It is not a new or interesting argument to rain down laurels upon silent cinema for its vigorous, transformative sense of cinematic self-exploration. No time in cinema history matches the medium’s earliest years for pure ecstatic inventiveness and unbridled, unhinged storytelling experimentation. No time has seen directors and cinematographers and editors, and even producers for that matter, ever so consistently transfixed by the potential of exposing the cinematic mind by pushing it to its breaking point and moving beyond the grip of narrative storytelling to look for new and exciting ways to freshly portray the limits of fiction on screen. No time has ever been as hungry, or as invested in film for the sake of film itself.
It is also not a new or interesting argument to look to 1928, the last year of silent cinema’s monopolistic dominance in the medium, as the pinnacle of the form’s artistic exploration. Although no one work may equal the heights of what FW Murnau achieved with 1927’s Sunrise, the sheer plethora of major and minor classics, from Dreyer’s luminous The Passion of Joan of Arc to King Vidor’s cityscape tone peom The Crowd, to Josef von Sternberg’s hazy, mystifying The Docks of New York, proves that drama was in fine form as a selection of unarguable masters looked to close out the history of silent cinema on a high note. Of course, they may not have known it was coming, but we auteurists are no less guilty of assuming intent in our individuals than anyone else (we’re perhaps more guilty, if anything). Continue reading