BLACHEFAN

Fatty's Tintype Tangle (1915) Before his career was derailed by scandal (though his actual guilt remains in dispute), Roscoe "Fatty" Arbuckle was the most popular comedian on the American silent screen, bigger than even Chaplin or Keaton. "Tintype Tangle" showcases Arbuckle at the height of his fame. This short features the likable, nimble Arbuckle in a farce designed around domestic mix-ups and some brilliant silent set-pieces involving slamming doors, hiding under beds, runaway cars and even some Keystone Kops. Popular silent comedienne Louise Fazenda co-stars.

The Cheat (1915) Before he became known as the king of spectacle, Cecil B. DeMille honed his craft on a series of silent melodramas like this story about a woman embezzler (Fannie Ward), her husband (Jack Dean), and the Faustian bargain she enters into with a mysterious Burmese businessman, played by Sessue Hayakawa. Employing some of the silent era's most potent plot twists and elaborate production design, "The Cheat" has endured thanks to Hayakawa's performance, a subtle yet menacing mix which made him a cinema star.

The Birth of a Nation (1915) This landmark of American motion pictures is the story of two families during the Civil War and Reconstruction. Director D.W. Griffith's depiction of the Ku Klux Klan as heroes stirred controversy that continues to the present day. But the director's groundbreaking camera technique and narrative style advanced the art of filmmaking by leaps and bounds. Profoundly impacted by the novel "The Clansman: An Historical Romance of the Ku Klux Klan," Griffith hired its author Thomas F. Dixon Jr. to adapt it as a screenplay. At the heart of the story are two pairs of star-crossed lovers on either side of the conflict: Southerner Henry B. Walthall courts Northerner Lillian Gish, and the couple's siblings, played by Elmer Clifton and Miriam Cooper, are also in love. The ravages of war and the chaos of reconstruction take their toll on both families. The racist and simplistic depictions of blacks in the film is difficult to overlook, but underneath the distasteful sentiment lies visual genius.

The Wishing Ring; An Idyll of Old England (1914) Director Maurice Tourneur, called by film historian Kevin Brownlow "one of the men who introduced visual beauty to the American screen," arrived in America in 1914. Previously, he worked as an artist (assisting sculptor Auguste Rodin and painter Pierre Puvis de Chavannes), actor and innovative director in French theater and cinema. Tourneur's third American film, "The Wishing Ring," was once believed lost until Brownlow located a 16mm print of the film in northern England. The print subsequently was copied to 35mm by the Library of Congress as part of an effort funded by the National Endowment for the Arts to preserve America's film heritage. At the time of its initial release, the film was admired for its light and pleasing cross-class romantic story, its fresh performances and the authenticity of its "Old England" settings—although it was shot in New Jersey. Historians of silent cinema have lionized the film since its rediscovery. William K. Everson praised its "incredible sophistication of camerawork, lighting, and editing." Richard Koszarski deemed it "an extraordinary film – probably the high point of American cinema up to that time."

Uncle Tom's Cabin (1914) Harriet Beecher Stowe published her great anti-slavery novel in 1852. Adapted for the stage in 1853, it was continuously performed in the U.S. well into the 20th century. "Uncle Tom's Cabin" was frequently adapted to movies after 1900, but always with white actors in the lead roles until this version, said to be the first feature-length American film that starred a black actor. Sam Lucas—actor, musician, singer and songwriter—had become famous in the 19th century for his performances in vaudeville and minstrel shows produced by Charles Frohman. In 1878, Frohman achieved a breakthrough in American theatrical history when he staged a production of "Uncle Tom's Cabin," featuring Lucas in the lead role. Thirty-six years later, Lucas was lured out of retirement by the World Producing Corp. to recreate his historic role on film and, in the process, set an important milestone in American movie history.

Tess of the Storm Country (1914) This is the feature film that made Canadian-born Mary Pickford, Hollywood's first movie superstar, a national icon and an international celebrity. The film is often credited with launching what was known as the "cult of Mary Pickford" in the early 20th century and was essential in shaping the actress' on-screen persona as a working-class heroine. The picture was so successful that it spawned a number of knockoffs and several remakes, including one by Pickford herself in 1922. The movie's director, Edwin S. Porter, was a former Edison cameraman who worked with Pickford on five of her earliest features. He is best known for two innovative silent shorts from 1903, "The Life of an American Fireman" and "The Great Train Robbery."

The Perils of Pauline (1914) "The Perils of Pauline" was among the first American movie serials. Produced in 20 episodes, in a groundbreaking long-form motion-picture narrative structure, the series starred Pearl White as a young and wealthy heiress whose ingenuity, self-reliance and pluck enable her to regularly outwit a guardian intent on stealing her fortune. The film became an international hit and spawned a succession of elaborate American adventure serial productions that persisted until the advent of regularly scheduled television programs in the 1950s. Although now regarded as a satirical cliché of the movie industry, "Perils of Pauline" in its day inspired a generation of women on the verge of gaining the right to vote in America by showing actress Pearl White performing her own stunts and overcoming a persistent male enemy.

Mabel's Blunder (1914) Mabel Normand, who wrote, directed and starred in "Mabel's Blunder," was the most successful of the early silent screen comediennes. The film tells the tale of a young woman who is secretly engaged to the boss' son. When a new employee catches the young man's eye, a jealous Mabel dresses up as a chauffeur to spy on them, which leads to a series of mistaken identities. The film showcases Normand's spontaneous and intuitive playfulness and her ability to be both romantically appealing and boisterously funny.

In the Land of the Head Hunters (1914) Written and directed by Edward S. Curtis this fictionalized dramatization of the life of the Kwakwaka'wakw (Kwakiutl) peoples of British Columbia is depicted by the natives themselves. The film's story revolves around a chief's son who woos a beautiful maiden though thwarted by an evil sorcerer. The film combines many accurate representations of native culture, art, and technology of the period, however some of the practices pre-date the era depicted or were entirely fictional. However it does accurately capture the potlatch ceremony which until the early 1950s was prohibited by U.S. and Canadian law for being wasteful, unproductive, and contrary to 'civilized values.'

Gertie the Dinosaur (1914) Influenced by stop-motion animation pioneer J. Stuart Blackton, Winsor McCay greatly advanced techniques of movement in animation with his "Gertie the Dinosaur," eclipsing his earlier work, "Little Nemo." But McCay's chief contribution to the field was his ability to imbue animals and inanimate objects with human personalities. Another innovation was his use of "cycling:" creating a repeatable sequence of movement to minimize drawing new material – particularly useful for backgrounds. McCay first introduced his dinosaur to live audiences as part of a stage act, and then later substituted inter-titles for his patter. When the childlike Gertie emerges from a cave at McCay's behest, he coaxes her to perform tricks such as raising her foot and bowing on command. When she gets fed up and **** at him, he scolds her and she cries. Following altercations with a flying lizard and a mammoth, the film ends with Gertie carrying McCay off the stage while he bows to the audience.

The Exploits of Elaine (1914) This 14-part Pathé serial starring Pearl White as Elaine built on White's phenomenal popularity in "The Perils of Pauline." Considered the superior of the two series, "The Exploits of Elaine" boasts increasingly sophisticated camera work and production values. When Elaine's father (William Riley Hatch) is murdered by a notorious outlaw (Sheldon Lewis), she sets out after him with the help of detective Craig Kennedy (Arnold Daly), whose adventures had been successfully serialized in magazines by mystery writer Arthur B. Reeve. Along the way, Elaine is framed in a blackmail scheme and is almost sacrificed by devil worshippers, but Kennedy and his high-tech gadgetry rescue her time and again.

The Bargain (1914) After beginning his career on the stage (where he originated the role of Messala in "Ben-Hur" in 1899), William S. Hart found his greatest fame as the silent screen's most popular cowboy. His 1914 "The Bargain," directed by Reginald Barker, was Hart's first film and made him a star. The second Hart Western to be named to the National Film Registry, the film was selected because of Hart's charisma, the film's authenticity and realistic portrayal of the Western genre and the star's good/bad man role as an outlaw attempting to go straight.

Traffic in Souls (1913) This sensational exposé of "white slavery" (forced prostitution) captivated the country upon its 1913 release and presaged the Hollywood narrative film. At six reels, its length was nearly unheard of at the time, save for a few biblical epics. Although arguably an exploitation film, the film's riveting sociology is gripping in its portrayals of methods used to entrap working women and immigrants. "Traffic in Souls" holds up well today because of its verve and location shooting.

Preservation of the Sign Language (1913) Presented without subtitles, "Preservation" is a short, one-reel film featuring George Veditz, onetime president of the National Association of the Deaf (NAD) of the United States, demonstrating in sign language the importance of defending the right of deaf people to sign as opposed to verbalizing their communication. Deafened by scarlet fever at the age of eight, Veditz was one of the first to make motion-picture recordings of American Sign Language. Taking care to sign precisely and in large gestures for the cameras, Veditz chose fiery biblical passages to give his speech emotional impact. In some of his films, Veditz used finger spelling so his gestures could be translated directly into English in venues where interpreters were present. On behalf of the NAD, Veditz made this film specifically to record sign language for posterity at a time when oralists (those who promoted lip reading and speech in lieu of sign language) were gaining momentum in the education of the hearing-impaired. The film conveys one of the ways that deaf Americans debated the issues of their language and public understanding during the era of World War I.

Matrimony's Speed Limit (1913) Pioneering woman filmmaker Alice Guy Blache's deft, ironic short film of a man financially compelled to marry by noon, thanks to some sneaky encouragement from the woman in his life.

The Evidence of the Film (1913) From 1910 to 1918, Edwin Thanhouser's New Rochelle, New York-based company was a prolific film studio producing more than 1,000 shorts of various genres. Though few of his movies survive, one that has is this short mystery in which a delivery boy is falsely accused of stealing $20,000. All hope seems lost until the boy's sister, who works as a film editor, uncovers celluloid evidence to free him -- a plot device that anticipates security cameras and eyewitness home videos by decades. Thanhouser, who co-directed with Lawrence Marston, demonstrates a command of visual storytelling that rivals D.W. Griffith's.

Bert Williams Lime Kiln Club Field Day (1913) In 1913, a stellar cast of African-American performers gathered in the Bronx, New York, to make a feature-length motion picture. The troupe starred vaudevillian Bert Williams, the first African-American to headline on Broadway and the most popular recording artist prior to 1920. After considerable footage was shot, the film was abandoned. One hundred years later, the seven reels of untitled and unassembled footage were discovered in the film vaults of the Museum of Modern Art, and are now believed to constitute the earliest surviving feature film starring black actors. Modeled after a popular collection of stories known as "Brother Gardener's Lime Kiln Club," the plot features three suitors vying to win the hand of the local beauty, portrayed by Odessa Warren Grey. The production also included members of the Harlem stage show known as J. Leubrie Hill's "Darktown Follies." Providing insight into early silent-film production (Williams can be seen applying his blackface makeup), these outtakes or rushes show white and black cast and crew working together, enjoying themselves in unguarded moments. Even in fragments of footage, Williams proves himself among the most gifted of screen comedians.

The Land Beyond the Sunset (1912) This 14-minute Edison film written by Dorothy G. Shore depicts a New York newsboy (Martin Fuller) from an abusive home in the tenements who attends a charity picnic where he hears a fairy tale about the idyllic Land Beyond the Sunset. When the others return to the city, the boy hides and stays behind, finding a small boat in which "he drifted to the Land Beyond the Sunset," as the final intertitle reads. Social conscience films of this type were popular in the early teens, though few were as "genuinely lyrical," treating audiences as partners in the storytelling and allowing them to draw their own conclusions about the boy's ultimate fate.

From the Manger to the Cross (1912) The film, shot in Egypt and Palestine often in Biblical locations, tells the story of Jesus' life in 10 chapters, with scenes staged as tableaus. Sidney Olcott directed and appears in the film. Actress Gene Gauntier wrote the script – though most inter-titles are direct quotes from the Bible – and portrays the Virgin Mary. Cinematographer George Hollister experimented with wide panning shots as well as innovative camera angles seldom mastered or even used at this point in cinema's evolution. By the time shooting wrapped, the filmed stretched to five reels at a time when three reels were considered extravagant.

A Cure for Pokeritis (1912) Largely forgotten today, actor John Bunny merits significant historical importance as the American film industry's earliest comic superstar. A stage actor prior to the start of his film career, Bunny starred in over 150 Vitagraph Company productions from 1910 until his death in 1915. Many of his films (affectionately known as "Bunnygraphs") were gentle "domestic" comedies, in which he portrayed a henpecked husband alongside co-star Flora Finch. "A Cure for Pokeritis" exemplifies the genre, as Finch conspires with similarly displeased wives to break up their husbands' weekly poker game. When Bunny died in 1915, a New York Times editorial noted that "Thousands who had never heard him speak...recognized him as the living symbol of wholesome merriment." The paper presciently commented on the importance of preserving motion pictures and sound recordings for future generations: "His loss will be felt all over the country, and the films, which preserve his humorous personality in action, may in time have a new value. It is a subject worthy of reflection, the value of a perfect record of a departed singer's voice, of the photographic films perpetuating the drolleries of a comedian who developed such extraordinary capacity for acting before the camera."

The Cry of the Children (1912) Recognized as a key work that both reflected and contributed to the pre-World War I child labor reform movement, the two-reel silent melodrama "The Cry of the Children" takes its title and fatalistic, uncompromising tone of hopelessness from the 1842 poem by Elizabeth Barrett Browning. It was part of a wave of "social problem" films released during the 1910s on such subjects as drugs and alcohol, white slavery, immigrants and women's suffrage. Some were sensationalist attempts to exploit lurid topics, while others, like this film, were realistic exposés that championed social reform and demanded change. Shot partially in a working textile factory, "The Cry of the Children" was recognized by an influential critic of the time as "The boldest, most timely and most effective appeal for the stamping out of the cruelest of all social abuses."

The Musketeers of Pig Alley (1912) Considered the first gangster film, this 17-minute early work by director D.W. Griffith is also noteworthy for employing several innovative camera techniques. Cameramen of the era typically kept the entire frame in focus, but Griffith instructed cinematographer Billy Bitzer to place the subject of a scene in sharp focus while muting the background, a technique common in classical paintings, but unheard-of in films of that era. The film also introduced off-center framing — positioning the subject at the edge of the frame instead of dead center—to achieve greater visual and emotional impact. The cast members, filmed with such revolutionary camerawork, included one of Griffith's most famous discoveries, Lillian Gish, and her sister, Dorothy, as well as Harry Carey. The film has been preserved by the Museum of Modern Art Department of Film and can be viewed at mo.ma/musketeers.

Little Nemo (1911) This short subject, a mix of live action and animation, was adapted from Winsor McCay's famed 1905 comic strip "Little Nemo in Slumberland." Its fluidity, graphics and story-telling was light years beyond other films made during that time. A seminal figure in both animation and comic art, McCay profoundly influenced many generations of future animators, including Walt Disney.

White Fawn's Devotion (1910) James Young Deer is now recognized as the first documented movie director of Native American ancestry. Born in Dakota City, Neb., as a member of the Winnebago Indian tribe, James Young Deer (aka: J. Younger Johnston) began his show-business career in circus and Wild West shows in the 1890s. When Pathé Frères of France established its American studio in 1910, in part to produce more authentically American-style Western films, Young Deer was hired as a director and scenario writer. Frequently in collaboration with his wife, actress Princess Red Wing (aka: Lillian St. Cyr), also of Winnebago ancestry, Young Deer is believed to have written and directed more than 100 movies for Pathé from 1910-1913. Many details of Young Deer's life and movie career remain undocumented and fewer than 10 of his films have been discovered and preserved by U.S. film archives.

Jeffries-Johnson World's Championship Boxing Contest (1910) A signal moment in American race relations, this recording of the July 4 heavyweight title fight between champion Jack Johnson and former champion James J. Jeffries became the most widely discussed and written-about motion picture made before 1915's "The Birth of a Nation."