Rudolph Valentino stars as a matador who falls into the clutches of a beautiful, insincere society woman.

An epic romance set in Russia during the final days of the Tsarist autocracy, Barrymore stars as Sgt. Ivan Markov, a dedicated soldier who defies the rigid class system to receive an officer's commission. But even as he rises through the ranks of military and society, he must contend with resentment from the aristocratic officers-including the monocled Ullrich Haupt, who delivers a sinister performance worthy of Erich von Stroheim, himself an uncredited screenwriter on the project. Piano score by William P. Perry.

A strange and beguiling romance that launched the career of Leni Riefenstahl, The holy mountain is the greatest of Arnold Fanck's legendary "mountain films," in which dramatic intrigues are played out against the breathtaking backdrop of the German Alps. Enthralled by the scenic majesty and heaving power of nature, an alluring dancer (Riefenstahl) seeks the man of her dreams in a small mountain village. There she encounters a reclusive climber (Louis Trenker) and a young skier (Ernst Petersen), who are each pursuing their own elusive ideals amid the intoxicating beauty and treacherous dangers of the Alps.

Alice Guy-Blaché (French, 1873-1968), the world's first woman film director, made films for Gaumont in Paris (1896-1907), then had her own studio, the Solax Company in Fort Lee, New Jersey (1910-1914). After Solax ceased production, she became a director for hire and went to work for The International Film Service, owned by William Randolph Hearst. The plot of The Ocean Waif adheres closely to the Hearst agenda: a romantic story, plenty of pathos but no brutality, a likeable hero and an innocent young woman, and a suspenseful plot with a dramatic and happy ending ("the Mary Pickford school of narrative"). Blaché's parody of the Pygmalion-type love story gives equal screen time to each lover's point of view, but also skewers conventional class tropes. Doris Kenyon stars in the title role of an abused young woman who finds safety and eventually love in the arms of a famous novelist.

Produced in Berlin in 1919, Ernst Lubitsch's the Doll (Die Puppe) is a charming romantic fantasy that shows the director already in full command of the now-legendary "Lubitsch touch."

Keaton stars as youthful dreamer Willie McKay, who travels westward on a rickety locomotive to claim his birthright, only to find that his inheritance is a shack. And he learns that the object of his affection (Keaton's real-life wife, Natalie Talmadge) is the daughter of a man with whom his family has been engaged in a long, violent feud. McKay's personal struggles are punctuated by brilliant slapstick setpieces that involve an exploding dam, raging waterfalls, and a primitive steam engine. Keaton supervised the design and construction of the train, which he revived two years later for the short The Iron Mule (in which he appears without credit as an Native American chief).

Highlighted by majestic set design by William Cameron Menzies, this awe-inspiring jaunt through exotic Arabia follows a young thief who faces supernatural challenges to win the heart of his beloved princess. Accompanied by a score by the Mont Alto Orchestra, this is the definitive version of Fairbanks' magical fantasy.

Charles Chaplin came to Mack Sennett's Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theatres sufficed to attract audiences. Some of the films, especially Tillie's punctured romance, remained in theatrical distribution for decades. The fact that all but one of the Chaplin Keystones exist is due, of course, to the star's enormous subsequent popularity. Most of the original Keystone negatives, however, were simply printed away and the survival of all but a few of these films depends upon a very few original prints, a larger number of reissue prints, and some duped prints from later years. With the support of Association Chaplin (Paris), 35mm full aperture, early-generation materials were gathered over an eight year search on almost all the films from archives and collectors around the world, and were painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. Most are now clear, sharp and rock-steady, although some reveal that their source prints are well-used and a handful survives only in 16mm. One can now understand Chaplin's meteoric rise, for it is possible for the first time in generations to see clearly what clever and imaginative films he made at Keystone. These editions feature all-new musical settings by outstanding practitioners of silent film accompaniment Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer and The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur's band Tillie's Nightmare with the UCLA Film and Television Archive restoration of Tillie's punctured romance.

Charles Chaplin came to Mack Sennett's Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theatres sufficed to attract audiences. Some of the films, especially Tillie's punctured romance, remained in theatrical distribution for decades. The fact that all but one of the Chaplin Keystones exist is due, of course, to the star's enormous subsequent popularity. Most of the original Keystone negatives, however, were simply printed away and the survival of all but a few of these films depends upon a very few original prints, a larger number of reissue prints, and some duped prints from later years. With the support of Association Chaplin (Paris), 35mm full aperture, early-generation materials were gathered over an eight year search on almost all the films from archives and collectors around the world, and were painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. Most are now clear, sharp and rock-steady, although some reveal that their source prints are well-used and a handful survives only in 16mm. One can now understand Chaplin's meteoric rise, for it is possible for the first time in generations to see clearly what clever and imaginative films he made at Keystone. These editions feature all-new musical settings by outstanding practitioners of silent film accompaniment Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer and The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur's band Tillie's Nightmare with the UCLA Film and Television Archive restoration of Tillie's punctured romance.

Charles Chaplin came to Mack Sennett's Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theatres sufficed to attract audiences. Some of the films, especially Tillie's punctured romance, remained in theatrical distribution for decades. The fact that all but one of the Chaplin Keystones exist is due, of course, to the star's enormous subsequent popularity. Most of the original Keystone negatives, however, were simply printed away and the survival of all but a few of these films depends upon a very few original prints, a larger number of reissue prints, and some duped prints from later years. With the support of Association Chaplin (Paris), 35mm full aperture, early-generation materials were gathered over an eight year search on almost all the films from archives and collectors around the world, and were painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. Most are now clear, sharp and rock-steady, although some reveal that their source prints are well-used and a handful survives only in 16mm. One can now understand Chaplin's meteoric rise, for it is possible for the first time in generations to see clearly what clever and imaginative films he made at Keystone. These editions feature all-new musical settings by outstanding practitioners of silent film accompaniment Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer and The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur's band Tillie's Nightmare with the UCLA Film and Television Archive restoration of Tillie's punctured romance.

Charles Chaplin came to Mack Sennett's Keystone Studios late in 1913 as a little-known British vaudevillian, and after a year, had not only established his Tramp character, learned to write and direct his own films, and also achieved public recognition as a star comedian. Although Keystone did not publicize its performers by name, standees of Chaplin's likeness outside theatres sufficed to attract audiences. Some of the films, especially Tillie's punctured romance, remained in theatrical distribution for decades. The fact that all but one of the Chaplin Keystones exist is due, of course, to the star's enormous subsequent popularity. Most of the original Keystone negatives, however, were simply printed away and the survival of all but a few of these films depends upon a very few original prints, a larger number of reissue prints, and some duped prints from later years. With the support of Association Chaplin (Paris), 35mm full aperture, early-generation materials were gathered over an eight year search on almost all the films from archives and collectors around the world, and were painstakingly pieced together and restored by the British Film Institute National Archive, the Cineteca Bologna and its laboratory L'Immagine Ritrovata in Italy, and Lobster Films in Paris. Most are now clear, sharp and rock-steady, although some reveal that their source prints are well-used and a handful survives only in 16mm. One can now understand Chaplin's meteoric rise, for it is possible for the first time in generations to see clearly what clever and imaginative films he made at Keystone. These editions feature all-new musical settings by outstanding practitioners of silent film accompaniment Eric Beheim, Neil Brand, Antonio Coppola, Frederick Hodges, Stephen Horne, Robert Israel, Rodney Sauer and The Mont Alto Motion Picture Orchestra, Ethan Uslan, and Ken Winokur's band Tillie's Nightmare with the UCLA Film and Television Archive restoration of Tillie's punctured romance.