Enjoy the Silence

A peculiar quote was spoken into the atmosphere one day with no true origin or genesis to explain its magnitude in the understanding of the role that art plays in the modern world. The quote said softly on one unspecific day, during an unspecific time: “Books were made for reading, music for hearing; films for seeing; a silent film must stay silent.’’ This quote pertained to the evolution of the film and the fears of those who saw it roar into the modern-day beast it would become. Birthed in the silence of nitrate film stock and negative film, it grew into what was deemed “The Talkies” around 1927 with the introduction of early sound demonstrated by the 1927 silent film “The Jazz Singer.” Although an avalanche would roll down the snow hill that is film, one by one descending together a series of events which would bring CGI, VFX, and digital video into modern films. The silent film has been arguably forgotten in modern day discourse on what makes beautiful cinematography, what makes a film intriguing, unnerving , and most importantly, what makes a film, not a book, or a song, or a stage play, or even a perfectly framed photo, but instead a series of photos stitched together to tell a tale made to both exist within the time of the viewer, but also supersede it all the same. 

To explain the type of stock and film that silent films were shot on, it is to also describe the physical appearance of silent films themselves. To a keener eye, or a zealot of the art form. A silent film is not simply what was once colored, turned black and white, having its vibrant color suffocated out of our vision. Instead, it captures the world turned monochrome, until it embodies both light and shadow. However, neither is this definition definitive; instead, the idea that silent films are solely monochrome, is a misconception. For instance, in the film Waxworks (1924), a story narrating the imaginative ways in which a nameless poet schemes stories to bring historical wax figures to life, simply cannot be considered black and white, neither can it be considered a reflection of how color is shown in modern day film. In fact, a tint is applied to each scene to set the mood and tone. When the scenes are set in the hot, swarthy, arid Arabian desert, the tint takes an orange appeal, when the scenes begin in the icy winter of the Russian lands, the tint takes upon a blue to reflect said winter storm. The 1907 short film, Le Spectre Rouge, is one of the closest examples of color made diverse. White for bone, yellow for gold, and purple for granite caves within the unfolding scene.  

Even in the realm of black and white, progress had been made from the 1920’s to the 1950’s. For example, not only had the sound system slowly begin to develop prominence, but also end the need for intertitles, or printed text, spliced between shots to convey dialogue or action, while derailing the studio system or a method in which actors were signed to a specific studio such as Warners or MGM and would exclusively work with said studio on films. Around the 50’s, the freelance actor arose, or the system mostly used in the modern age. 

The silent film would soon be lost, as with many things, by its own evolution. Although, there might stand a modern-day director, such as director, Denis Villenueve, best known for his modern adaptation of literary work known as Dune, might profess a desire to film a movie in complete silence, only using narrative, physical and environmental storytelling to convey plot, tone, and message of a film, stating to the Times of London that, ‘’movies have been corrupted by television.’’ It is warranted to suspect that the context in which olden silent films were curated was also a lighter to the spark they had which allowed them to be completely absent from audible dialogue but not absent from humanity. Weimer Germany, the roaring 20’s, the infancy of film, the exploration, testing, trial and error, imperfections, all followed into the creation of the silent film. The grainy film and stock, the theatrical stage like acting, the bare film stages and imperfect faces smothered in camera correcting makeup in shades of yellow and blue. Without these things, both little and small, can there ever be a silent film, or more likely an uncanny imitation, taking the nose and eyes of the medium but never the heart and the mind. Fixing the superficially understood aesthetic upon a mannequin who poses in what feels human but is known to be unnatural. 

With modern advancements in technology, silent films have truly been allowed to die. But unlike The Golden Age of Hollywood or the peepshow shock value which carried on into the modern age, there is no detective to arrest its murderer: Time.  The rawness of early films was its charm. There were no billionaire corporations to ensnare, nor were there large franchises to milk dry. Later, the Hayes Code would arrive, limiting what could be shown on screen, and while that might be a different story. One can only wonder if technology has killed film. Had CGI, digital camera, streaming, and years and years of film history both grown film to what it is, but also stunted its lifeblood from running freely and warming its body with the unbridled oddity of the silent film?  

As it seems, the silent film might be without a detective to cause the jailing of its executioner; it might stay rotting in a black and white alleyway, of pale skies and black markings. It might wither away and be called upon when intellectuals must signal their intellect, and directors desire to draw attention to the madness in their minds. Nonetheless, film must be seen, not heard, and therefore it needs a lawyer, and advocate for its remains. This article is simply evidence to be given to discovery; a cold case finally gone warm for this piece of film history.