“It's the pictures that got small.”

#GCM45

𝘿𝙞𝙚 𝙏𝙚𝙪𝙛𝙚𝙡𝙨𝙠𝙞𝙧𝙘𝙝𝙚 (Hans Mierendorff, 1919? 1920?) briefly, and plausibly, explores the possibility of a Christian, pietistic form of hedonism; then the ending—“Just kidding! It was all a bad dream!”—sets us back on the straight and narrow. #PordenoneSilent #GCM45

You think you know love stories? Go see 𝘽𝙚𝙧𝙜-𝙀𝙟𝙫𝙞𝙣𝙙 𝙤𝙘𝙝 𝙝𝙖𝙣𝙨 𝙝𝙪𝙨𝙩𝙧𝙪 (Victor Sjöström, 1918), then we’ll talk. #PordenoneSilent #GCM45

Mary Astor puts the swash in Douglas Fairbanks’s buckle in 𝘿𝙤𝙣 𝙌, 𝙎𝙤𝙣 𝙤𝙛 𝙕𝙤𝙧𝙧𝙤 (Donald Crisp, 1925). #PordenoneSilent #GCM45

Alice and Ralph? Lucy and Ricky? Laura and Rob? We owe them all to Mrs. Sidney Drew and her husband, Sidney. See, e.g., 𝙁𝙤𝙭 𝙏𝙧𝙤𝙩 𝙁𝙞𝙣𝙚𝙨𝙨𝙚 (Mrs. Sidney Drew, 1915). #PordenoneSilent #GCM45

Italia Almirante Manzini is like Kay Francis and Norma Shearer rolled into one in 𝙇𝙖 𝙢𝙖𝙨𝙘𝙝𝙚𝙧𝙖 𝙚 𝙞𝙡 𝙫𝙤𝙡𝙩𝙤 (Augusto Genina, 1919). And wow, what a plot! #PordenoneSilent #GCM45

It has taken me a day to realize that public transportation is one of the themes of this festival. 𝙎𝙘𝙝𝙬𝙚𝙗𝙚𝙗𝙖𝙝𝙣 (Germany, 1902), showcasing an astounding system, has me wanting to beat a hasty path to Wuppertal. #PordeneneSilent #GCM45

Die Teufelskirche (Germany 1919)
The Devil arrives at Ane’s kitchen door … (see ALT for individual descriptions.)
- streaming in the online Pordenone Silent Film Festival #GCM45

In 𝙏𝙝𝙚 𝙋𝙤𝙡𝙞𝙩𝙞𝙘𝙞𝙖𝙣’𝙨 𝙇𝙤𝙫𝙚 𝙎𝙩𝙤𝙧𝙮 (D.W. Griffith, 1909), a pompous, egotistical politico’s hat and mustache (read dyed-blond combover & long tie) are ridiculed by a cartoonist. Politico sets out to kill artist; she literally disarms him while the male publisher & editors cower. #PordenoneSilent #GCM45

The name of 𝘽𝙚𝙨𝙩𝙞𝙖 (Aleksander Hertz, 1917), like it’s American intertiltles, gives the impression that Pola Negri’s character is a femme fatale. In fact, though, Negri plays the part sympathetically, as a talented and complex figure undercut by the chicanery of others. #PordenoneSilent #GCM45