Scott Lord Silent Film: Brass (Sidney Franklin, 1922)

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Scott Lord Silent Film: Shadows (Forman, 1922)

Robert Sherwood, editor of the volume The Best Moving Pictures of 1922-23, wrote, "In the direction of 'Shadows' by Tom Forman, and in the acting by Lon Chaney, Harrison Ford, Marguerite de La Motte, and John Sainpolis, there was a fine sincerity. They all seemed to realize they were working on a picture that was destined to be a part from the regular run of machine made products." The periodical Exhibitors Trade Review during 1922 entitled their rebiew of the film "Chaney a Master of Characterization". It read, "Most stars stand for a definite type of pwrformance, while Chaney is never the same except perhaps in the degree of sincerity and finish that he gives to the characetrizations he undertakes." To add authenticity, authority and credibitlity, Exhibitors Trade Review quoted snippets from the periodicals Motion Picture News, The Film Daily, and Motion Picture World, apparently unperturbed by the competition.

Lon Chaney

Lon Chaney

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Scott Lord Silent Film: The Unbeliever (Alan Crosland, Edison Company, 1...

The Edison Company released its last film as a studio, "The Unbeliever" (Alan Crosland, six reels) in 1918. The periodical Motion Picture News seems to have been kept in the dark that it would be the swan song of the studion, claiming that the Edison Company viewed the film as their "greatest contribution to the screen".
Not incidentally, the term "one sheet" used to describe the standard size of movie posters began with the Edison photoplay; it was a size of approximately 27 inches by 41 inches often included a synopsis of the plotline of the film. Silent Film

Scott Lord Silent Film: Reaching for the Moon (Emerson, Loos, 1917)

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Scottt Lord Silent Film:The Three Musketeers (Niblo, 1921)

Douglas Fairbanks the following year continued his series of films in which he starred as an adventure protagonist with the title role in the 1922 film “Robin Hood”, each film seeming to be a story in a different historical period and a different geographical country.
Douglas Fairbanks Douglas Fairbanks

Scott Lord Silent Film: The Mark of Zorro (Niblo, 1920)

Toward the end of 1920, Wid's Daily titled its review of Douglas Fairbanks in "The Mark of Zorro", directed by Fred Niblo, with "Slow Starting But 'Doug' Gets This One Over Well". In regard to the film as a whole, it wrote, "Exceedingly entertaining romance with Doug doing a dual role and his usual acrobatics." Silent Film Douglas Fairbanks Douglas Fairbanks

Scott Lord Silent Film. The False Faces (Thomas Ince, 1919)

Lon Chaney, as well as having starred in the seven reel silent film “False Faces”, during 1919 starred under the direction of Tod Browning in the seven reel film “Wicked Darling”.

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Lon Chaney

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Scott Lord Silent Film: The Phantom of the Opera (1925) theatrical trailer

Lon Channey Silent Film Lon Chaney

Scott Lord Silent Film: The Covered Wagon (James Cruze, 1924)

SILENT FILM The book Pictorial Beauty on the Screen, written by Victor Oscar Freeburg in 1923, was dedicated to James Cruze, director of the silent film 'The Covered Wagon'. The introduction to the volume was written by silent film director Rex Ingram. Ingram notes that the silent film "must be composed of certain pictorial qualifications such as form, composition and a proper distribution of light and shade." Film poetry began with the silent film, despite any rennaisance in the nineteen seventies. Allan Eyles notes that "The Covered Wagon" (Cruze, 1923), made in the United States at a time when film criticism was giving more than a cursoy glance to the work of Swedish silent film director Victor Seastrom who had only just then arrived in America with Mauritz Stiller to bring a close to the Golden Age of SWEDISH Silent, was remarkable for its depicting the relationships of the characters within narrative to the enviornment in which the story takes place, its plotline built around the interaction of its three primary characters. Silent Film Silent FILM