A Fond Farewell To 2025: The Silent Community Year In Review

Happy New Year from me and from these mid-1920s partygoers! What, you’ve never forced a small, rather stunned-looking child to dress like an infant representation of the impending calendar date? …Okay, neither have I.

Anyways it’s time for Silent-ology’s annual New Year’s tradition! We’re looking back on the silent film-related news from the past 12 months, from interesting new books to the latest film rediscoveries (they just keep turning up!). I have to say, I’m sad to see 2025 go…partly because 5 is my favorite number and thus 5 times 5 is one of the finest and most perfect of all numbers, and partly because this was my Pordenone film festival year and I’ve appreciated it very much.

As I try to mention every year, this list isn’t quite exhaustive since there’s always a news item or release that sneaks by me somehow, but at the very least I try to make it a well-rounded look back at the past year. If there’s anything big I should’ve mentioned, please let me know in the comments!

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A Closer Look At Frank Capra’s “It’s A Wonderful Life”

Like practically everyone with eyeballs, I grew up with the beloved classic It’s a Wonderful Life (1946). A staple in our house every Christmas season, it’s probably one of the films I’ve watched most overall, along with The Ten Commandments (1956), The Wizard of Oz (1939) and Singin’ in the Rain (1952). It’s the kind of film where you know every line, every bit of music, every little sound in the background.

You’d think that having every second of a film committed to memory would mean that rewatches are merely cozy nostalgia. But It’s a Wonderful Life is no ordinary comfort film, and not just because the travails of George Bailey hold different meanings for people at different stages in their lives. Much to my surprise today, years of watching silent films have made the kinds of buildings, decor and furnishings surrounding the citizens of little Bedford Falls more familiar, and I’ve become more and more impressed by how carefully the set decorators chose these details and how well they help flesh out these beloved characters–as well as the world of early 20th century America.

So for this post, let’s peer at some of the film sets themselves. The styles that we see aren’t just “old” because this is a film from 1946. They’re full of details from specific eras of late 19th and early 20th century American that countless moviegoers would’ve recognized at the time. Indeed, there’s much more here than meets the eye!

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Book Reviews: “The Silent Film Universe” And “Early Buster Keaton”

As it’s Christmas shopping time, I wanted to recommend two excellent new books for my fellow film history buffs. I know for a fact that you and the other film fans in your life will enjoy them!

The Silent Film Universe by Ben Model

Silent-ology is a big fan of silent film accompanist and historian Ben Model and all the work he’s done with his home video company, Undercrank Productions, to help bring rare silent films to DVD/Blu-ray. This year he released a new book with the help of a crowdfunding campaign on Indigogo–a campaign which was fully funded in less than 24 hours! (I was happy to be one of those many enthusiastic backers.)

The Silent Film Universe presents something new: not just brief recaps of the history of silent films and their forgotten contexts, but breezily-written analysis of why these films are so immersive. Their unique form of art doesn’t just make audiences watch passively, but has them actively participate with their imaginations in a way that no other art form has since. You could even argue that they weren’t merely “compensating” for the lack of sound, but were capitalizing on its absence.

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Giving Thanks For Silent Films, And What They’ve Given Me

Happy Thanksgiving, American readers–and to my readers in general! I thought I’d type up a little reflection for you all in honor of this fine holiday. In the past I’ve referred to silent film as “the gift that keeps on giving.” But this isn’t just a figure of speech, it really is true!

I’m feeling as thankful as Billie Dove holding a Thanksgiving turkey!

When I first got into silent films in the early 2010s, they were quite literally a Godsend. My family was going through one of those tragic times where life was turned upside and huge changes were taking place. Buster Keaton films in particular were an extraordinary–and amazingly effective–distraction for me. I sincerely believe it was no accident that I was introduced to his work at that very particular time. Without a doubt, it saved my sanity. It also lit up my brain: how were these films made back then? They were more sophisticated than I thought 1920 films would be, so how exactly did cinema evolve? I needed to know!

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My Time At The 44th Pordenone Silent Film Festival

“One day, Pordenone!” As a lover of silent cinema and film festivals, this had long been one of my mottos–too long. After all, what’s a bucket list item for, if not to be giddily checked off? Why not make 2025 the year I finally attend the storied Le Giornate del Cinema Muto (Pordenone Silent Film Festival) in northern Italy? Andiamo!

From the festival’s Facebook page.

This was my first international silent film festival, the long plane ride making the experience more akin to a pilgrimage (I’ve travelled to Europe several times before, but never for this kind of event). Now that I have triumphantly returned and settled back into my normal routine sans jet lag (oh that lingering specter), I’m excited to report on just what my experience was like and why you, too, should have it on your bucket list!

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Rare Photos From “A Country Hero” (1917) Revealed!

As I’m taking in the Pordenone Silent Film Festival, I wanted to share a very special treat with you all that’s been made possible by a generous reader. Some of you might know that A Country Hero is my #1 most wanted lost silent film, so to all my fellow Buster fans: get excited!!

Recently I was contacted by an independent researcher and fellow Buster Keaton fan about a fascinating discovery she made while researching the lost Comique short A Country Hero at the Margaret Herrick Library in Los Angeles. The two-reel short, which starred Roscoe Arbuckle, Al St. John, Buster Keaton, Buster’s father Joe Keaton, and Alice Lake, was set in a small town called Jazzville and has been completely and thoroughly lost. In fact, it’s the only known piece of the “Buster at Comique” puzzle that’s currently missing. Thus, the mystery of what this film was like and whether it might ever turn up has been tantalizing fans ever since–including me! (Honestly, I’ve been dying to see for years now!)

Much to her surprise, this researcher turned up two crystal-clear photos from the film that were completely unfamiliar to her and did not appear to have been used in books or uploaded onto the Internet at all. In fact, the Herrick library didn’t even have any thumbnail scans on their site (thanks to her request for scans, they do now, but at the time the photos were a complete surprise).

Having made such a fabulous discovery, there was the dilemma of how to share these two photos, since she doesn’t have a site or social media presence of her own. So she reached out to me, Comique fanatic: would I like to share them in a post on Silent-ology? Um, YES PLEASE!! It would be an honor.

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On My Way…To Pordenone!

As you’re reading this I will be arriving in Pordenone, Italy for the 44th Pordenone Silent Film Festival! (Hopefully my jet lag has quelled somewhat, since I may have spent some time in Venice first…!)

An intense Dorothy Mackaill on this year’s poster.

If you’re a silent film fan you’ve doubtless heard of Pordenone, and have probably dreamed of going at some point. I should know…because I’ve been dreaming about it for years! And this year I decided: why not? Why not just do things?

One bittersweet inspiration for attending this year was my friend Donna Hill, who passed away suddenly some months ago. She started attending Pordenone a couple years ago and raved about it, and to my knowledge was planning on returning in 2025. After she passed away I decided that it was important to check off those bucket list items. You never know what the future might bring, and experiences like this are good for the soul. And in a sense, the trip could be my personal tribute to her memory.

This prestigious festival has been taking place in Pordenone (a small-ish city north of Venice) since 1982, when it debuted with a modest showing of Max Linder films from the Cineteca del Friuli collection. Originally it was just a special one-day screening, but Italian historian Davide Turconi decided another special screening should be held the following year. And the Pordenone Silent Film Festival has been an annual event ever since.

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Thoughts On: Baz Luhrmann’s “The Great Gatsby” (2013)

This is the last post of Gatsby Month–I’m sure you all saw it coming! I had one more post in the works about Fitzgerald’s legacy in the city of St. Paul, but a sudden sickness messed up my writing schedule (shall I save it for October? November? It’s still the 100th anniversary year!). Anyways, hope you enjoy and thanks for following along the last few weeks!

You can’t discuss film adaptations of The Great Gatsby without bringing up the latest, most lavish and most heavily budgeted take to date: Baz Luhrmann’s version from 2013–complete with 3D (in case you forgot the 2010s fad to Make 3D Happen, which I certainly did). With its flashy effects, wild club-style party scenes drowning in tinsel, swirling camera shots and anachronistic music choices, it can be a polarizing experience. When it’s faithful to the novel, it’s really faithful. When it takes liberties, it creates confetti-stuffed, hip hop-infused fever dreams F. Scott Fitzgerald himself probably couldn’t have dreamt up no matter how many highballs he had that day (a lot).

Now, I like Luhrmann quite a bit. I get a kick out of the dizzying excess of Moulin Rouge! (and owned the soundtrack back in the day) and think Elvis is one of the best modern movies I’ve seen in years. His opulent style and love of mixing different decades of music can have a cool “collage” effect when it’s done well. Ah, but what about when it’s not done well?

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Dueling Gatsbys: Comparing The 1949 And 1974 Film Versions

As far as film versions of famous books go, Baz Luhrmann’s The Great Gatsby (2013) gets a lot of attention these days–mainly for its eye-popping visuals (and a certain famous champagne-toasting meme). This somewhat overshadows the other two notable Gatsby films, which came out a few decades apart: the 1949 version starring Alan Ladd and the 1974 version starring Robert Redford. If you’re at all a fan of Fitzgerald’s novel, it’s mighty fascinating to see how its 1922 setting was interpreted through the lens of the Film Noir 1940s and the auteur-heavy 1970s.

So allow me to do a little breakdown of these two particular films, analyzing how faithful they are to the novel and sharing what I think of the performances. Not to mention sharing my ever-finicky thoughts on how they try to recreate the Roaring Twenties! Several spoilers to follow, if you’re at all concerned. Read on:

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“Has the Flapper Changed?” An Eloquent 1927 F. Scott Fitzgerald Interview

This interview had to be shared on Silent-ology at some point, and what better time than Gatsby Month? F. Scott Fitzgerald, Mr. “Jazz Age” himself and popularizer of the universally well-known flapper, shares his thoughts on how the flapper had evolved throughout the 1920s and gives his analyses of some of the most iconic “Flaming Youth” actresses. It’s a classic!

At the time the interview was taken in 1927, I believe that Scott and Zelda Fitzgerald were living in Hollywood, having left the charms of Paris and the French Riviera to head home to the U.S. in December 1926. By January 1927 they had moved into a bungalow on the grounds of the Ambassador Hotel, provided by United Artists who wanted Scott to write a “flapper picture.” (While the piece did come out in July 1927, fan magazines sometimes took months to publish an interview, I’ve found.) Initially the Fitzgeralds had a lot of fun meeting the stars and getting wined and dined at various soirees, but by March they were heading to a rented mansion in Delaware–Zelda was complaining about being bored.

The couple in 1923.

This 1927 interview is a delightful confirmation of how we’ve imagined this charming, fast-living celebrity couple to be. The interviewer notes Scotty’s debonair looks (and happily admits she’s crushing on him!) and mentions Zelda’s Southern drawl. Zelda’s apparently just had a Black Bottom dancing lessons (the most popular 1920s dance after the famous Charleston) and there’s a joke early on regarding three empty bottles of Bourbon. Scott just had an extensive interview the day before and worried he was all out of pithy statements–so naturally he delivers some amazingly eloquent observations, my favorite of which is at the very end.

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