In this silent classic, Judah ben-Hur (Ramon Novarro) discovers that he has been betrayed by his childhood friend Messala (Francis X. Bushman), leading to separation from his family. Punished for an accident, Ben-Hur is unjustly forced to serve on a Roman ship, where he becomes a friend to the vessel’s admiral, Quintus Arrius (Frank Currier). Eventually, Ben-Hur has the chance to compete against Messala in a chariot race, providing him with a shot at vengeance.
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The Great War (World War I) has brought devastation, heartache, and hardship to the Ukrainian people. Their soldiers, likewise, have faced horrors from the enemy and threats from their own officers. One recently demobilized Ukrainian soldier, Timosh, returns home after surviving a train wreck, and arrives during a celebration of Ukrainian freedom. But Timosh begins to challenge the local authorities, and then, at the All-Ukrainian Congress, he calls for the soviet system to be adopted. In Kiev’s Arsenal munitions plant, where Timosh has worked, feelings are running especially high.
– Written by Snow Leopard
In Japan, a man (Masao Inoue) takes a job as a janitor at a mental asylum in order to be near his wife (Yoshie Nakagawa). Although his wife suffers genuine mental anguish, the man believes he can rescue her — but his attempt to break her out one night backfires when she panics. After she returns to her room, the husband again makes plans to try to take her out, only to be interrupted in the attempt by a doctor and several attendants, whom he attacks and believes he has killed.
Initial release: September 24, 1926 (Japan)
Director: Teinosuke Kinugasa
Story by: Yasunari Kawabata
Producer: Teinosuke Kinugasa
Cast: Yoshie Nakagawa, Ayako Iijima, Masao Inoue, more
Screenplay: Teinosuke Kinugasa, Yasunari Kawabata, Minoru Inuzuka, Bankô Sawada
During the Civil War, reports of a sea monster attacking ships alarm the Navy. An investigation finds the monster is a submarine, the “Nautilus,” commanded by vengeance-seeking Capt. Nemo (Allen Holubar), who was once an Indian prince. Years earlier, adventurer Charles Denver (William Welsh) caused the suicide of Nemo’s wife and the disappearance of his daughter. Nemo tracks Denver to a distant island where, unknown to him, a wild native girl matching his daughter’s description is also hiding.
In the 1870s, gold is discovered in the Dakota Territory, and wanted men Bull Stanley (Tom Santschi) and Mike Costigan (J. Farrell MacDonald) join thousands of other pioneers on a westward journey in search of wealth. Soon, Bull and Mike see a gang of thugs attacking Lee (Olive Borden), a young woman. They rescue her, but her father is killed during the assault, so Mike and Bull become her guardians. Before long, Bull and Mike leave their criminal pasts behind and devote themselves to Lee.
Black and white version is posted underneath the colour version version
Trip to the Moon (French: Le Voyage dans la Lune)[a] is a 1902 French silent film directed by Georges Méliès. Inspired by a wide variety of sources, including Jules Verne‘s novels From the Earth to the Moon and Around the Moon, the film follows a group of astronomers who travel to the Moon in a cannon-propelled capsule, explore the Moon’s surface, escape from an underground group of Selenites (lunar inhabitants), and return to Earth with a captive Selenite. It features an ensemble cast of French theatrical performers, led by Méliès himself in the main role of Professor Barbenfouillis, and is filmed in the overtly theatrical style for which Méliès became famous.
The film was an internationally popular success on its release, and was extensively pirated by other studios, especially in the United States. Its unusual length, lavish production values, innovative special effects, and emphasis on storytelling were markedly influential on other film-makers and ultimately on the development of narrative film as a whole. Scholars have commented upon the film’s extensive use of pataphysical and anti-imperialist satire, as well as on its wide influence on later film-makers and its artistic significance within the French theatrical féerie tradition. Though the film disappeared into obscurity after Méliès’s retirement from the film industry, it was rediscovered around 1930, when Méliès’s importance to the history of cinema was beginning to be recognized by film devotees. An original hand-colored print was discovered in 1993 and restored in 2011.
A Trip to the Moon was named one of the 100 greatest films of the 20th century by The Village Voice, ranked 84th. The film remains the best-known of the hundreds of films made by Méliès, and the moment in which the capsule lands in the Moon’s eye remains one of the most iconic and frequently referenced images in the history of cinema. It is widely regarded as the earliest example of the science fiction film genre and, more generally, as one of the most influential films in cinema history.
As with at least 4% of Méliès’s output (including major films such as The Kingdom of the Fairies, The Impossible Voyage, and The Barber of Seville), some prints of A Trip to the Moon were individually hand-colored by Elisabeth Thuillier‘s coloring lab in Paris. Thuillier, a former colorist of glass and celluloid products, directed a studio of two hundred people painting directly on film stock with brushes, in the colors she chose and specified. Each worker was assigned a different color in assembly line style, with more than twenty separate colors often used for a single film. On average, Thuillier’s lab produced about sixty hand-colored copies of a film.[