A [favourite] silent horror film*

 

Incomplete and, despite the generally accepted popular Occidental opinion, not a horror film. Oh, to have seen this narrated by Musei Tokugawa…

 

* the Bales 2025 Film Challenge for October is horror-themed as opposed to date-based, and is all about favourites. Expect non-horror and films I believe to be relevant instead.

 

Someone goes to work*

“Du, Wolf, nächsten Sonntag — ?”

– title card

Berliners rest on Sunday, we still do. People lounge in the many parks, and on the shores of the city's many lakes. And then, it's Monday.

 

Released in 1929, according to Atlas Film, who restored this important Weimar classic long before Criterion put their grubby hands on it.

 

* the Bales 2025 Film Challenge for July is, for unknown reasons, mostly not date-related and follows some sort of vacation narrative.

A [favourite] athlete in a film role for Mike Tyson's birthday

“But this art of total synthesis that is Cinema, this fabulous newborn of Machine and Sentiment, is beginning to cease its moans and is entering its infancy. Its adolescence will soon arrive, seize its intelligence, and multiply its dreams; we ask that we hasten its development, precipitate the advent of its youth. We need Cinema to create the total art toward which the other arts have always tended.“

– Ricciotto Canudo, Gazette des sept arts, 1923 (via)

The match you see is real, between two actual fighters. Paul Werrie's rhythmic poem served as the basis. Everything else is illusion made flesh with what was available. An empty painter's studio, a few friends, footage of a crowd, a deep comprehension of the Kuleshov effect and rapid Soviet-style editing. Dekeukeleire places us from the safe world of the spectator right in the line of fire. But there's no release like in James Williamson's The Big Swallow (1901). Without that gimmick, cinema enters Canudo's realm, as the seventh art.

Gaslights for the first recorded public street lighting powered by gas, demonstrated in Pall Mall, London, on 28 January, 1807. The introduction of gaslight had a major influence on theatre and opera, including the new Paris Opera (1875), which was lit by no less than 960 gas jets. Thanks to the brilliant light, stage actors could tone down their mannerisms and stage makeup.

“Feast your eyes. Glut your soul on my accursed ugliness.”

– The Phantom

However, in the dark dungeons under the Opéra lives a pitiful creature, doomed to dwell in darkness. His makeup, provided by The Man of a Thousand Faces, Lon Chaney, was both grotesque and eerily real .

An invention for Benjamin Franklin's birthday. Inventor Charley (Charles R. Bowers) comes up with an ingenious method to make eggs break-proof for transport by rubberizing them.

“… as we enjoy great advantages from the inventions of others, we should be glad of an opportunity to serve others by any invention of ours; and this we should do freely and generously.”

– Benjamin Franklin in his autobiography

Bowers was an almost-forgotten silent era comedian, filmmaker, and animator. In more recent years, his groundbreaking stop-motion comedy has found a new, well-deserved, interest.

A funnily dressed pet for National Dress Up Your Pet Day (USA) (please don't!).

– Now, see! You kill-a de monk! – Pay him for that baboon… or I'll run you in!

After cameraman Buster accidentally knocks over a monkey, he has no choice but to take the sailor-suited simian along on his movie shoots.

Dragons or lizards, January's soul symbol.

A favourite scene featuring light for Hanukkah and Christmas.

Alan “How long will I live?”

Cesare “Till the break of dawn.”

Featuring rhythm and blues, funk or blues, for Walter “Wolfman” Washington's birthday (1943)

“I hate to see the evening' sun go down I hate to see the evening' sun go down It makes me think I'm on my last go 'round

Feeling' tomorrow like I feel today Feeling' tomorrow like I feel today I'll pack my grip and make my getaway”

Saint Louis woman with her diamond rings Pulls that man around by her apron strings Wasn't for powder and the store-bought hair The man I love wouldn't go nowhere, nowhere

I got them Saint Louis Blues; just as blue as I can be He's got a heart like a rock cast in the sea Or else he wouldn't have gone so far from me”

– Bessie Smith, St. Louis Blues (W. C. Handy)