraordinary film.
      Reviewed 4 years days ago
  • Nosferatu, a Symphony of Horror (Nosferatu, eine Symphonie des Grauens) (Nosferatu the Vampire)

    Nosferatu, a Symphony of Horror (Nosferatu, eine Symphonie des Grauens) (Nosferatu the Vampire) (Unrated, 1922)

    Max Schreck, Alexander Granach, Gustav von Wangenheim, Greta Schröder, Georg H. Schnell
    F. W. Murnau's landmark vampire film Nosferatu isn't merely a variation on Bram Stoker's Dracula: it... read more's a direct steal, so much so that Stoker's widow went to court, demanding in vain that the Murnau film be suppressed and destroyed. The character names have been changed to protect the guilty (in the original German prints, at least), but devotees of Stoker will have little trouble recognizing their Dracula counterparts. The film begins in the Carpathian mountains, where real estate agent Hutter (Gustav von Wagenheim) has arrived to close a sale with the reclusive Herr Orlok (Max Schreck). Despite the feverish warnings of the local peasants, Hutter insists upon completing his journey to Orlok's sinister castle. While enjoying his host's hospitality, Hutter accidently cuts his finger-whereupon Orlok tips his hand by staring intently at the bloody digit, licking his lips. Hutter catches on that Orlok is no ordinary mortal when he witnesses the vampiric nobleman loading himself into a coffin in preparation for his journey to Bremen. By the time the ship bearing Orlok arrives at its destination, the captain and crew have all been killed-and partially devoured. There follows a wave of mysterious deaths in Bremen, which the local authorities attribute to a plague of some sort. But Ellen, Hutter's wife, knows better. Armed with the knowledge that a vampire will perish upon exposure to the rays of the sun, Ellen offers herself to Orlok, deliberately keeping him "entertained" until sunrise. At the cost of her own life, Ellen ends Orlok's reign of terror once and for all. Rumors still persist that Max Schreck, the actor playing Nosferatu, was actually another, better-known performer in disguise. Whatever the case, Schreck's natural countenance was buried under one of the most repulsive facial makeups in cinema history-one that was copied to even greater effect by Klaus Kinski in Werner Herzog's 1979 remake - Nosferatu the Vampyre. ~ Hal Erickson, Rovi
    • gilbertgumphrey
      gilbertgumphrey: Saying this is a silent film, the first ever to show a vampire, probably puts everyone off from seeing it. But when
      Reviewed 4 months days ago
    • fb1008742212
      fb1008742212: . For one thing, in contrast to the authorised 1931 film Dracula, Nosferatu works as a silent film and therefore needs to have music constantly playing, one thing Dracula was largely bere
      Reviewed 8 months days ago
    • punisherexpo
      punisherexpo: Never thought a silent film could be scary...this is.
      Reviewed 5 months days ago
  • Metropolis

    Metropolis (PG-13, 1927)

    Alfred Abel, Gustav Froehlich, Rudolf Klein-Rogge, Theodor Loos, Heinrich George
    The biggest-budgeted movie ever produced at Germany's UFA, Fritz Lang's gargantuan Metropolis consum... read moreed resources that would have yielded upwards of 20 conventional features, more than half the studio's entire annual production budget. And if it didn't make a profit at the time -- indeed, it nearly bankrupted the studio -- the film added an indelible array of images and ideas to cinema, and has endured across the many decades since its release. Metropolis had many sources of inspiration, including a novel by the director's wife, Thea von Harbou -- who drew on numerous existing science fiction and speculative fiction sources -- and Lang's own reaction to seeing the Manhattan skyline at night for the very first time. There are some obvious debts to H.G. Wells (who felt it "the silliest of films"), but the array of ideas and images can truly be credited to Lang and von Harbou. In the somewhat distant future (some editions say the year 2000, others place it in 2026, and, still others -- including the original Paramount U.S. release -- in 3000 A.D.) the city of Metropolis, with its huge towers and vast wealth, is a playground to a ruling class living in luxury and decadence. They, and the city, are sustained by a much larger population of workers who labor as virtual slaves in the machine halls, moving from their miserable, tenement-like homes to their grim, back-breaking ten-hour shifts and back again. The hero, Freder (Gustav Froehlich) -- the son of Joh Fredersen (Alfred Abel), the master of Metropolis -- is oblivious to the plight of the workers, or any aspect of their lives, until one day when a a beautiful subterranean dweller named Maria (Brigitte Helm) visits the Eternal Gardens, where he spends his time cavorting with various ladies, with a small group of children from the workers' city far below. They are sad, hungry, and wretched looking, and he is haunted by their needy eyes -- something Freder has never seen or known among the elite of the city -- and by this strange and beautiful woman who tells all who hear her, workers' children and ruler's offspring, that they are all brothers. He follows her back down to the depths of the city and witnesses a horrible accident and explosion in the machine halls where the men toil in misery. Haunted by what he has seen, he tries to confront his father, only to find that the man he loves and respects believes that it is right for the workers to live the way they do, while he and his elite frolic in luxury. Freder decides to do something about it, but he must first learn more, and also locate Maria. With help from Josaphat (Theodor Loos), Fredersen's recently dismissed office manager, he goes below again and takes over the job of one of the workers, in order to find Maria. Meanwhile, Fredersen is concerned about the rumblings of unrest among the workers, and his son's sudden interest in their plight; he assigns "Slim" (Fritz Rasp), his investigator, to follow Freder. Meanwhile, he goes for advice to an old acquaintance, the inventor C.A. Rotwang (Rudolf Klein-Rogge). Rotwang once was a rival to Fredersen for the love of the woman Hel, who married Fredersen and died bearing his son, Freder. Rotwang still feels the loss, but he is a cunning and practical man, and is willing to help his old "friend," but not before showing off his latest creation -- a robot that he has modeled in the image of his beloved Hel, that he may have her again. Rotwang answers Fredersen's question by taking him to the catacombs below the modern city, where they see Maria preaching the gospel and counseling patience, in the hope that a "Mediator" -- who will be able to reconcile the "head" and "hands" of society (i.e. the ruling and working classes) -- will come among them. Fredersen will hear none of it, and sees the need to break the workers' resistance and destroy Maria's influence among them. He arranges with Rotwang to make his robot creation into a duplicate Maria (which requires his kidnapping her), and to send her out among the workers to incite them to violence, so that Fredersen can use force against them. But he doesn't reckon with Rotwang, who despises Fredersen and his ruling class, and has commanded the robot to obey his orders and follow a plan that will destroy the city, both above and below ground. Fredersen also doesn't reckon with his own son Freder, who not only believes in what Maria is preaching but is beginning to see himself as the "Mediator," and is right in the midst of the conflagration when the workers' uprising starts. Soon, fires and floods spread, threatening to doom the children of the workers, abandoned in their parents' frenzied attack on the machines, and the city of Metropolis faces an impending disaster of biblical proportions. Meanwhile, the now-mad Rotwang tries to reclaim his lost Hel, and Maria and her evil robot twin are both stalked by crowds of workers driven to a murderous rage.When it was premiered in Germany in January 1927, Metropolis ran 153 minutes when projected at 24 frames per second. That complete version was heavily cut for release in America, removing a quarter of the movie -- this included the personal conflict between Fredersen and Rotwang; a subplot involving double-dealing, espionage, and the mysterious "Slim"; a section taking place in the "red-light" district of the city; a good deal of the symbolism in the movie's original dialogue; and a large chunk of the chase at the end. In Germany in the spring of 1927, an edited version modeled roughly on the American edition, though running slightly longer, was prepared and released, and that became the "standard" version of the movie, for both domestic (i.e. German) distribution and export. In subsequent years, other editions were circulated and still others were found deposited in various archives; in a surprising number of instances -- including that of a source stored at the Museum of Modern Art in New York -- there were tiny fragments to be found of the lost, longer version of Metropolis.The movie's reputation was further compromised with the lapsing of its American copyright in 1953, after which countless copies and duplicates, in every format from 8 mm to 35 mm (and, later, VHS tape and DVD) came to be distributed in the U.S. by anyone who could lay their hands on a print, of whatever quality and with whatever music track they chose (or didn't choose) to put on it. While several versions of the movie from these sources -- each with plot elements missing -- circulated, various restorations of the movie were attempted over the decades by responsible parties, as well. The BBC did a very effective one in the mid-'70s that was a hit on public television in America, utilizing an electronic music track that sometimes mimicked some of the industrial images on the screen. Also, there was the Giorgio Moroder version from 1984, heavily tinted and re-edited, with a rock score grafted onto it, which introduced the movie to a whole new generation of fans and turned it into a modern pop-culture fixture. The copyright was re-established in 1998 by the F.W. Murnau Foundation, and a restoration in 2002 brought the movie back to a 127 minute running time, in addition to utilizing a full orchestral score based on Gottfried Huppertz's original 1927 music. In 2008, it was reported that a significant part of the "lost" footage from the 1927 153-minute version of Metrpolis had been found in Argentina. The newest restoration of the complete Metropolis was on-going as of 2009, and a theatrical premiere was anticipated for 2010. ~ Bruce Eder, Rovi
    • fb1008742212
      fb1008742212: and combined with the story's allegorical sense it really is a primary display of some of the best silent films Germany or even the world had to offer.
      Metropolis' view of a dystopian future is a per
      Reviewed 12 months days ago
    • jlhaines2011
      jlhaines2011: Beautiful. The Silent Movie Theater (with Chrome Canyon dj set)
      Reviewed 5 months days ago
    • lizziemay81gmailcom
      lizziemay81gmailcom: Metropolis is a movie that many other movies have reflected off of. It is a very interesting movie,
      Reviewed 11 months days ago
  • City Lights

    City Lights (G, 1931)

    Charles Chaplin, Virginia Cherrill, Harry Myers, Hank Mann, Allan Garcia
    Charles Chaplin was deep into production of his silent City Lights when Hollywood was overwhelmed by... read more the talkie revolution. After months of anguished contemplation, Chaplin decided to finish the film as it began--in silence, save for a musical score and an occasional sound effect. Once again cast as the Little Tramp, Chaplin makes the acquaintance of a blind flower girl (Virginia Cherrill), who through a series of coincidences has gotten the impression that the shabby tramp is a millionaire. A second storyline begins when the tramp rescues a genuine millionaire (Harry Myers) from committing suicide. When drunk, the millionaire expansively treats the tramp as a friend and equal; when sober, he doesn't even recognize him. The two plots come together when the tramp attempts to raise enough money for the blind girl to have an eye operation. Highlights include an extended boxing sequence pitting scrawny Chaplin against muscle-bound Hank Mann, and the poignant final scene in which the now-sighted flower girl sees her impoverished benefactor for the first time. Chaplin's decision to release the silent City Lights three years into the talkie era was partially vindicated when more than one critic singled out this "comedy in pantomime" as the best picture of 1931. ~ Hal Erickson, Rovi
      ESTEBUENO: . In the midst of the talkie revolution Chaplin decided to remain silent despite adding some amusing sound effects and he proved that powerful stories could be told w
      Reviewed 15 hours days ago
    • fb710455200
      fb710455200: . Films at this time had just begin to use sync sound and silent films were already beginning to seem ancient by comparison, but because of the Little Tramp's
      Reviewed 4 months days ago
    • sbirkens
      sbirkens: Not a big fan of silent films, but Chaplin is pretty special. His technique alone is worth watching. The final scen
      Reviewed 3 months days ago
  • Modern Times

    Modern Times (G, 1936)

    Charlie Chaplin, Paulette Goddard, Henry Bergman, Stanley J. ('Tiny') Sandford, Chester Conklin
    This episodic satire of the Machine Age is considered Charles Chaplin's last "silent" film, although... read more Chaplin uses sound, vocal, and musical effects throughout. Chaplin stars as an assembly-line worker driven insane by the monotony of his job. After a long spell in an asylum, he searches for work, only to be mistakenly arrested as a Red agitator. Released after foiling a prison break, Chaplin makes the acquaintance of orphaned gamine (Paulette Goddard) and becomes her friend and protector. He takes on several new jobs for her benefit, but every job ends with a quick dismissal and yet another jail term. During one of his incarcerations, she is hired to dance at a nightclub and arranges for him to be hired there as a singing waiter. He proves an enormous success, but they are both forced to flee their jobs when the orphanage officials show up to claim the girl. Dispirited, she moans, "What's the use of trying?" But the ever-resourceful Chaplin tells her to never say die, and our last image is of Chaplin and The Gamine strolling down a California highway towards new adventures. The plotline of Modern Times is as loosely constructed as any of Chaplin's pre-1915 short subjects, permitting ample space for several of the comedian's most memorable routines: the "automated feeding machine," a nocturnal roller-skating episode, and Chaplin's double-talk song rendition in the nightclub sequence. In addition to producing, directing, writing, and starring in Modern Times, Chaplin also composed its theme song, Smile, which would later be adopted as Jerry Lewis' signature tune. ~ Hal Erickson, Rovi
    • kndhargrove
      kndhargrove: . Technically it is a silent film, however there is a short scene with talking for effect. This movie is amazing. It deser
      Reviewed 2 months days ago
    • fb1614518562
      fb1614518562: .

      I thought it was interesting that even though it was not a silent film he was still using the cards that say people's lines or what was going on even though th
      Reviewed 12 months days ago
    • fb685772754
      fb685772754: . This was quite different from the dictator. I haven't seen many silent films so at first the acting seemed over the top but it has to be I suppose. Great roller ska
      Reviewed 8 months days ago
  • Das Cabinet des Dr. Caligari. (The Cabinet of Dr. Caligari)

    Das Cabinet des Dr. Caligari. (The Cabinet of Dr. Caligari) (Unrated, 1920)

    Werner Krauss, Conrad Veidt, Lil Dagover, Friedrich Feher, Hans Heinrich von Twardowski
    In one of the most influential films of the silent era, Werner Krauss plays the title character, a s... read moreinister hypnotist who travels the carnival circuit displaying a somnambulist named Cesare (Conrad Veidt). In one tiny German town, a series of murders coincides with Caligari's visit. When the best friend of hero Francis (Friedrich Feher) is killed, the deed seems to be the outgrowth of a romantic rivalry over the hand of the lovely Jane (Lil Dagover). Francis suspects Caligari, but he is ignored by the police. Investigating on his own, Francis seemingly discovers that Caligari has been ordering the somnambulist to commit the murders, but the story eventually takes a more surprising direction. Caligari's Expressionist style ultimately led to the dark shadows and sharp angles of the film noir urban crime dramas of the 1940s, many of which were directed by such German émigrés as Billy Wilder and Robert Siodmak. ~ Hal Erickson, Rovi
    • asjklasjklas
      asjklasjklas: . Caligari impacted cinema altogether and is one of the greatest, most historically significant silent films to date.
      Reviewed 7 months days ago
    • 00Film
      00Film: . A masterpiece silent horror well worth a watch for horror buffs.
      Reviewed 18 months days ago
    • fb1533352175
      fb1533352175: Great silent film in the horror genre. This director was well ahead of his time. You almost sense this is
      Reviewed 21 months days ago
  • Mr. Bean's Holiday

    Mr. Bean's Holiday (G, 2007)

    Rowan Atkinson, Emma de Caunes, Jean Rochefort, Karel Roden, Max Baldry
    In his latest misadventure, Mr. Bean-the nearly wordless misfit who seems to be followed by a trail ... read moreof pratfalls and hijinks-goes on holiday to the French Riviera and becomes ensnared in a European adventure of cinematic proportions. Tired of the dreary, wet London weather, Bean packs up his suitcase and camcorder to head to Cannes for some sun on the beach. Ah...vacation. But his trip doesn't go as smoothly as he had hoped when the bumbling Bean falls face first into a series of mishaps and fortunate coincidences, far-fetched enough to make his own avant-garde film. Wrongly thought to be both kidnapper and acclaimed filmmaker, he has some serious explaining to do after wreaking havoc across the French countryside and arriving at his vacation spot with a Romanian filmmaker's precocious son and an aspiring actress in tow. Will Bean be arrested by the gendarmes or end up winning the Palme d'Or? It's all caught on camera as Atkinson again applies his awkward athleticism to a comedy of errors in Mr. Bean's Holiday.
    • fb679193553
      fb679193553: Amusing almost-silent movie, set in beautiful surroundings. Bean does nothing to promote the image of the Englishm
      Reviewed 17 months days ago
    • fb1812324173
      fb1812324173: It was nice to see Mr Bean back on the big screen a really good recap on silent comedy good job Atkinson for bringing him back one more time
      Reviewed 20 months days ago
    • ColbyBryant
      ColbyBryant: . Worth a look for fans of silent/physical comedy.
      Reviewed 5 years days ago
  • Talk to Her

    Talk to Her (R, 2002)

    Javier Cámara, Darío Grandinetti, Leonor Watling, Rosario Flores, Geraldine Chaplin
    Pedro Almodóvar follows his international success All About My Mother with an offbeat drama that exp... read morelores the friendship of two men brought together under unusual but strangely similar circumstances. Benigno (Javier Camára) is a male nurse whose apartment overlooks a dance studio run by Katerina (Geraldine Chaplin); he often sits on his balcony and watches one of Katerina's students, Alicia (Leonor Watling), and he finds himself becoming infatuated with her. When Alicia is severely injured in an auto accident that leaves her in a coma, Benigno discovers she has been admitted to the hospital where he works, and he spends his days caring for a woman he now deeply loves but has barely met. Marco (Darío Grandinetti) is a journalist who was assigned to interview Lydia (Rosario Flores), a well-known female bullfighter whose on-the-rocks romance with another toreador, "El Niño de Valencia" (Adolfo Fernández), has made her the focus of the tabloid press. During Marco's interview with Lydia, he goes out of his way to treat her kindly, and she appears to return his attention. During the bullfight which follows, Lydia is gored by the bull, and is now in a coma; Marco is certain his interview broke her steely concentration, and he spends most of his days at the hospital, convinced her injuries are his fault. Alicia and Lydia are both housed in the same ward of the same hospital, and in time Benigno and Marco become close friends, bonding in their shared devotion to women who cannot return their affection. ~ Mark Deming, Rovi
    • odditie
      odditie: When Benigno does rape her comatose body Almodovar takes care, he uses cartoon like characters in a silent film to express the act and while its serious nature does not get overlooked as the film move
      Reviewed 6 years days ago