It’s time once again for San Francisco’s silent era Castro Theatre to do what it was made to do and show eager audiences once again why silent films define what movie magic really is. Starting tomorrow, Thursday May 29th, and running through Sunday, June 1st, the San Francisco International Film Festival will emanate from the Castro, harboring some of the rarest, most beautiful, classic films from the early days of cinema, before color, before sound, and before our computer screens and smartphones became plastered with shameless ads for movies we don’t care about. These are films from a time when filmmakers helmed their cameras with love.

The festival is bookended this year by two essential works in the story of early film. Rex Ingram’s sweeping epic The Four Horsemen of the Apocalypse, starring Rudolph Valentino, will open up the festival, a commemoration of the 100th anniversary of the Great War. Closing out the festival is Buster Keaton’s aquatic ballet The Navigator. Keaton’s fourth film contains some of his most intricately staged stunts, including a gorgeous underwater sequence. Also playing at the festival are films by Carl Dreyer, Yasujiro Ozu, Max Linder, the always entertaining Amazing Tales From the Archives program, an in-depth look into the world of film preservation, and many more.

We spoke to the festival Artistic Director Anita Monga about converting silent film newbies by getting them in the theater, the importance of thoughtful musical accompaniment, the genius of Keaton, the festival line-up, and more.

For tickets and more information, visit silentfilm.org

For every lover of silent film, there’s this constant struggle you have with your friends and family, trying to get them to give silents a try and get them into that theater.

Anita: It’s really hard to describe silent film. It’s so difficult. It’s a whole experience, with these beautiful, beautiful images that are lying dormant, because you can’t really watch a film without sound. I mean, you can, but it’s a very academic experience. A lot of the silent films on the internet have been badly transferred and paired with horrible music. We pay a lot of attention to the musical aspect of silent film. The films at the festival are examples of live cinema events, bringing these ancient texts to life. Film is the only medium where people think the past is not worth dredging up. People read books from the 17th century, read Shakespeare, and put on Shakespeare plays. That’s what we’re doing: making these films accessible to people who think that these films have nothing to say to modern audiences. We have a hindsight of 100 years to pick the very best. People transform when they see them, but it’s hard to get them into that auditorium.

What does silent film offer that modern film doesn’t?

Anita: Silent film is different. You can’t watch it on your cell phone and get everything there is to get about it. It requires having thoughtful music to be able to see these images. It gains a lot from being presented in the theater.

You’ll never see a modern film presented with live musical accompaniment. Silent films are an event.

Anita: Right. What we’re doing is really different. People understand that you can see something like Avatar on your computer screen months down the line after it hits theaters, but if you want to partake in this experience, you need to go to the theater and be immersed. People think silent films are boring because they’re old, but they are NOT! It’s the opposite. If we can get them in the door with an open mind, they’re converts. It’s a simple as that.

There’s something for everyone in this program. Harbor Drift is a story that’s so moving and harsh. It doesn’t sugarcoat the horrible economic reality that was Germany [in 1929.] We could use a little dose of that from our artists, too, with our world economy not on its firm footing.

Well, let’s get into the films playing at this year’s festival, starting off with Mr. Buster Keaton. Last year, I asked you to rank him, Chaplin, and Lloyd as far as who your favorite is, and it was an easy, quick answer from you.

Anita: Keaton, Chaplin, Lloyd.

You’ve got Keaton’s The Navigator playing at this year’s festival, which is right up there with my favorites from him. Where does it rank for you in his catalogue?

Anita: I love it. It’s one of the top ones for me, too. I think I love The Cameraman most…[trails off] Wait. No. I can’t even rank Keaton. Everything is so beautiful. Sherlock Jr. is so beautiful.

That was my jumping on point. It’s an easy one to get into, Sherlock Jr. The imagination on display in that film is unbelievable, and in The Navigator, you have the underwater sequence, which is incredibly cinematic.

Anita: Yes, incredibly cinematic! That was Keaton. He thought in cinema. He understood how to make the story move cinematically. He was the most cinematic of the comedians.

The underwater bit perhaps isn’t his most spectacular feat, but it’s easily one of his most challenging. You’ve also got The Four Horseman of the Apocalypse playing.

Anita: Yes. The Four Horseman is our commemoration of The Great War. It’s kind of remarkable. The film was made not far after World War I concluded. It was the first major world event that cinema commented on. Cinema and the history of that war are really intertwined. The Mont Alto Motion Picture Orchestra are doing the accompaniment, and it’s their 25th anniversary of being a group. They started out as The Mont Alto Ragtime and Tango Orchestra, and for people who don’t know, The Four Horsemen starts in Argentina, and it’s where Rudolph Valentino became “the Latin lover.” The whole idea of “the Latin lover” came from The Four Horsemen.

It’s his first starring role.

Anita: Yes, and it’s really what made him a star.

You’ve got an Ozu film as well, Dragnet Girl, which is actually a gangster film. It’s a bit of a departure from the style he’s known for, and there’s also a film from the great Carl Dreyer that’s a departure for him as well, The Parson’s Widow.

Anita:  People know Dreyer from The Passion of Joan of Arc and from later, very beautiful, very somber work. This is a light-hearted departure for him, but it’s quintessentially Dreyer in its beautiful imagery and thoughtful filmmaking. It has a very funny sense of humor.

That’s atypical of him, but it’s funny that we say “departure”, because these films were actually early works in Ozu and Dreyer’s careers.

Anita: Right. They’re departures from what we know about them today. The other day, I re-watched Herb Ross’ Pennies From Heaven, and I knew Christopher Walken from later roles with David Cronenberg and others. Seeing him as a song-and-dance man felt like a departure from him, but it’s not. It’s a departure from what I thought I knew about him.

You also have on the line-up the Amazing Tales From the Archives program, which is always exciting.

Anita: Yes, and also along that line we have Serge Bromberg’s Treasure Trove. Serge Bromberg is a great raconteur, and he’s bringing some real surprises from his archive. If people are interested in seeing real rarities, presented by a cinema lover and great communicator, the Treasure Trove can’t be missed.

Seeing a Keaton film in the Castro Theatre is a wonderful experience, but what’s great about these rarity programs is that they’re truly a once-in-a-lifetime thing.

Anita: I really encourage people to stretch themselves. There’s not a film in here that I would say isn’t worth seeing. The Girl in Tails is hilarious. The early Sherlock Holmes film, The Sign of Four, was filmed in London, which is extraordinary. The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks was filmed all around Moscow in the ’20s. Think about that. think about Red Square in the ’20s. How amazing is that?

I think the festival is best experienced as an all-day thing. You need to see at least two films in a row to get how truly fun it can be.

Anita: I’ve had people express it this way, and I think it’s true: It’s like entering a dream state. We balance the program very carefully; we’re not just showing one very dark, deep film after another. We’re not showing one comedy after another. It’s a varied experience and rewards sticking around.

It requires a lot of thought to present these films well. We’re presenting The Good Bad Man, which is a restoration. We’re running it at 17 frames per second. If you see the film at 24 frames per second, it’s going to seem extremely sped up and jerky. It requires thoughtfulness to present these things to express what the filmmaker had in mind. We also have to be thoughtful about the musical accompaniment so that it embraces and enhances the image.

What’s the state of film preservation?

Anita: There’s amazing work being done in preservation, aided by many things, like the internet. BFI put out a list of the “top lost films”, and those films are being found because of communication around the world. Ramona is a title that people were looking for for years and was found in the Czech archives and was recently restored. We have archivists coming to the festival from around the world.

Let’s run through what this year’s festival has to offer once more. For someone who enjoys action and adventure, they should watch…

Anita: The Good Bad Man. Also, the documentary The Epic of Everest, an actual attempt at reaching the summit of Everest. It’s the first look at Tibetan culture on film. Extraordinary. Also, Cosmic Voyage, which is a sci-fi film where they go to the moon.

For those who enjoy comedy…

Anita: Oh! Buster Keaton. Also, The Extraordinary Adventures of Mr. West in the Land of the Bolsheviks is highly hilarious.

For those who love dark dramas…

Anita: Harbor Drift and Under the Lantern are two German, expressionist titles that are so incredibly beautiful.

For kids?

Anita: Seven Years Bad Luck is by Max Linder, who a lot of comedians credited as an influence, including Charles Chaplin, who was a huge fan. Max Linder originated that mirror scene that the Marx Brothers used so effectively. A very funny French comedian. I’d advise some kids to come to Cosmic Voyage and The Navigator, but they’re late!

At least one of them isn’t a school night!

Anita: Right! Stay up late and come to Cosmic Voyage and The Navigator. Also, kids will love the Serge Bromberg program on Saturday afternoon.

In the spirit of the San Francisco Silent Film Festival taking place this weekend, I thought I’d compile a list of titles that I believe are great gateways for those unacquainted with the wonderful world of silent film. The silent era is a glaring blind spot for many a cinephile (me included, up until just a few years ago), which is truly a shame. A lot of the greatest films of all time were created before sound was introduced (some of which are listed here), and approaching contemporary movies with a measure of knowledge about where their ideas and techniques came from enhances the experience tenfold.

These films aren’t necessarily the greatest of the silent era and perhaps not even the most influential. There are TONS of great silents to fall in love with. These selections are simply good spots in the giant pool of silent films for newcomers to dip their toes in. For those that think silent films are boring or dated, you’ll quickly see just how fun and entertaining these films are, even by today’s standards. If you or a friend or a group of friends have been reluctant to give silent films a try or never had the desire to, I encourage you to give one or more of these films a try. You’ll be pleasantly surprised.

The absolute best way to see a silent film is to see it at a theater with live music accompaniment, but that unfortunately isn’t an opportunity available to most of us. That’s what makes festivals like SFSFF so special. If you’re in the Bay Area, don’t miss the show! Check out our interview with Anita Monga, the festival’s artistic director.

City Lights (1931)—Charlie Chaplin

Of all the great characters in silent cinema, none are more iconic, touching, likable, or inviting to newcomers than Chaplin’s Tramp. City Lights is arguably the best representation of Chaplin’s style, a masterpiece of slapstick, immaculate staging, “Aw shucks” giddy romance, and graceful physical expression. It’s one of the most enchanting romances of the silent era, with the Tramp’s amorous gaze set on someone who can’t return it—a spunky blind girl played by the wonderful Virginia Cherrill. The Tramp also makes friends with an alcoholic millionaire (Harry Myers), with their unlikely bromance providing some of the funniest scenes in any Chaplin film. Interestingly enough, City Lights was made three years in to the talkie era. The decision to keep the dialogue muted was a masterstroke. Chaplin knew the Tramp didn’t need sound to express himself. Once you bear witness to Chaplin’s grace, physical prowess, and effortless storytelling, it’s hard not to give in to the film, turn off your iPhone, get cozy, and do exactly what Chaplin wanted us all to do—smile a big smile.

For Fans of: Johnny Depp, Disneyland, pratfalls, cartoons, having a wholesome good time

Watch City Lights clip:

City Lights is available on Hulu Plus

Sunrise: A Song of Two Humans (1927)—F.W. Murnau

If you see only one film on this list, make it this one. F.W. Murnau’s salty/sweet romance masterpiece stirs every bit of me each time I watch it. It’s about a man and woman whose marriage has hit rock bottom (that’s a huge understatement) and how they climb their way out of the depths of resentment to rediscover the love they’d lost. Sunrise can be buoyant, terrifying, spiritual, tragic, haunting, and joyous, often all at once. There’s so much emotion wrapped up in every gorgeous frame that it can be overwhelming, but in the best way possible. Murnau, the greatest German expressionist of the era, seemingly defies the laws of space and gravity with his camera, which glides impossibly over seemingly obstructed terrain. The film runs on the power of the dreamlike imagery, and though the plot may seem basic, its simplicity is necessary to convey the story’s enormous emotion. Sunrise changed the way I watch movies, and I hope it will for you as well.

For Fans of: Terrence Malick, Blue Valentine, fancy camerawork, Martin Scorsese, fucked up romance

Watch Sunrise clip:

A Trip to the Moon (1902)—Georges Melies

Made virtually the minute cinema exited the womb, Georges Melies’ A Trip to the Moon captured the minds and imaginations of everyone who saw it at the time. Some will say it’s a special effects movie that looks like a 1^st grader’s slapped together diorama compared to today’s computer vomited visual wonders. To them I’d contest that A Trip to the Moon is a supremely impressive work of art considering it’s OVER 110 FREAKING YEARS OLD! What makes it required viewing for every film buff is that it acts as a beacon for us to assess just how far we’ve come in terms of technology. It’s a lot of fun to imagine how awestruck audiences must have been in 1902 to see the group of astronauts visit that distant light in the night sky, but what resonates most about the film today is the spirit of Melies’ boundless imagination. The band Air provides the (fantastic) soundtrack for the restored hand-colored version of the film above.

For Fans of: Star Wars, Lord of the Rings, mushrooms, astronomy, video games

Watch A Trip to the Moon clip:

The General (1926)—Buster Keaton

Though I personally slightly prefer the zanily whimsical Sherlock Jr., The General is inarguably the paramount accomplishment of Buster Keaton’s career. A speedy adventure brimming with spectacle, it follows “The Great Stone Face” (a name given to Keaton referring to his perpetually deadpan countenance) as he single-handedly takes on an army while aboard the titular train, all for the sake of love. The stunts concocted here are breathtaking enough to captivate any moviegoer, with Keaton tumbling and daredevil-ing all over the locomotive like an acrobatic madman. The  creativity and inventiveness of the film is only rivaled by Chaplin, but Keaton’s work is less saccharine and jibes better with today’s dry, unsentimental brand of humor. My wife usually resigns to the bedroom when I start watching my “classic movies”, but she always seems to linger when I throw old Buster on.

For Fans of: Mel Brooks, Jackie Chan, Rube Goldberg machines, dry humor

Watch The General:

The Passion of Joan of Arc (1928)—Carl Dreyer

Carl Dreyer’s The Passion of Joan of Arc is said to contain the single greatest performance by an actor ever captured on camera, by an enigmatic woman known simply as “Falconetti” (in her only acting role.) Sound like hyperbole? Watch the film. Even if you don’t agree, you’ll have at least seen a wonderful film by one of the most visually powerful directors to ever live (if you’ve never heard of him, do yourself a huge favor and study up.) There’s something unsettling and a bit otherworldly about Joan of Arc, as if it exists outside time and space. It’s like an out of body experience, transporting you somewhere cold, dark, and unfamiliar. Falconetti’s full-screen face is so riveting and tangible it’ll make you shudder, perhaps even weep. Even the greatest actors of today can’t hold a candle.

For Fans of: Amazing freaking acting

Watch The Passion of Joan of Arc clip:

The Passion of Joan of Arc is available on Hulu Plus

The Cabinet of Dr. Calgari (1920)—Robert Wiene

German expressionist Robert Wiene’s The Cabinet of Dr. Calgari may be the first horror film ever made, and if so, it sure set the bar high. Visually, the film’s angular, twisted black and white style can be felt in countless modern films, in the works of Tim Burton and Guillermo del Toro, the animated films of Henry Selick, and countless horror flicks. The film’s visual style even helped birth film noir. What’s remarkable is that despite its age, Dr. Calgari stands head and shoulders above most of its descendants. The plot—a macabre murder mystery set in a small German town—isn’t particularly innovative, but it’s the film’s striking, dreamlike imagery that makes it so enduring. Several remakes, books, and even an opera have stemmed from the original film, and with good reason–Wiene was a trailblazer who created a timeless classic.

For Fans of: Tim Burton, set design, Darren Aronofsky, horror movies, punk rock, twist endings

Watch The Cabinet of Dr. Calgari:

Honorable Mentions

Metropolis (1927)—Fritz Lang

The Birth of a Nation (1915)—D.W. Griffith

Sherlock Jr. (1924)—Buster Keaton

Battleship Potemkin (1925)—Sergei M. Eisenstein

Nosferatu (1922)—F.W. Murnau

What was the first silent film that you fell in love with? Let us know in the comments!