G W Pabst's 1928 silent masterpiece Pandora's Box stars the luminous and highly photogenic Louise Brooks. She plays the irresistible Lulu, a cabaret star who entices, captivates and eventually destroys all men who cross her path. Her beauty and her fetching charm draw an assortment of repressed and lonely people; Schigolch, a boozy old man who pretends he's her father; Geschwitz, a countess who has also fallen for Lulu, and Schoen, a rich tycoon who carries on an affair with Lulu even though he's to be married. His short solution is to put Lulu in his son Alwa's vaudeville show. As Alwa, too, becomes trapped in Lulu's charms, Schoen's fiancée catches Lulu and Schoen in a backstage embrace. Lulu quickly takes her place as Schoen's bride, only to drive Schoen to suicide during their wedding party. Put on trial for murder, Lulu almost gets out of it by simply batting her eyes at the prosecutor. Still, she is found guilty and Alwa, who has grown increasingly obsessed, causes a distraction to allow Lulu's escape from the courthouse. Alwa, Lulu and Schoen become desperate fugitives, eventually ending up in London where Lulu finally meets her match: Jack the Ripper. Pandora's Box offers pure cinematic delights-Pabst's luscious photography, the tense drama of its story line and, most impressively and importantly, Louise Brooks, who gives a performance that is certainly one of the best in the history of cinema. [+]

Lon Chaney, the man of a thousand faces, was best known for playing Quasimodo and the Phantom of the Opera. But the former role in The Hunchback of Notre Dame was clearly the most ambitious of his illustrious career, full of such longing and anguish. It's as though his entire being was consumed by this ugly outcast with a heart as big and beautiful as Notre Dame itself. And the makeup is still astonishing. The rest of this unrequited love story is pretty effective as well, with the re-creation of medieval Paris a standout for its lavishness. Like all great silent films, it delivers a poetry of life that is abstract and tangible at the same time. -Bill Desowitz.

A milestone of the silent film era and one of the first "art films" to gain international acclaim, this eerie German classic from 1919 remains the most prominent example of German expressionism in the emerging art of the cinema. Stylistically, the look of the film's painted sets-distorted perspectives, sharp angles, twisted architecture-was designed to reflect (or express) the splintered psychology of its title character, a sinister figure who uses a lanky somnambulist (Conrad Veidt) as a circus attraction. But when Caligari and his sleepwalker are suspected of murder, their novelty act is surrounded by more supernatural implications. With its mad-doctor scenario, striking visuals, and a haunting, zombie-like character at its centre, Caligari was one of the first horror films to reach an international audience, sending shock waves through artistic circles and serving as a strong influence on the classic horror films of the 1920s, 30s, and beyond. It's a museum piece today, of interest more for its historical importance, but The Cabinet of Dr Caligari still casts a considerable spell. -Jeff Shannon, Amazon. com.

Buster Keaton's career reached its creative apex with this rousing comic adventure. Not merely one of the finest silent films, this remains one of the great film comedies of all time. The Great Stone Face stars as Southern railroad engineer Johnny Gray, a man with only two loves: the sweet Annabelle Lee (Marion Mack) and his trustworthy engine, the eponymous General. When Fort Sumner is fired upon he is one of the first to enlist, but when the war office rejects him (he's too valuable as a trained engineer) his sweetie rejects him as a coward. Johnny has the opportunity to prove his bravery when Yankee spies steal his engine and inadvertently kidnap Annabelle, and Johnny pursues with all the resources at his disposal: handcar, bicycle and finally railroad engine. Keaton's love/hate relationship with technology and machinery shines as he becomes one with his beloved locomotive and wrestles with a finicky cannon that threatens to blow his engine off the tracks; with tremendous dexterity, he nails the humour with inimitably deadpan takes. Spunky Marion Mack makes a perfect partner for Keaton, not merely a foil but a gifted comedienne in her own right. Other Keaton films contain more laughs and inspired comic stunts, but none combines romance, adventure and comedy into a solid story as seamlessly as this silent masterpiece. -Sean Axmaker, Amazon. com.

Made in 1922, FW Murnau's Expressionist masterpiece Nosferatu-A Symphony of Horrors is an unofficial but reasonably faithful condensation of parts of Bram Stoker's novel Dracula. Alongside Metropolis (1926) it is one of the very few European features from the 1920s that is still regularly shown, and apart from being the first great horror film it laid the foundations of the vampire genre to the present day. Wearing astonishing rodent-like make-up Max Schreck cuts such an iconic figure as the undead Count that the 2001 comedy-horror Shadow of the Vampire suggested he wasn't acting at all! Although Murnau's film was revolutionary and technically adventurous for the time, a modern audience will have to make some allowances for the fact the movie now seems both dated and technically primitive: Murnau's stylised lighting and camera effects have been endlessly imitated and improved upon since, and even its greatest defenders generally admit the film barely raises a shudder, let alone a full-blooded scare. Nevertheless, Nosferatu holds a strange dreamlike grip on the imagination and its incalculable influence on fantasy and horror cinema means this is essential viewing for anyone seriously interested in the development of motion picture art. On the DVD: Presented in Academy at 1. 37:1 and with James Bernard's new orchestral score in well-recorded stereo Nosferatu looks and sounds as good as it has in decades. Bernard, composer of Hammer's Dracula (1958) among others, has written a superior score that captures the film's subtitle, "A Symphony of Horrors", and truly brings the images alive in a way previous scores have not. This restored version presents for the first time on video or DVD the blue and brown tints of the original cinema prints and replicates the original hand-designed inter-title cards which with their distinctive designs make the film much more of a compete visual experience. More importantly, this DVD offers approximately another quarter of an hour of material over the usually distributed American version. However, the restoration has not extended to repairing the many lines, scratches, variations in brilliance and other evidence of print damage present throughout. [+]