“Shoulder to shoulder. The land is ours. Tomorrow is ours.”

– sailor

A brawl over a woman. That's what breaks The Great Phroso. After recovery, a year later, he finds himself a #paraplegic and his stolen wife dead in a church with an infant next to her. To Africa he takes the child – it's the other man's, the ivory trader's – and carefully, vengefully raises her.

“How did God ever put a thing like you on this earth?”

– Maizie

Phroso, now known as Dead-Legs and White Voodoo to the tribe he resides over, uses his magician's skills to rule over his own little jungle empire. We see the gestation of Kurtz, oddly too an ivory trader in that other White Hell, Heart of Darkness (Joseph Conrad, 1899).

 

Despite attempts to tone it down on request of censors, West of Zanzibar is one of Tod Browning's meanest. Lon Chaney is fantastic, of course. His Phroso, torn by love and #revenge, one of the early and rare depictions of male frailty in western cinema.

Like in Enrico Novelli's Un matrimonio interplanetario [A Marriage in the Moon] (1910), interplanetary romance blooms in Аэлита.

Through her #telescope, Queen Aelita spots engineer Los, a handsome Earth man, and he promptly travels to #Mars to be with her. There, Los uncovers an uprising by the Elders against his beloved queen that he vows to – in good proletarian fashion – stomp down.

 

Aelita*'s constructivist stage and costume design had an enormous influence on science fiction, as far as the late 20th century.

Europeans are not too worried about certain things. Having a body for instance is something good. Instead of shame, you take care for it with regular exercise and plenty of fresh air. Preferably both. In Germany this is called #Freikörperkultur, sometimes confused with nudism.

 

Wege zu Kraft und Schönheit is a display of the human in various stages of exercise and undress. We see sportspeople – including future-Tarzan Johnny Weissmuller and then-movie mountaineer Leni Riefenstahl – world leaders (Rockefeller and Mussolini, though the latter was cut from re-releases) and dancers such as Josephine Baker, Baku Ishii, and the scandalous Anita Berber. The film was mostly aimed at women, who by then were part of the workforce, sitting at desks in modern Metropolises. So modern it was that people were encouraged to complete their Wege-collection of trading cards, which came with their cigarettes. Good thing they're all #outdoors.

Science fiction may be one of those genres that's forever linked to the future and, depending on which side of 2000 you are at, either in a dystopian of utopian fashion.

 

An #Eiffel Tower watchman wakes up to find the world around him asleep. The few ones still awake – the bright, pretty, carefree things – explore, live and loot.

In Steamboat Bill, Jr., former vaudevillian Keaton narrowly escapes the façade of a house crashing down around him.

“I'm trying to teach you to run it – not wreck it!”

– William 'Steamboat Bill' Canfield

Both the man and the stunt lived on, probably most famously in Keaton aficionado #JackieChan's Project A Part II (HK, 1987).

 

Despite all the well-meant tributes, none of the later stunts are as nail biting as the pre-OSHA original.

Sunrise was bestowed the award for “Best Unique and Artistic Picture” on that first Oscar night. The first and last time that ever happened; in 1930, the price was scrapped and replaced by “Outstanding Picture” aka “Best Picture”. And that one went to the much more American-patriotic Wings (1927).

 

Also rightfully awarded in '29 were Janet Gaynor (Best Actress in a Leading Role), Charles Rosher and Karl Struss (Best #Cinematography), while Rochus Gliese was nominated for Best #ArtDirection.

“This song of the Man and his Wife is of no place and every place; you might hear it anywhere, at any time.”

– opening title card

Sunrise is a fantastic tour de force, and it winning that award should make you feel hopeful for the future of cinema. Instead, the current list of nominees and winners is, at least to me, a checklist of what to avoid for ever.

For authenticity reasons, The General was – for the most part – filmed on location in Oregon. Set during the #AmericanCivilWar, it's a comedic retelling of a popular war memoir about the #GreatLocomotiveChase.

“This girl was in the baggage car when we stole the train, so I thought it best to hold her.”

– Captain Anderson

Sadly it was a box office #flop, resulting in Keaton losing his independence and his movie entering the #PublicDomain as early as 1954. Luckily for us that means we too can enjoy Oregon beautiful 1920s vistas.

Legendary African-American #vaudeville performer Johnny Hudgins – in historically correct Blackface – plays an African explorer who descends onto 2028 Paris to learn about the primitive ways of the white natives. Soon, he discovers the Charleston.

“I have finally discovered my ancestors' traditional dance.”

– Johnny Hudgins

A fantastic Afrofuturist short, made a decade before Sun Ra's trip to Saturn.