Feature

100 Years of… Secrets of the Soul

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Herr Fellman in the throes of a dream

Is it Secrets of a Soul or Secrets of the Soul? Both variations of the title seem to be in play. It was Geheimnisse einer Seele in the original German, which suggests it’s the indefinite article – do with that what you will. Either way this is a strange film from the silent era. Expressly designed to take key concepts of psychoanalysis and give them cinematic life, it was directed by GW Pabst, who really wanted Sigmund Freud to contribute. Freud was less keen – his work was more than mere entertainment – so declined, but Pabst did persuade a couple of Freud’s collaborators to take part at the writing stage, including Karl Abraham, … Read more

100 Years of… A Page of Madness

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Servant's wife asleep

Madness indeed. A Page of Madness was made in 1926 on next to no budget, by a talented director aided by a group of demented avant-garde writers called the Shinkankakuha, who were determined to break free from the shackles of naturalism. For many years it was considered lost, until its director, Teinosuke Kinugasa, found a copy of the film in a storeroom in 1971. Still with a third of its footage missing, that’s the version you will see today. The other thing that needs saying before locking in is that it’s made with barely any gear. Kinugasa and co had no equipment to speak of, just a 16mm camera and eight lights. Remember … Read more

100 Years of… The Adventures of Prince Achmed

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Prince Achmed fires an arrow

You don’t, in the normal run of things, expect a rape scene in old-time animation, but that’s what you get in 1926’s The Adventures of Prince Achmed, the breakthrough for Lotte Reiniger, a pioneer in her field, artistically and technically. It tells the story of the an eastern prince who steps in to help his sister after an ugly African sorcerer makes a play for her. For his trouble the brother is whisked away on a magic flying horse, to a faraway realm where Princess Pari Banu, ruler of the spirit world of Wak Wak, beguiles him with her naked beauty. And he responds with the aforesaid rape. Unless I am very much … Read more

100 Years of… The Strong Man

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Harry Langdon as Paul Bergot

Two people do special things in 1926’s The Strong Man. The first is director Frank Capra, inventing film language on the hoof in his feature debut and showing us why he was such a force on the 20th-century film scene. The other is Harry Langdon, demonstrating an ability to animate dead space with his fluid features and expressive body. The story is really a case of the tail wagging the dog and it takes a long time to get to the film’s point – elaborately conceived and expertly executed stunts. First there’s a preamble in the Great War, where Harry’s hapless soldier Paul Bergot is taking potshots at Germans with his catapult in … Read more

100 Years of… Flesh and the Devil

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Close up of Garbo and John Gilbert

Flesh and the Devil was Greta Garbo’s third Hollywood movie after arriving from Europe aged 20 in 1925, and it’s the one where everything suddenly clicks. She has the right director (Clarence Brown), the right director of photography (William H Daniels) and the right co-star (top-billed John Gilbert aka The Great Lover). Originally it was meant to be Lillian Gish in the lead, but Garbo got the job because she was cheaper. The massive success of Flesh and the Devil made Garbo bigger than Gish, Swanson and all of the rest of them, bigger even than any studio. From this moment on she could write her own ticket. With total total control she … Read more

100 Years of… 3 Bad Men

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The three bad men point their guns at the camera

3 Bad Men was John Ford’s last silent western, though it was obviously never billed as such (who knew, when it opened, that the silent era would end within a couple of years?). The unannounced end of an era was released in 1926 and Ford wouldn’t return to the genre until Stagecoach in 1939. It’s a Ford classic, though you can see all the key elements in this earlier film – admirably straightforward storytelling through powerful characters against stunning backdrops. For those who consider silent movies to be a lesser art form, the unsophisticated predecessor to the real deal, this could be an eye opener. It’s ironic, for a start, and that starts with … Read more

10 Best Films of 2025

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Ellen looking to the heavens

In a year packed with 1990s revivalism, noir resuscitation and franchise exhaustion, these are the films I liked the most in 2025. I’ve attempted to avoid the obvious but not be wilfully obscure and have probably succeeded at neither. Without further ado, with links to full reviews, here goes – in 1-10 order. Dying (dir: Matthias Glasner) A German black comedy so bleak you might laugh out of desperation, following a pair of oldsters as they reach the end of the road, and their two appalling adult children. Superbly underplayed by a top-notch cast, it’s a novelistic, dense, all-enveloping wallow in human misery, three hours long and worth every minute of the grief. … Read more

100 Years of… Battleship Potemkin

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A woman injured by a bullet

Imagine that, one of the best movies ever made is only 75 minutes long. All those epics striving for significance with buttock-flattening running times outdone by Battleship Potemkin, a century-old silent movie lasting only one hour and 15 minutes. Sight and Sound in their latest poll of the all-time greats currently have Potemkin in joint 54th place (alongside Blade Runner, Le Mépris, The Apartment and Sherlock Jr). Cahiers du Cinéma rate it highly. It’s one of the 1001 Movies You Must See Before You Die. At breakneck speed it tells the story of a failed revolution, the one in 1905 when the Russian navy mutinied and, for a brief moment, the possibility of … Read more

Joyless Street

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Greta Garbo close up

There’s a lot going on in Joyless Street (Die freudlose Gasse), GW Pabst’s epic “Straßenfilm” about the Weimar era in Germany, made during the Weimer era in Germany. Greta Garbo is in it, which tends to draw a lot of attention, and because the film survives only in a print with a good half hour missing, it’s often described as her film. It certainly looks that way from the 150 or so minutes now available. But Asta Nielsen was top-billed when it came out and she thought she was the star. So spare a thought for poor old Asta as you watch a tale of two impoverished young women doing what they have … Read more

100 Years of… Visages d’enfants

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Jean Forest as Jean

If you’ve heard the name Jacques Feyder but never seen any of his films, Visages d’enfants is a prime place to start. A beautiful example of simple and direct storytelling done with more technique than you’d expect for a film from 1925, it demonstrates what a master Feyder was, particularly of the language of film – in fact he’s creating some of it as this film is running through his camera’s sprockets. The title translates into English as either Mother or Faces of Children and that difference of emphasis sums up the plot. A young boy is orphaned and his father remarries – how does little Jean fit in now, with the new … Read more