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A silent  film is a film with no synchronized recorded sound, especially with no spoken dialogue. The silent film era lasted from 1894 to 1929. In silent films for entertainment, the dialogue is transmitted through muted gestures, mime and title cards which contain a written indication of the plot or key dialogue. The idea of combining motion pictures with recorded sound is nearly as old as film itself, but because of the technical challenges involved, synchronized dialogue was only made practical in the late 1920s with the perfection of the Audion amplifier tube and the introduction of the Vitaphone system. During silent films, a pianist, theatre organist, or in large cities, even a small orchestra would often play music to accompany the films. Pianists and organists would either play from sheet music or improvise; an orchestra would play from sheet music.

The term silent film is therefore a retronym—that is, a term created to distinguish something retroactively. The early films with sound, starting with The Jazz Singer in 1927, were referred to as "talkies", "sound films", or "talking pictures". Within a decade, popular widespread production of silent films had ceased and production moved into the sound era, in which movies were accompanied by synchronized sound recordings of spoken dialogue, music and sound effects.

A September 2013 report by the United States Library of Congress announced that a total of 70% of American silent feature films are believed to be completely lost. There are numerous reasons for the loss of so many silent films, three chief causes being: (a) intentional destruction by film studios after the silent era ended, (b) damage due to environmental degradation of the films themselves, and (c) fires in the vaults in which studios stored their films.

Elements (1894 – 1929) 

The earliest precursors of film began with image projection through the use of a device known as the "magic lantern". This utilized a glass lens, a shutter and a persistent light source, such as a powerful lantern, to project images from glass slides onto a wall. These slides were originally hand-painted, but still photographs were used later on after the technological advent of photography in the nineteenth century. The invention of a practical photography apparatus preceded cinema by only fifty years.

The next significant step towards film creation was the development of an understanding of image movement. Simulations of movement date as far back as to 1828 and only four years after Paul Roget discovered  the phenomenon he called "Persistence of Vision". Roget showed that when a series of still images are shown at a considerable speed in front of a viewer's eye, the images merge into one registered image that appears to show movement, an optical illusion, since the image is not actually moving.  This experience was further demonstrated through Roget's introduction of the thaumatrope, a device which spun a disk with an image on its surface at a fairly high rate of speed.

The three features necessary for motion pictures to work were "a camera with sufficiently high shutter speed, a filmstrip capable of taking multiple exposures swiftly, and means of projecting the developed images on a screen." Kobel, Peter and the Library of Congress. Silent Movies: The Birth of Film and the Triumph of Movie Culture. New York: Little, Brown and Company, 2007. Print. The first projected primary proto-movie was made by Eadweard Muybridge between 1877 and 1880. Muybridge set up a row of cameras along a racetrack and timed image exposures to capture the many stages of a horse's gallop. The oldest surviving film (of the genera called "pictorial realism") was created by Louis Le Prince in 1888. It was a two-second film of people walking in "Oakwood streets" garden, entitled Roundhay Garden Scene.  The development of American inventor Thomas Edison's Kinetograph, a photographic device that captured sequential images, and his Kinetoscope, a viewing device for these photos, allowed for the creation and exhibition of short films. Edison also made a business of selling Kinetograph and Kinetoscope equipment, which laid the foundation for widespread film production.

Due to Edison's lack of securing an international patent on his film inventions, similar devices were "invented" around the world. The Lumière brothers (Louis and Auguste Lumière), for example, created the Cinématographe in France. The Cinématographe proved to be a more portable and practical device than both of Edison's as it combined a camera, film processor and projector in one unit. In contrast to Edison's "peepshow"-style kinetoscope, which only one person could watch through a viewer, the cinematograph allowed simultaneous viewing by multiple people. Their first film, Sortie de l'usine Lumière de Lyon, shot in 1894, is considered the first true motion picture.  The invention of celluloid film, which was strong and flexible, greatly facilitated the making of motion pictures (although the celluloid was highly flammable and decayed quickly).  This film was 35 mm wide and pulled using four sprocket holes, which became the industry standard. This doomed the cinematograph, which could only use film with just one sprocket hole. 

From the very beginnings of film production, the art of motion pictures grew into full maturity in the "silent era" (1894–1929). In artistic innovation alone, the height of the silent era from the early 1910s to the late 1920s was a fruitful period in the history of film — the film movements of Classical Hollywood, French Impressionism, German Expressionism, and Soviet Montage began in this period. Silent filmmakers pioneered the art form to the extent that virtually every style and genre of film-making of the 20th century had its artistic roots in the silent era. The silent era was also pioneering era from a technical point of view. Lighting techniques such as three point lighting, visual techniques such as the close-up, long shot, panning, and continuity editing became prevalent long before silent films were replaced by "talking pictures" in the late 1920s. Film scholars and movie buffs claim that the artistic quality of cinema decreased for several years, during the early 1930s, until film directors, actors, and production staff adapted fully to the new "talkies" around the late 1930s.

The visual quality of silent movies—especially those produced in the 1920s—was often high. However, there is a widely held misconception that these films were primitive and barely watchable by modern standards. This misconception comes from the general public's unfamiliarity with the medium and technical carelessness. Most silent films are poorly preserved, leading to their deterioration, and well-preserved films are often played back at the wrong speed or suffer from censorship cuts and missing frames and scenes, resulting in what may appear to be poor editing.Many silent films exist only in second- or third-generation copies, often copied from already damaged and neglected film stock. Another widely held misconception was that silent films lacked color. In fact, color was far more prevalent in silents than in sound films for decades. By the early 1920s 80% of movies could be seen in color, usually in the form of film tinting or toning (i.e. colorization) but also with real color processes such as Kinemacolor and Technicolor.  Traditional colorization processes ceased with the adoption of sound-on-film technology. Traditional film colorization, all of which involved the use of dyes in some form, interfered with the high resolution required for built-in recorded sound, and thus were abandoned. The innovative three-strip technicolor process introduced in the mid-30s was costly and fraught with limitations, and color would not have the same prevalence in film as it did in the silents for nearly four decades.

Intertitles

As motion pictures eventually increased in length, a replacement was needed for the in-house interpreter who would explain parts of the film to the audience. Because silent films had no synchronized sound for dialogue, onscreen intertitles were used to narrate story points, present key dialogue and sometimes even comment on the action for the cinema audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Intertitles (or titles as they were generally called at the time) often became graphic elements themselves, featuring illustrations or abstract decoration that commented on the action.

Live music and sound

Showings of silent films almost always featured live music, starting with the guitarist, at the first public projection of movies by the Lumière Brothers on December 28, 1895 in Paris. This was furthered in 1896 by the first motion picture exhibition in the United States at Koster and Bial's Music Hall in New York City. At this event, Edison set the precedent that all exhibitions should be accompanied by an orchestra. From the beginning, music was recognized as essential, contributing to the atmosphere and giving the audience vital emotional cues. (Musicians sometimes played on film sets during shooting for similar reasons.) However, depending on the size of the exhibition site, musical accompaniment could drastically change in size. Small town and neighborhood movie theatres usually had a pianist. Beginning in the mid-1910s, large city theaters tended to have organists or ensembles of musicians. Massive theater organs were designed to fill a gap between a simple piano soloist and a larger orchestra. Theatre organs had a wide range of special effects; theatrical organs such as the famous "Mighty Wurlitzer" could simulate some orchestral sounds along with a number of percussion effects such as bass drums and cymbals and sound effects ranging from galloping horses to rolling rain.

Film scores for early silent films were either improvised or compiled of classical or theatrical repertory music. Once full features became commonplace, however, music was compiled from photoplay music by the pianist, organist, orchestra conductor or the movie studio itself, which included a cue sheet with the film. These sheets were often lengthy, with detailed notes about effects and moods to watch for. Starting with the mostly original score composed by Joseph Carl Breil for D. W. Griffith's groundbreaking epic The Birth of a Nation (USA, 1915) it became relatively common for the biggest-budgeted films to arrive at the exhibiting theater with original, specially composed scores.  However, the first designated full blown scores were composed earlier, in 1908, by Camille Saint-Saëns, for The Assassination of the Duke of Guise, and by Mikhail Ippolitov-Ivanov, for Stenka Razin.

When organists or pianists used sheet music, they still might add improvisational flourishes to heighten the drama on screen. Even when special effects were not indicated in the score, if an organist was playing a theater organ capable of an unusual sound effect, such as a "galloping horses" effect, it would be used for dramatic horseback chases.

By the height of the silent era, movies were the single largest source of employment for instrumental musicians (at least in America). But the introduction of talkies, which happened simultaneously with the onset of the Great Depression, was devastating to many musicians.

Some countries devised other ways of bringing sound to silent films. The early cinema of Brazil featured fitas cantatas: filmed operettas with singers performing behind the screen. In Japan, films had not only live music but also the benshi, a live narrator who provided commentary and character voices. The benshi became a central element in Japanese film, as well as providing translation for foreign (mostly American) movies. The popularity of the benshi was one reason why silent films persisted well into the 1930s in Japan.

Score restorations from 1980 to the present

Few film scores survive intact from the silent period, and musicologists are still confronted by questions when they attempt to precisely reconstruct those that remain. Scores used in current reissues or screenings of silent films may be:  A) complete reconstructions of composed scores, B) scores newly composed for the occasion, C) scores assembled from already existing music libraries, or D) scores improvised on the spot in the manner of the silent era theater pianist or organist.

Interest in the scoring of silent films fell somewhat out of fashion during the 1960s and 1970s.  There was a belief in many college film programs and repertory cinemas that audiences should experience silent film as a pure visual medium, undistracted by music. This belief may have been encouraged by the poor quality of the music tracks found on many silent film reprints of the time. Since around 1980, there has been a revival of interest in presenting silent films with quality musical scores, either reworkings of period scores or cue sheets, or composition of appropriate original scores. An early effort in this context was Kevin Brownlow's 1980 restoration of Abel Gance's Napoléon (1927), featuring a score by Carl Davis. A slightly re-edited and sped-up version of Brownlow's restoration was later distributed in America by Francis Ford Coppola, with a live orchestral score composed by his father Carmine Coppola.

In 1984, an edited restoration of Metropolis (1927) was released to cinemas with a new rock music score by producer-composer Giorgio Moroder. Although the contemporary score, which included pop songs by Freddie Mercury of Queen, Pat Benatar, and Jon Anderson of Yes was controversial, the door had been opened for a new approach to presentation of classic silent films.

Currently, a large number of soloists, music ensembles, and orchestras perform traditional and contemporary scores for silent films internationally.  The legendary theater organist Gaylord Carter continued to perform and record his original silent film scores until shortly before his death in 2000; some of those scores are available on DVD reissues.  Other purveyors of the traditional approach include organists such as Dennis James and pianists such as Neil Brand, Günter Buchwald, Philip C. Carli, Ben Model, and William P. Perry.  Other contemporary pianists, such as Stephen Horne and Gabriel Thibaudeau, have often taken a more modern approach to scoring.

Orchestral conductors such as Carl Davis and Robert Israel have written and compiled scores for numerous silent films; many of these have been featured in showings on Turner Classic Movies or have been released on DVD.  Davis has composed new scores for classic silent dramas such as The Big Parade (1925) and Flesh and the Devil (1927).  Israel has worked mainly in silent comedy, scoring films of Harold Lloyd, Buster Keaton, Charley Chase and others.  Timothy Brock has restored many of Charlie Chaplin's scores, in addition to composing new scores.

Contemporary music ensembles are helping to introduce classic silent films to a wider audience through a broad range of musical styles and approaches. Some performers create new compositions using traditional musical instruments while others add electronic sounds, modern harmonies, rhythms, improvisation and sound design elements to enhance the viewing experience. Among the contemporary ensembles in this category are Un Drame Musical Instantané, Alloy Orchestra, Club Foot Orchestra, Silent Orchestra, Mont Alto Motion Picture Orchestra, Minima and the Caspervek Trio. Donald Sosin and his wife Joanna Seaton specialize in adding vocals to silent films, particularly where there is onscreen singing that benefits from hearing the actual song being performed. Films in this category include Griffith's Lady of the Pavements with Lupe Velez, Edwin Carewe's Evangeline with Dolores del Rio, and Rupert Julian's The Phantom of the Opera with Mary Philbin and Virginia Pearson.

The [http://www.sfsma.org Silent Film Sound and Music Archive] digitizes music and cue sheets written for silent film and makes it available for use by performers, scholars, and enthusiasts.

Acting techniques

Silent film actors emphasized body language and facial expression so that the audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. Vaudeville was an especially popular origin for many American silent film actors. The pervading presence of stage actors in film was the cause of this outburst from director Marshall Neilan in 1917: "The sooner the stage people who have come into pictures get out, the better for the pictures."  In other cases, directors such as John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen.

Silent films became less vaudevillian in the mid 1910s, as the differences between stage and screen became apparent. Due to the work of directors such as  D W Griffith, cinematography became less stage-like, and the then-revolutionary close up allowed subtle and naturalistic acting. Lillian Gish has been called film's "first true actress" for her work in the period, as she pioneered new film performing techniques, recognizing the crucial differences between stage and screen acting. Directors such as Albert Capellani and Maurice Tourneur began to insist on naturalism in their films. By the mid-1920s many American silent films had adopted a more naturalistic acting style, though not all actors and directors accepted naturalistic, low-key acting straight away; as late as 1927, films featuring expressionistic acting styles, such as Metropolis, were still being released.  Greta Garbo, who made her debut in 1926, would become known for her naturalistic acting.

According to Anton Kaes, a silent film scholar from the University of Wisconsin, American silent cinema began to see a shift in acting techniques between 1913 and 1921, influenced by techniques found in German silent film. This is mainly attributed to the influx of emigrants from the Weimar Republic, "including film directors, producers, cameramen, lighting and stage technicians, as well as actors and actresses. "

Projection speed

Until the standardization of the projection speed of 24 frames per second (fps) for sound films between 1926 and 1930, silent films were shot at variable speeds (or "frame rates") anywhere from 12 to 40 fps, depending on the year and studio.Kevin Brownlow, [http://www.cinemaweb.com/silentfilm/bookshelf/18_kb_2.htm Silent Films: What Was the Right Speed?] (1980). A very slow example is The Birth of a Nation which has some sequences which call for 12 frames per second.  "Standard silent film speed" is often said to be 16 fps as a result of the Lumière brothers' Cinématographe, but industry practice varied considerably; there was no actual standard. William Kennedy Laurie Dickson, an Edison employee, settled on the astonishingly fast 40 frames per second. Additionally, cameramen of the era insisted that their cranking technique was exactly 16 fps, but modern examination of the films shows this to be in error, that they often cranked faster. Unless carefully shown at their intended speeds silent films can appear unnaturally fast or slow. However, some scenes were intentionally undercranked during shooting to accelerate the action—particularly for comedies and action films.

Slow projection of a cellulose nitrate base film carried a risk of fire, as each frame was exposed for a longer time to the intense heat of the projection lamp; but there were other reasons to project a film at a greater pace. Often projectionists received general instructions from the distributors on the musical director's cue sheet as to how fast particular reels or scenes should be projected. In rare instances, usually for larger productions, cue sheets produced specifically for the projectionist provided a detailed guide to presenting the film. Theaters also—to maximize profit—sometimes varied projection speeds depending on the time of day or popularity of a film, or to fit a film into a prescribed time slot.

All motion-picture film projectors require a moving shutter to block the light whilst the film is moving, otherwise the image is smeared in the direction of the movement. However this shutter causes the image to flicker, and images with low rates of flicker are very unpleasant to watch. Early studies by Thomas Edison for his Kinetoscope machine determined that any rate below 46 images per second "will strain the eye." and this holds true for projected images under normal cinema conditions also. The solution adopted for the Kinetoscope was to run the film at over 40 frames/sec, but this was expensive for film. However, by using projectors with dual- and triple-blade shutters the flicker rate is multiplied two or three times higher than the number of film frames — each frame being flashed two or three times on screen. A three-blade shutter projecting a 16 fps film will slightly surpass Edison's figure, giving the audience 48 images per second. During the silent era projectors were commonly fitted with 3-bladed shutters. Since the introduction of sound with its 24 frame/sec standard speed 2-bladed shutters have become the norm for 35 mm cinema projectors, though three-bladed shutters have remained standard on 16 mm and 8 mm projectors which are frequently used to project amateur footage shot at 16 or 18 frames/sec. A 35 mm film frame rate of 24 fps translates to a film speed of 456 mm per second. One 1000 ft reel requires 11 minutes and 7 seconds to be projected at 24 fps, while a 16 fps projection of the same reel would take 16 minutes and 40 seconds, or 304 mm per second.

In the 1950s, many telecine conversions of silent films at grossly incorrect frame rates for broadcast television may have alienated viewers.  Film speed is often a vexed issue among scholars and film buffs in the presentation of silents today, especially when it comes to DVD releases of restored films; the 2002 restoration of Metropolis (Germany, 1927) may be the most fiercely debated example.

Tinting

With the lack of natural color processing available, films of the silent era were frequently dipped in dyestuffs and dyed various shades and hues to signal a mood or represent a time of day. Hand tinting dates back to 1895 in the United States with Edison's release of selected hand-tinted prints of Butterfly Dance. Additionally, experiments in color film started as early as in 1909, although it took a much longer time for color to be adopted by the industry and an effective process to be developed. Blue represented night scenes, yellow or amber meant day. Red represented fire and green represented a mysterious atmosphere. Similarly, toning of film (such as the common silent film generalization of sepia-toning) with special solutions replaced the silver particles in the film stock with salts or dyes of various colors. A combination of tinting and toning could be used as an effect that could be striking.

Some films were hand-tinted, such as Annabelle Serpentine Dance (1894), from Edison Studios. In it, Annabelle Whitford, a young dancer from Broadway, is dressed in white veils that appear to change colors as she dances. This technique was designed to capture the effect of the live performances of Loie Fuller, beginning in 1891, in which stage lights with colored gels turned her white flowing dresses and sleeves into artistic movement. Hand coloring was often used in the early "trick" and fantasy films of Europe, especially those by Georges Méliès. Méliès began hand-tinting his work as early as 1897 and the 1899 Cendrillion (Cinderella) and 1900 Jeanne d'Arc (Joan of Arc) provide early examples of hand-tinted films in which the color was a critical part of the scenography or mise en scène; such precise tinting used the workshop of Elisabeth Thuillier in Paris, with teams of female artists adding layers of color to each frame by hand rather than using a more common (and less expensive) process of stenciling. A newly restored version of Méliès' A Trip to the Moon, originally released in 1902, shows an exuberant use of color designed to add texture and interest to the image.

By the beginning of the 1910s, with the onset of feature-length films, tinting was used as another mood setter, just as commonplace as music. The director D. W. Griffith displayed a constant interest and concern about color, and used tinting as a special effect in many of his films.  His 1915 epic, The Birth of a Nation, used a number of colors, including amber, blue, lavender, and a striking red tint for scenes such as the "burning of Atlanta" and the ride of the Ku Klux Klan at the climax of the picture. Griffith later invented a color system in which colored lights flashed on areas of the screen to achieve a color.

With the development of sound-on-film technology and the industry's acceptance of it, tinting was abandoned altogether, because the dyes used in the tinting process interfered with the soundtracks present on film strips.

Early studios 

The early studios were located in the New York City area. Edison Studios were first in West Orange, New Jersey (1892), they were moved to the Bronx, New York (1907). Fox (1909) and Biograph (1906) started in Manhattan, with studios in St George, Staten Island. Others films were shot in Fort Lee, New Jersey. In December 1908, Edison led the formation of the Motion Picture Patents Company in an attempt to control the industry and shut out smaller producers. The "Edison Trust", as it was nicknamed, was made up of Edison, Biograph, Essanay Studios, Kalem Company, George Kleine Productions, Lubin Studios, Georges Méliès, Pathé, Selig Studios, and Vitagraph Studios, and dominated distribution through the General Film Company. This company dominated the industry as both a vertical and horizontal monopoly and is a contributing factor in studios' migration to the West Coast. The Motion Picture Patents Co. and the General Film Co. were found guilty of antitrust violation in October 1915, and were dissolved.

The Thanhouser film studio was founded in New Rochelle, New York in 1909 by American theatrical impresario Edwin Thanhouser. The company produced and released 1,086 films between 1910 and 1917, including the first film serial ever, The Million Dollar Mystery, released in 1914. The first westerns were filmed at Fred Scott's Movie Ranch in South Beach, Staten Island. Actors costumed as cowboys and Indians galloped across Scott's movie ranch set, which had a frontier main street, a wide selection of stagecoaches and a 56-foot stockade. The island provided a serviceable stand-in for locations as varied as the Sahara desert and a British cricket pitch. War scenes were shot on the plains of Grasmere, Staten Island. The Perils of Pauline and its even more popular sequel The Exploits of Elaine were filmed largely on the island. So was the 1906 blockbuster Life of a Cowboy, by  Edwin S. Porter. Company and filming moved to the West Coast around 1911.

Top-grossing silent films in the United States  

The following are American films from the silent film era that had earned the highest gross income as of 1932. The amounts given are gross rentals (the distributor's share of the box-office) as opposed to exhibition gross. 

#The Birth of a Nation (1915) - $10,000,000
#The Big Parade (1925) - $6,400,000
#Ben-Hur (1925) - $5,500,000
#Way Down East (1920) - $5,000,000
#The Gold Rush (1925) - $4,250,000
#The Four Horsemen of the Apocalypse (1921) - $4,000,000
#The Circus (1928) - $3,800,000
#The Covered Wagon (1923) - $3,800,000
#The Hunchback of Notre Dame (1923) - $3,500,000
#The Ten Commandments (1923) - $3,400,000
#Orphans of the Storm (1921) - $3,000,000
#For Heaven's Sake (1926) - $2,600,000
#Seventh Heaven (1926) - $2,500,000
#What Price Glory? (1926) - $2,400,000
#Abie's Irish Rose (1928) - $1,500,000

During the sound era

Transition

Although attempts to create sync-sound motion pictures go back to the Edison lab in 1896, only from the early 1920s were the basic technologies such as vacuum tube amplifiers and high-quality loudspeakers available. The next few years saw a race to design, implement, and market several rival sound-on-disc and sound-on-film sound formats, such as Photokinema (1921), Phonofilm (1923), Vitaphone (1926), Fox Movietone (1927) and RCA Photophone (1928).

Warner Bros was the first studio to accept sound as an element in film production and utilize Vitaphone, a sound-on-disc technology, to do so. The studio then released The Jazz Singer in 1927 which marked the first commercially successful sound film, but silent films were still the majority of features released in both 1927 and 1928, along with so-called goat-glanded films: silents with a subsection of sound film inserted. Thus the modern sound film era may be regarded as coming to dominance beginning in 1929.

For a listing of notable silent era films, see list of years in film for the years between the beginning of film and 1928. The following list includes only films produced in the sound era with the specific artistic intention of being silent.

*Un Chien Andalou, Luis Buñuel, 1929
*People on Sunday, Robert Siodmak, 1930
*City Girl, F. W. Murnau, 1930
*Borderline, Kenneth MacPherson, 1930
*Earth, Aleksandr Dovzhenko, 1930
*City Lights, Charlie Chaplin, 1931
*Tabu, F. W. Murnau, Robert Flaherty, 1931
*I Was Born, But..., Yasujirō Ozu, 1932
*A Story of Floating Weeds, Yasujirō Ozu, 1934
*The Goddess, Wu Yonggang, 1934
*Modern Times, Charlie Chaplin, 1936

Later homages

Several filmmakers have paid homage to the comedies of the silent era, including Jacques Tati with his Les Vacances de Monsieur Hulot (1953) and Mel Brooks with Silent Movie (1976). Taiwanese director Hou Hsiao-Hsien's acclaimed drama Three Times (2005) is silent during its middle third, complete with intertitles; Stanley Tucci's The Impostors has an opening silent sequence in the style of early silent comedies. Brazilian filmmaker Renato Falcão's Margarette's Feast (2003) is silent. Writer / Director Michael Pleckaitis puts his own twist on the genre with Silent (2007). While not silent, the Mr. Bean television series and movies have used the title character's non-talkative nature to create a similar style of humor. A lesser-known example is Jérôme Savary's La fille du garde-barrière (1975), an homage to silent-era films that uses intertitles and blends comedy, drama, and explicit sex scenes (which led to it being refused a cinema certificate by the British Board of Film Classification).

In 1990, Charles Lane directed and starred in Sidewalk Stories, a low budget salute to sentimental silent comedies particularly Charlie Chaplin's The Kid.

The German film Tuvalu (1999) is mostly silent; the small amount of dialog is an odd mix of European languages, increasing the film's universality. Guy Maddin won awards for his homage to Soviet era silent films with his short The Heart of the World after which he made a feature-length silent, Brand Upon the Brain! (2006), incorporating live Foley artists, narration and orchestra at select showings. Shadow of the Vampire (2000) is a highly fictionalized depiction of the filming of Friedrich Wilhelm Murnau's classic silent vampire movie Nosferatu (1922). Werner Herzog honored the same film in his own version, Nosferatu: Phantom der Nacht (1979).

Some films draw a direct contrast between the silent film era and the era of talkies. Sunset Boulevard shows the disconnect between the two eras in the character of Norma Desmond, played by silent film star Gloria Swanson, and Singin' in the Rain deals with the period where the people of Hollywood had to face changing from making silents to talkies. Peter Bogdanovich's affectionate 1976 film Nickelodeon deals with the turmoil of silent filmmaking in Hollywood during the early 1910s, leading up to the release of D. W. Griffith's epic The Birth of a Nation (1915).

In 1999, the Finnish filmmaker Aki Kaurismäki produced Juha, which captures the style of a silent film, using intertitles in place of spoken dialogue.  In India, the film Pushpak (1988),  starring Kamal Hassan, was a black comedy entirely devoid of dialog. The Australian film Dr Plonk (2007), was a silent comedy directed by Rolf de Heer. Stage plays have drawn upon silent film styles and sources. Actor/writers Billy Van Zandt & Jane Milmore staged their Off-Broadway slapstick comedy Silent Laughter as a live action tribute to the silent screen era. Geoff Sobelle and Trey Lyford created and starred in All Wear Bowlers (2004), which started as an homage to Laurel and Hardy then evolved to incorporate life-sized silent film sequences of Sobelle and Lyford who jump back and forth between live action and the silver screen. The animated film Fantasia (1940), which is eight different animation sequences set to music, can be considered a silent film, with only one short scene involving dialogue. The espionage film The Thief (1952) has music and sound effects, but no dialogue, as do Thierry Zéno's 1974 Vase de Noces and Patrick Bokanowski's 1982 The Angel.

In 2005, the H. P. Lovecraft Historical Society produced a silent film version of Lovecraft's story The Call of Cthulhu. This film maintained a period-accurate filming style, and was received as both "the best HPL adaptation to date" and, referring to the decision to make it as a silent movie, "a brilliant conceit." 

The French film The Artist (2011), written and directed by Michel Hazanavicius, plays as a silent film and is set in Hollywood during the silent era. It also includes segments of fictitious silent films starring its protagonists.

The Japanese vampire film Sanguivorous (2011) is not only done in the style of a silent film, but even toured with live orchestral accompiment.  Eugene Chadbourne has been among those who have played live music for the film.

Blancanieves is a 2012 Spanish black-and-white silent fantasy drama film written and directed by Pablo Berger.

The American feature-length silent film Silent Life started in 2006, features performances by Isabella Rossellini and Galina Jovovich, mother of Milla Jovovich, will premiere in 2013. The film is based on the life of the silent screen icon Rudolph Valentino, known as the Hollywood's first "Great Lover". After the emergency surgery, Valentino loses his grip of reality and begins to see the recollection of his life in Hollywood from a perspective of a coma - as a silent film shown at a movie palace, the magical portal between life and eternity, between reality and illusion. 

Right There is a 2013 short film which is an homage to silent film comedies.

The American Theatre Organ Society pays homage to the music of silent films, as well as the theatre organs which played such music. With over 75 local chapters, the organization seeks to preserve and promote theater organs and music, as an art form. 

The 2015 British animated film Shaun the Sheep Movie based on Shaun the Sheep was released to positive reviews and was a box office success. Aardman Animations also produced  Morph and Timmy Time as well as many other silent short films.

Preservation and lost films

Many early motion pictures are lost because the nitrate film used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed because they had little value in the era before home video.  It has often been claimed that around 75% of silent films have been lost, though these estimates may be inaccurate due to a lack of numerical data.  Major silent films presumed lost include Saved from the Titanic (1912), which featured survivors of the disaster; The Life of General Villa, starring Pancho Villa himself; The Apostle, the first animated feature film (1917); Cleopatra (1917); Gold Diggers (1923); Kiss Me Again (1925); Arirang (1926); Gentlemen Prefer Blondes (1928); The Great Gatsby (1926); and London After Midnight (1927). Though most lost silent films will never be recovered, some have been discovered in film archives or private collections. Discovered and preserved versions may be editions made for the home rental market of the 1920s and 1930s that are discovered in estate sales, etc. 

In 1978 in Dawson City, Yukon, a bulldozer uncovered buried reels of nitrate film during excavation of a landfill. Dawson City was once the end of the distribution line for many films. The retired titles were stored at the local library until 1929 when the flammable nitrate was used as landfill in a condemned swimming pool. Stored for 50 years under the permafrost of the Yukon, the films turned out to be extremely well preserved. Included were films by Pearl White, Harold Lloyd, Douglas Fairbanks, and Lon Chaney. These films are now housed at the Library of Congress.  The degradation of old film stock can be slowed through proper archiving, and films can be transferred to digital media for preservation.  Silent film preservation has been a high priority among film historians. John Gilbert (July 10, 1899 – January 9, 1936) was an American actor, screenwriter and director. He rose to fame during the silent film era and became a popular leading man known as "The Great Lover".  At the height of his career, Gilbert rivaled Rudolph Valentino, another silent film era leading man, as a box office draw.

Gilbert's popularity began to wane when silent pictures gave way to talkies. Though Gilbert was often cited as one of the high-profile examples of an actor who was unsuccessful in making the transition to talkies, his decline as a star had far more to do with studio politics and money than with the sound of his screen voice, which was rich and distinctive. 

Early years

Born John Cecil Pringle in Logan, Utah, to stock company actor parents, John Pringle (1865-1929) and Ida Apperly Gilbert (1877-1913), he struggled through a childhood of abuse and neglect. His family moved frequently and Gilbert attended several schools throughout the United States. After his family settled in California, he attended Hitchcock Military Academy in San Rafael, California. 

Gilbert first found work as an extra with the Thomas Ince Studios, and soon became a favorite of Maurice Tourneur, who also hired him to write and direct several pictures. He quickly rose through the ranks, building his reputation as an actor in such films as Heart o' the Hills (1919), with Mary Pickford. 

In 1921, Gilbert signed a three-year contract with Fox Film Corporation, where he was cast as a romantic leading man. Some of his films for Fox include Monte Cristo, an adaptation of The Count of Monte Cristo; St. Elmo, an adaptation of a popular book of the period; The Wolf Man, not a horror film, but the story of a man who believes he murdered his fiancee's brother while drunk,  and many others. Although he became a star, Gilbert did not reach the level of fame he would soon achieve.

Career

Success and stardom

In 1924, Gilbert moved to Metro-Goldwyn-Mayer, where he became a full-fledged star with such high-profile films as His Hour directed by King Vidor and written by Elinor Glyn; He Who Gets Slapped (both 1924), co-starring Lon Chaney, and Norma Shearer, and directed by Victor Sjöström; and The Merry Widow (1925) directed by Erich von Stroheim and co-starring Mae Murray. In 1925 Gilbert was once again directed by Vidor in the war epic The Big Parade, which became the second-highest grossing silent film. His performance in this film made him a major star. The following year, Vidor reunited Gilbert with two of his co-stars from that picture, Renée Adorée and Karl Dane, for the film La Bohème which also starred Lillian Gish.

In 1926, Gilbert made Flesh and the Devil, his first film with Greta Garbo. They soon began a highly publicized relationship, much to the delight of their fans. Gilbert wanted to marry her, but Garbo continually balked. Legend has it that a wedding was finally planned but Garbo failed to appear at the ceremony. Recent Garbo biographers, however, have questioned the veracity of this story. Despite their rocky off-screen relationship, they continued to generate box-office revenue for the studio, and MGM paired them in two more silents Love (1927), which was a modern adaptation of Anna Karenina, and A Woman of Affairs (1928). The former film was slyly advertised by MGM as "Garbo and Gilbert in Love."

Decline

Throughout his time at MGM, Gilbert frequently clashed with studio head Louis B. Mayer over creative, social and financial matters. It was said, for example, that at the alleged double-wedding of Garbo and Gilbert and director King Vidor and actress Eleanor Boardman, Mayer made a crude remark about Garbo that led Gilbert to physically attack the mogul. This story has been disputed by some historians. Although one eyewitness—the bride, Eleanor Boardman—claimed to have seen the assault, others deny that it occurred.

In any case, Mayer apparently detested Gilbert and was disgruntled that the actor had signed a contract for six pictures at $250,000 each. It was suggested that Mayer deliberately gave Gilbert bad scripts and ineffective directors in an effort to void the contract.

With the coming of sound, Gilbert's vocal talents made a good first impression in the all-star musical comedy The Hollywood Revue of 1929, appearing in a Technicolor sequence with Norma Shearer. They played the "balcony scene" from Shakespeare's Romeo and Juliet, first as written, and then using current slang. Most reviewers did not note any problems with Gilbert's voice at this time and some praised it.

Audiences awaited Gilbert's first romantic role on the talking screen. The vehicle was the Ruritanian romance His Glorious Night (also 1929). According to reviewers, audiences laughed nervously at Gilbert's performance. The fault was not Gilbert's voice, it was said, but the awkward scenario along with overly ardent love scenes. In one, Gilbert keeps kissing his leading lady, (Catherine Dale Owen), while saying "I love you" over and over again. The scene was parodied in the MGM musical Singin' in the Rain (1952) in which a preview of the fictional The Dueling Cavalier flops disastrously. Director King Vidor stated that Rudolph Valentino, Gilbert's main rival in the 1920s for romantic leads, probably would have suffered the same fate in the talkie era, had he lived. It was rumored that L.B. Mayer ordered Gilbert's voice to be gelded to a higher pitch to ruin him.

Gilbert became increasingly depressed by progressively inferior films and idle stretches between productions, but he resolved to thwart Louis B. Mayer and see the six-picture contract through. Gilbert's fortunes were temporarily restored when MGM's production chief Irving Thalberg gave him two projects that were character studies, giving Gilbert an excellent showcase for his versatility. The Phantom of Paris (1931), originally intended for Lon Chaney (who died from cancer in 1930), cast Gilbert as a debonair magician and showman who is falsely accused of murder and uses his mastery of disguise to unmask the real killer. Downstairs (1932) was based on Gilbert's original story, with the actor playing against type as a scheming, blackmailing chauffeur. The films were well received by critics and fans but failed to revive his career. Shortly after making Downstairs, he married co-star Virginia Bruce; the couple divorced in 1934. Gilbert fulfilled his contract with an unimportant "B" picture and left the studio in 1933.

Greta Garbo insisted that Gilbert return to MGM to play her leading man in Queen Christina (1933), directed by Rouben Mamoulian. Garbo was top-billed, with Gilbert's name beneath the title. Again, the picture failed to revive his career. Columbia Pictures gave him what would be his final chance for a comeback in The Captain Hates the Sea (1934) in which he gave a capable performance as a frustrated playwright. But the off-screen cast of heavy drinkers encouraged his alcoholism and the film was his last.

Personal life

Gilbert was married four times. His first marriage was to Olivia Burwell, a native of Mississippi whom Gilbert had met after her family moved to California, on August 26, 1918. They separated the following year and Olivia Burwell Gilbert returned to Mississippi for a while. She filed for divorce in Los Angeles in 1921. 

In February 1921, Gilbert announced his engagement to actress Leatrice Joy. They married in Tijuana in November 1921.  As Gilbert had failed to secure a divorce from his first wife and the legality of Gilbert and Joy's Mexican marriage was questionable, the couple separated and had the marriage annulled to avoid a scandal.  They remarried on March 3, 1922. The marriage was tumultuous and, in June 1923, Joy filed for legal separation after she claimed that Gilbert slapped her face after a night of heavy drinking. They reconciled several months later. In August 1924, Joy, who was pregnant with the couple's first child, filed for divorce.  Joy later said she left Gilbert after discovering he was having an affair with actress Laurette Taylor.  Joy also claimed that Gilbert had conducted affairs with Barbara La Marr (with whom he had a romance before his marriage to Joy), Lila Lee and Bebe Daniels.  Their daughter, Leatrice Gilbert, was born on September 4, 1924.  Joy was granted a divorce in May 1925. 

In 1929, Gilbert eloped with actress Ina Claire to Las Vegas.  They separated in February 1931 and divorced six months later.   Gilbert's fourth and final marriage was to actress Virginia Bruce in August 1932.  They had a daughter, Susan Ann, the following year before divorcing in May 1934. 

Before his death, Gilbert dated actress Marlene Dietrich.  When he died, he had recently been slated to play a prominent role in support of Dietrich in the film Desire. 

Death

By 1934, alcoholism had severely damaged Gilbert's health. He suffered a serious heart attack in December 1935 which left him in poor health.  Gilbert suffered a second heart attack at his Bel Air home on January 9, 1936, which was fatal.  A private funeral was held on January 11 at the B.E. Mortuary in Beverly Hills. Among the mourners were Gilbert's two ex-wives, Leatrice Joy and Virginia Bruce, his two daughters, and stars Marlene Dietrich, Gary Cooper, Myrna Loy, and Raquel Torres.  Gilbert was cremated and his ashes were interred at Forest Lawn Memorial Park, Glendale in Glendale, California.  

Gilbert left the bulk of his estate, valued at $363,494 (equivalent to $ million in ), to his last ex-wife Virginia Bruce and their daughter, Susan Ann. He left $10,000 to his eldest daughter Leatrice, and other amounts to friends, relatives and his servants. 

For his contribution to the motion picture industry, John Gilbert has a star on the Hollywood Walk of Fame at 1755 Vine Street and in 1994, he was honored with his image on a United States postage stamp designed by caricaturist Al Hirschfeld.

Filmography

In popular culture

John Gilbert is the subject of a mini-documentary film called Rediscovering John Gilbert (2010) featuring an on-camera interview with John Gilbert's daughter and biographer, Leatrice Gilbert Fountain. The short film, directed and produced by film historian Jeffrey Vance, has aired on the Turner Classic Movies cable channel and is also available on DVD from home video distributor Flicker Alley. 

Fictional portrayals

Gilbert has been portrayed in several films. In 1980, Barry Bostwick appeared as the actor in the television film The Silent Lovers. Gilbert has also been portrayed by his grandson, John Fountain, (in 1988's Sunset), Christopher Renstrom (in 1989's La Divina), and Adnan Taletovich (in 2012's Return to Babylon).
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