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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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films

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about the

weekend

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the funfairThirza Wakefield

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during the

autumn

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debuts by actors-

turned-directors

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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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breakthrough

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films

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the city

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10 great modern

black-and-white

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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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in Rome

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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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Mediterranean

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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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10 películas grandiosas de cine mudo de terror

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