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10 great silent horror filmsWith the rerelease of the original Dracula film, Nosferatu, we cast our minds back to the
early years of cinema to prove that some of the mediums greatest chills came in silent
form.
Pamela Hutchinson
Updated: 2 December 2013
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Nosferatuis rereleased nationwide on 25
October.
Gothic: The Dark Heart of Filmis a major
four-month film season at BFI Southbank
Nosferatu (1922)
Though horror movies really
gathered pace in the sound era, there
is no denying that films of the silent
age set many of the genres essential
stylistic tics. Even today, its a very
Further reading
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an across e rom c o er o
January 2014.
10 to tryEach of the recommendations included
here is available to viewin the UK.
legacy of German Expressionism,
which writes psychological unease
large in shadowy contrasts and queasy perspectives.
Silent horror terrifies through its sheer rawness made at the beginning
of cinema, they were unconstrained by horror movie convention, and canhit us hardest for their undiluted depiction of terror.
There is no greater example of this than F.W. MurnausNosferatu(1922),
which is rereleased nationwide this week in a Masters of Cinema
restoration as part the BFI Gothic project.
Murnaus film is an adaptation ofBram Stokers Dracula on the sly: thenames have been changed to protect the studio pockets. Theres so
much here that has been adopted by later horror: the slinking, spreading
shadows cast by the toothy Count Orlok; his hunched and loomed
silhouette painted on a bare wall; his uncanny rise from his coffin.
But theres much also in Nosferatu
that defies our expectations of a
scary movie. If youre looking for the
classic gothic colour palette of black,
white, red and royal purple youll be
sorely disappointed. Nosferatu is shot in natural light, and tinted delicate
hues of amber, violet and rose pink. There is no blood and gore either:
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Orloks victims are engulfed by shadows, and our imaginations are left to
flesh out their fate.
In tribute to Nosferatu, here are 10 more great silent horror films, all of
which have more in common with their modern successors than you may
expect.
Infernal Cauldron (1903)
Director Georges Mlis
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Pioneer Georges Mlismade countless devil movies, including hisThe
Haunted Castle(1896), which may well be the first horror film ever shot,
although if we are being pernickety it is also a comedy. The Infernal
Cauldron, a hand-painted jewel from 1903, makes this list because it
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remains breathtaking in its brutal economy and mastery of early special
effects.
A dancing green demon bundles a woman in white into his cauldron. His
reptilian henchman drags in two more victims and stirs the pot of fire with
his pitchfork. There is an explosion, and the spirits of the murdered
people emerge from the flames and hover in the air briefly, only to
transform into fireballs. Under bombardment, the devil runs mad and
does what can only be described as the decent thing.
Mlis was a genius of the cinema, and this 110-year-old portrait of
inexplicable, psychotic sadism is compelling, cruel and strangely
attractive.
Frankenstein (1910)
DirectorJ. Searle Dawley
Samuel Wigley
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A crash-course in literary adaptation for the big screen, this gothic
miniature is another gem of the early period. Entirely composed of interior
scenes, this unexpectedly domestic, small-scale version of Mary
Shelleys novel is more than a match for more overblown big-screen
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Frankensteins. The filmmakers intended to emphasise the mystic and
psychological problems in this weird tale rather than the scares, but the
creation scene is gruesome enough for most ghouls. As the screen is
washed in a red tint, a skeleton emerges slowly from a crucible, gathers
scraps of flesh to its bones and begins to wave. All the while, we keep
cutting back to the horrified doctor peeking through the door at his grim
achievement. A neat mirror-trick transposes the novels finale from the
Arctic tundra to a cosy parlour, too. And it works.
Long thought to be a casualty of silent film loss, Frankenstein was
rediscovered in the early 1970s, and thanks partly to a popular reboot in
2010, is a latter-day online sensation.
The Cabinet of Dr. Caligari (1920)
DirectorRobert Wiene
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Inspired by a trip to the funfair, the mindbending narrative ofThe Cabinet
of Dr. Caligari, which concerns a sleepwalking murderer controlled by a
sinister showman, finds its ideal visual incarnation in high GermanExpressionism. Every frame of this movie screams madness, instability
and fear: from the impossibly tilted and twisted painted backdrops to the
deathmask makeup of somnambulist Cesare.
Enduringly popular, and massively influential, The Cabinet of Dr. Caligari
turns terror into an artform, and holds the audience in its sweaty palm
right until the infamous surprise ending.
In a now-disputed theory, Siegfried Kracauerdescribed the film as an
allegory for Weimar Germany, in disarray after the First World War, and
susceptible to a new tyrannical leadership. Of course, Robert Wienes film
is all the more terrifying because it resists any such neat explanation.
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Dr. Jekyll and Mr. Hyde (1920)
Director John S. Robertson
The famous Shakespearean John Barrymoreshoulders the dual roles of
man and monster in this hugely popular adaptation of the Robert Louis
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Stevensonnovella. Fellow stage thespianBrandon Hurstplays Jekylls
leering colleague Dr Carew, while vamp Nita Naldiis the dance-hall
darling who brings out his inner Hyde. And all the while the intertitles
ramp up the tension, they are also casting a moral burden out to the
audience: In each of us, two natures are at war the good and the evil.
All our lives the fight goes on between them, and one of them mustconquer. But in our own hands lies the power to choose.
Barrymores own hands, extended by gruesome, gnarled fingers, are a
tribute to Famous Players-Laskys makeup department, but theres far
more to this than gore and shocks. The final scenes capitalise on a new
character inserted by a previous stage adaptation, Jekylls fiance
Millicent, to add a little heartbreak to the horror.
The Golem, How He Came into the World
(1920)
DirectorPaul Wegener and Carl Boese
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Paul Wegenermade, and starred in, three Golem films, but this is the
only one that remains. Its a prequel to the other two, a retelling of theGolem legend in which a rabbi in 16th-century Prague sculpts a plus-size
monster from clay to defend the Jewish community. In this movie, the
Golem, after initially fulfilling its duty, falls under the influence of a demon
and embarks on a violent rampage through the ghetto. The ending, when
it comes, is an absolute classic, and surprisingly heartwarming for such
an out-and-out experiment in fear.
Vast sets designed by architectHans Poelzigand cinematography by the
legendary Karl Freundgive The Golem an appropriately majestic sense
of scale, and sharp, expressionist style. The lumbering Golem with an
unexpected tender side, as played shiftily by Wegener, is the forerunner
of many a cinematic Frankensteins monster. That the shem in the
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Golems chest that awakens him will also remind 2013 viewers of the
Marvel Iron Man franchise cant be denied.
The Haunted House (1921)
DirectorBuster Keaton and Eddie Cline
f ff
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A cheeky inclusion for a slapstick two-reeler here, albeit one stuffed to
the gills with ghouls, devils and animated skeletons. Our casually elegant
hero is a bank clerk who finds himself lured to a tricked-out house,
haunted by Scooby-Doo-style fake spooks. Its impossible to resist
reading Buster Keatons antics in the fake haunted house as a tribute to
the stagey antics of Georges Mlisand his dancing devils. Not least a
set piece in which two perky skeletons assemble a man limb by limb from
inanimate body parts. And the dedication of half the running time to the
twin thrills of frightening our hero and watching his entertainingly spooked
reactions speaks to a healthy understanding of an audiences desire to
have their adrenaline levels tweaked.
But perhaps it is also worth considering slapstick as an ancestor to bodyhorror. Watch what Buster gets up to here with glue, a hammer and a
kettle of boiling water and ask yourself where the gruesome appetites of
torture porn aficionados were first sharpened.
The Phantom Carriage (1921)
Director Victor Sjstrm
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A personal favourite of Ingmar Bergmans, who claimed to watch it at
least once a year, The Phantom Carriageis a horror film that places the
soul, not just the body, in peril. In the vein of The Exorcist(1973), The
Phantom Carriage dramatises the battle for one human soul as boozer
David Holm (played by director Victor Sjstrm) is apprenticed to drive
Deaths carriage, collecting the souls of the departed as they fall. As he
fulfils his grisly duty, the demarcation between the world of the dead and
the living is shown via ghostly multiple exposures. The film begins, and
ends, with a young Salvation Army volunteer on her deathbed, who has
been praying for Davids redemption.
The ethereal beauty of The Phantom Carriage is still arresting, and those
m ltiple e pos res are all the more impressi e hen o remember that
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multiple exposures are all the more impressive when you remember that
they were achieved in situ, on hand-cranked cameras, rather than in the
lab.
Hxan: Witchcraft through the Ages (1922)
DirectorBenjamin Christensen
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The horror-documentary genre is a rare hybrid, but consider this Swedish
film the silent forerunner to modish found-footage chillers such as The
Blair Witch Project(1999) or Cloverfield (2012).
In a faux-scholarly attempt to have its cake and eat it,Hxanis divided
into four parts. The first three tell creepy tales of witchcraft and the devils
works, the last attempts to explain away the audiences nightmares by
arguing that cases of demonic possession would now be diagnosed as
mental illness, and the therapies of modern medicine have replaced
medieval tortures. Its a valid conclusion, of course, but does little to
dilute the impact of the preceding sections, including director Benjamin
Christensenhimself as a hideously priapic Satan, creeping into a
womans bedroom as she sleeps
Destined to be a cult classic, Hxan was rereleased in 1968, with a jazz
score and narration by none other than William S Burroughs, under the
name Witchcraft through the Ages.
The Phantom of the Opera (1925)
DirectorRupert Julian
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The Phantom of the Operais
released as a BFI Dual Format
(DVD/Blu-ray) edition on 18
November.
Lon Chaneywas known as the man
of a thousand faces, most of which
were grotesques. Here he uses his
makeup skills to transform himself
into the deformed Phantom skulking
around the lower quarters of the
Paris Opera.
Contemporary reports said that audience members fainted and screamed
when the Phantom was unmasked revealing a corpse-like face with deep
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when the Phantom was unmasked, revealing a corpse-like face with deep
eye sockets, receding lips and gaping nostrils. For Chaney, playing such
terrifying roles had a social purpose. I wanted to remind people that the
lowest types of humanity may have within them the capacity for supreme
self-sacrifice, he wrote in the year this film was released. The dwarfed,
misshapen beggar of the streets may have the noblest ideals. And it is a
hard-hearted viewer who fails to sympathise with the malevolent
Phantom, just a little.
Rupert Julians movie was troubled during production and shot and
reshot following poor reviews. As such, its a movie made by Hollywood
committee, but nevertheless enjoyable in its garish gothic excesses. One
of the most memorable sequences is the two-strip Technicolor bal
masqu, in which the Phantom makes a glorious appearance wearing a
skull mask and red velvet cloak.
The Fall of the House of Usher (1928)
DirectorJean Epstein
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The screenplay for this flesh-crawlingly creepy film was written byLuis
Buuel, layering Spanish surrealism over Edgar Allan Poes American
gothic. Polish-born director Jean Epsteinwas heavily influenced by
French Impressionism, as well as the conventions of German
Expressionism. The Fall of the House of Usheris a heady mix of all theseingredients: a disorienting and disturbing tale of love, loss and decay.
The wide floors of the almost-empty sets conjure the deepest darkness,
punctuated by a candle flame, or a glimpse of a bridal veil trailing from a
coffin. The pained faces of Jean Debucourtas the artist Roderick and
Marguerite Gance as his tortured bride convey melancholy more than
fear.
Roger Ebertwrote, hauntingly, that the film is less a fiction than the
realization of some phantasmagoric alternative reality. It remains the
most beautiful, and truly chilling, of horror movies.
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