More noise should be made about Brooks’ ‘Silent Movie’ (1976)
Mel Brooks Monday (Movie review): Brooks, Feldman and DeLuise are at the top of their physical-comedy games in this consistently funny series of gags.
Silent Films
More noise should be made about Brooks’ ‘Silent Movie’ (1976)
‘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.
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.