The Kid (1921)
The Tramp cares for an abandoned child, but events put that relationship in jeopardy.
“The Kid” feels real. There’s no other film quite like it. Watching the interactions between actor and director Charlie Chaplin’s character the Tramp and Jackie Coogan as the Child is like watching something genuinely sad, funny and frightening play out in real life. It hits a chord that few films hit. The laughs come easily but so do the tears. If you haven’t seen “The Kid,” it is easily Chaplin’s finest out of the 1920s.
The Gold Rush (1925)
A prospector goes to the Klondike in search of gold and finds it and more.
Another film from Charlie Chaplin, “The Gold Rush” offers humor without sacrificing story, and much to the familiarity of his style, Chaplin provides laughs but thought-provoking drama as well. Here, Chaplin explores a man in search of himself, what he wants and what he needs in life to be successful. Throughout the film, we see greed take hold and things progress from there. There are two widely available versions of “The Gold Rush.” One version, the theatrical release, runs nearly an hour and a half, while the 1942 version, prepared by Chapin himself, runs at 72 minutes and features different angles and narration.
Metropolis (1927)
In a futuristic city sharply divided between the working class and the city planners, the son of the city’s mastermind falls in love with a working class prophet who predicts the coming of a savior to mediate their differences.
If you’re a fan of science-fiction and you have not seen or heard of “Metropolis,” it should be noted that this is the most influential film of all time pertaining to its genre. Modern science-fiction films look and feel the way they do because of this German film from Fritz Lang. The film preaches social justice and the like, which is quite interesting as Adolf Hitler and Joseph Goebbels were huge fans of the film. They even offered to make Lang an honorary Aryan. Since the film was considered incomplete for decades, and has only recently been restored, there are several versions of “Metropolis” available.
The Passion of Joan of Arc (1928)
The film is a chronicle of the trial of Jeanne d’Arc on charges of heresy and the efforts of her ecclesiastical jurists to force Jeanne to recant her claims of holy visions.
“The Passion of Joan of Arc” is quite literally a miracle of cinema. The original film was considered lost until a complete print was found, believe it or not, in the closet of a mental institution. “The Passion of Joan of Arc” is quite traumatizing despite its subtlety, but it represents essential viewing for anyone who wishes to experience one of the finest films in history.
Sunrise (1927)
A married farmer falls under the spell of a slatternly woman from the city, who tries to convince him to drown his wife.
“Sunrise” is one of the few films out of the 1920s with an actual soundtrack. It’s an interesting picture to say the least. “Sunrise” sounds like a thriller, but it’s far from it. This is a romance that’s sweet, though not on the surface. As the film progresses, it becomes quite clear that F. W. Murnau is telling us something valuable, and it doesn’t come off as sentimental. But what really makes “Sunrise” stand apart from other films from the decade would be the stunning cinematography, especially the swamp scene near the beginning of the movie.
Our Hospitality (1923)
A man returns to his Appalachian homestead. On the trip, he falls for a young woman. The only problem is her family has vowed to kill every member of his family.
Using countless scenarios for clever comedic purposes, “Our Hospitality” is one of the most intelligent films from Buster Keaton, and it makes for some solid entertainment regardless of its dated appearance. There’s little to dislike about this film, and Buster Keaton’s stunts are very impressive.
The General (1926)
When Union spies steal an engineer’s beloved locomotive, he pursues it single-handedly and straight through enemy lines.
At times, “The General” comes off more as an action movie than a comedy, but it’s undeniably comedic, especially given the fact that each gag seems to top the one before. What else could one desire from a comedy film? It takes its time, but it certainly delivers.
Man with a Movie Camera (1929)
A man travels around a city with a camera slung over his shoulder, documenting urban life with dazzling invention.
Dziga Vertov’s ambitious documentary is a thought-provoking, technically proficient and artistically vibrant film that never fails to impress or engage. The special effects are incredibly well done, and Vertov has a keen eye here, quite literally, for social issues with a creative flare.
Nanook of the North (1922)
In this silent predecessor to the modern documentary, filmmaker Robert J. Flaherty spends one year following the lives of Nanook and his family, Inuits living in the Arctic Circle.
“Nanook of the North” is a fascinating watch from beginning to end. Nanook and his family build an igloo, hunt for seals and play in the snow. It’s extraordinary watching this family survive in the Arctic Circle. It’s like stepping into another world.
Wings (1927)
Two young men — one rich, one middle class — who are in love with the same woman, become fighter pilots in World War I.
“Wings” may not be the most astounding film from the 1920s, but what it does accomplish, it accomplishes well. The war sequences are impressive, the story is very moving, and though the performances are somewhat over-the-top even for a silent film, “Wings” never fails to impress on a technical level and stands up to just about any practical effects driven from the silent era.