‘People on Sunday’ (1930) explores human nature, cinema’s potential
Wilder Wednesday (Movie review): At the time, it was an experiment in using non-actors; today, it’s a time capsule of peaceful, pre-Hitler Germany.
Silent Films
‘People on Sunday’ (1930) explores human nature, cinema’s potential
Country life is an unfunny slog in ‘The Farmer’s Wife’ (1928)
On a Hitchcock kick (Movie review): This comedy is bad in several ways, but the most basic is that it’s twice as long as what the breezy story calls for.
Raise a glass to Hitchcock’s bubbly ‘Champagne’ (1928)
On a Hitchcock kick (Movie review): Neither deeply serious nor hilarious, this silent-era entry is easy to watch thanks to Betty Balfour.
Symphonic score makes ‘Easy Virtue’ (1928) easy to watch
On a Hitchcock kick (Movie review): The story is mildly engaging as it examines a time when the act of filing for divorce could apparently make you famous.
Hitchcock makes sound transition to talkies in ‘Blackmail’ (1929)
On a Hitchcock kick (Movie review): The tech transition feels gimmicky, but three compelling characters and a modern theme keep matters suspenseful.
‘The Manxman’ (1929) explores all sides of love triangle
On a Hitchcock kick (Movie review): Three emotionally honest and gripping performances make this remake of a 1916 film worth doing.
Hitchcock takes a swing at boxing in ‘The Ring’ (1927)
On a Hitchcock kick (Movie review): This silent film has some light comedic punch as it chronicles rivals for a title belt and a woman’s affections.
Hitchcock’s protagonist gets beaten ‘Downhill’ (1927) by life
On a Hitchcock kick (Movie review): In a prototype for “I Confess,” Hitch asks how much societal BS one person can absorb before it’s too much.
Hitch’s career respectfully launches with ‘Pleasure Garden’ (1925)
On a Hitchcock kick (Movie review): But viewers at the time didn’t get a fair chance to watch the director’s light romance until after “The Lodger” became a hit.
‘The Lodger’ (1927) shows Hitch can be Hitch without dialog
On a Hitchcock kick (Movie review): But modern viewers of this silent classic will likely appreciate the score laid down by Ashley Irwin in 1999.