Destruction, repression, negligence, and indifference have eradicated the vast majority of cinema&#39;s early legacy. Studies have estimated that between 75 and 90 percent of all silent films have been lost forever. Despite this, the survival of the medium persists, and long lost films continue to be rediscovered in often bizarre and unexpected places. Ashes to Classics is an effort to record these forgotten histories for posterity, to explore the histories of their creation, discovery, and preservation. Every week we&#39;ll be bringing you a new film that was once lost, discussing its merits and context within the wider canon of established film history, and educating you along the way about the rich and often overlooked artistry of film&#39;s earliest incarnation.

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The last of our key figures of Weimar era cinema, as well as the last to leave the country to find sanctuary and prestige in America, Fritz Lang may be the most enduring name silent neophytes would be familiar with. The titanic impact of films like Metropolis (1927) and M (1931) solidified his reputation as a master long before he made an impact shaping American cinema, bringing his expressionistic sensibilities to some of the most important Film Noirs working in the studio system in the 1950s. He&#39;s best remembered, however, for the his numerous silent spectacles, the first of which was a two-part adventure serial which survives as the earliest work still existing from the burgeoning director. Die Spinnen (or, The Spiders) was the first step for Lang in an unparalleled career to come, as well as an exemplar of an often overlooked mode of filmmaking which was surging at the same time the Feature Film was coming into prominence as the default iteration of the medium. Lang&#39;s early career touches on many of the important touchstones covered throughout our survey of the Weimar period, as well as some additional figures and films we have yet to properly discuss. Join us for this final entry into the sage of 1920s Germany, capping off the foundational history of this important filmic era. Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

10) Die Spinnen/The Spiders (1919 & 1920)

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The most prolific director to make his way over to America after breaking ground and blazing trails in Germany was none other than Ernst Lubitsch—the legendary comic filmmaker who made Garbo laugh in Ninotchka (1939) and Hitler the fool in eviscerative satire To Be or Not to Be (1942). His signature elegance and wit led to an ingenious moniker by which many recognize him still today: the famed &#34;Lubitsch Touch,&#34; an at once inexplicable phenomena of his comic mastery which continues to set him apart even from those who studied arduously under his tutelage. But how exactly did Lubitsch come to be this respected emigre of sensitivity and taste? Was he always a comic master, or did he have to work his way up the ranks and establish himself within a burgeoning post-war industry which favored artistry and expressionism over bawdy bedroom humor and slapstick antics? Was Lubitsch respected in his home country before moving to America, or did his prestige simply manifest as a result of foreign bohemian charm? The legacy of Lubitsch is far more than his iconic American career, and through the lens of a nearly lost Egyptian epic of his, we&#39;re able to explore and discuss the multifaceted as continuously adaptive career of one of the screen&#39;s most legendary directorial voices. Herr Ernst Lubitsch: 00:00 - 49:31Das Weib des Phrarao/The Loves of Pharaoh (1922): 49:32 - 1:07:04 Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

9) Das Weib des Phrarao/The Loves of Pharaoh (1922)

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Some of the most enduring images of film ever conjured—not just of the Silent Era, but of all time— appear as a result of the vivid expressionism manifested in the oeuvre of Weimar Germany&#39;s leading director, F.W. Murnau. The man who&#39;s name is now associated some of the most important restoration efforts ever undertaken, had both an incalculable impact upon the filmmaking world in his time, as well as into today. Even if you&#39;ve never seen a Murnau film before, it&#39;s almost impossible to not have come across some of the iconic imagery sprung from his brief yet unrivaled time working in the industry. His name is associated with some of the most acknowledged greatest films of all time, working in both Germany and America in the 1920s, and pioneering the medium with every new film. This episode marks our foray into the important directors of Weimar Cinema, the individuals with an even greater prestige than the actors with whom they worked so consistently. Murnau may have been the most influential of them all, despite an untimely end to his life and career in tandem with the foreclosure of Silent Film as a whole. The Life and Career of F.W. Murnau: 00:00-45:58Der brennende Acker/The Burning Soil (1922): 45:59-1:06:43 Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

8) Der brennende Acker/The Burning Soil (1922)

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During the era of the Weimar Republic, there was famously a known movement advocating for the acceptance and normalization of homesexual people within society. Weimar Germany had a thriving gay scene, but one which still faced oppression and prejudice thanks to the tyrannical legal codes of the previous regime, which were not unlike the laws implemented elsewhere in the world. A brief window of free speech allowed advocates to create films about this subject, most of which were later censored and destroyed. One that survived was Anders als die Andern, a polemic starring German matinee idol Conrad Veidt, just a year before his career would take off staring as the terrifying somnambulant Cesare in Das Cabinet des Dr. Caligari. Veidt&#39;s career saw him starring in some of the most popular and celebrated films of the day, before eventually being forced to make a decision to leave or stay when Hitler and the Nazis seized power in 1933. Listen as we explore Veidt&#39;s expansive career and legacy, while also diving in to the progress politics and representations of a pioneering LGBTQ text which nearly didn&#39;t survive to today.As a bonus, Stephen discusses his thoughts on the German Expressionist classic Der letzte Mann (The Last Laugh, 1924), after watching it for the first time in light of last week&#39;s discussion. This pillar of Weimar Cinema remains one of the chief text&#39;s in understanding the era, and should not be missed in any judicious overview. Stephen discusses Der letzte Mann (1924): 00:00-16:51Conradt Veidt Biography: 16:52-33:03Anders als di Andern (Different from the Others, 1919): 33:03-1:01:09 Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

7) Anders als die Andern/Different from the Others (1919)

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The cinema of Weimar Germany was one that revolved around a key set of names throughout its brief tenure. Directors and performers were the shining lights of the industry, cementing the success of the era&#39;s biggest pictures and then redoubling on that prestige by teaming up again for an even more exceptional endeavor. One of the more celebrated personalities from this era was Emil Jannings, starring in more enduring classics of the German Expressionist movement than any other performer, as well as making a splash in America by becoming the first ever recipient of the Best Actor Oscar.In 1920, Jannings star was quickly on the rise. With a series of costume drama successes behind him, he continued making lavish star vehicles, including the nascent science fiction film, Algol: Tragödie der Macht. The film, which was once believed lost, returned after rigorous restoration efforts in the 2000s, surviving now as an expressionist contemporary of Caligari and Metropolis. See how measures up as another example of what Siegfried Kracauer called Germany&#39;s &#34;tyrant films,&#34; and how Jannings endures as one of the exemplifying actors of the era. Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

6) Algol: Tragödie der Macht (1920)

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Second only to the star-spangled system of 1920s Hollywood, the German industry during the days of the Weimar Republic is perhaps the most widely recognized of the silent era. This is thanks in large part to the continued proliferation of the German Expressionist movement, a highly avant-garde and visually stylistic period which became an influential bedrock for many latter genres of cinema and distinct filmic classics. This overview of the German Expressionist movement, briefly covering its high points and enduring successes, will serve as in introduction to a historical survey of Weimar Cinema as a whole, as we kick off a new season exploring the iconic names and faces of the era which lent themselves to so many of the most recognizable Silent Films we still know today. From Morn to Midnight (originally, Von morgens bis mitternachts), serves as the perfect introductory piece to German Expressionism, with an incredibly distinct visual rendering comparable only to that of the pioneering film of the era, Das Cabinet des Dr. Caligari. The nightmare-like vision of a twisted world as seen through artistically oblique backdrops and makeup was a semi-common means of conveying a sense of destitution and decay in the aftermath of Germany&#39;s defeat in the First World War. Listen as we dissect the distinctive qualities of this visually arresting record of Silent Film&#39;s most recognizable movement, and measure its survival as a means of preserving the integral artistic history of the time. A Brief History of Weimar Cinema and German Expressionism: 00:00 - 44:08 Von morgens bis mitternachts/From Morn to Midnight: 44:08 - 1:03:53 Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

5) Von morgens bis mitternachts /From Morn to Midnight (1920)

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The earliest surviving Technicolor feature film persists in cultural heritage not only for its legacy as a vibrant and awe-inspiring pioneer of technical innovation, but also as a starring vehicle for the sumptuous Chinese-American actress Anna May Wong, who appeared in her first starring role as the tragically lovestruck teenager in this retelling of the Madame Butterfly story. There are surprising observations to be made at every turn, from the inherent orientalist flavoring of story to the awe-inspiring visual direction which so beautifully survives today in spite of considerable mystery regarding its supposed rediscovery. Also discussed is a tour of the programming seen at the San Francisco Silent Film Festival, where cohost David saw this film and a number of others, including titles from Lubitsch, DeMille, and King Vidor. Tune in as we evaluate the importance of such restorations and screenings as allowed by these festivals, and the unique experiences being curated for these special screenings we hope can be made more available as the interest in celebrating Silent Film only grows from here. David Attends the San Francisco Silent Film Festival: 00:00 - 30:40Color in Film, Technicolor, and The Toll of the Sea (1922): 30:40 - 1:28:46 Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

4) The Toll of the Sea (1922)

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With so much early history unrecorded, the &#34;firsts&#34; of cinema remain difficult to definitively establish. It is rare, then, that a film comes along which can tote such a title without further question. The oldest surviving American Feature Film, and what is believed to be the first feature-length Shakespeare adaptation, is a condensed retelling of the Machiavellian Richard III. To provide the requisite context for this historic cinematic work, we go over the real life history of the former King of England, the unique qualities and appeals of the original play, and how this silent variation engages with a text known for its poetic wordplay and witty asides. Preceding that is a discussion on the various Silent Films featured on the recently released Sight and Sound poll of the greatest films of all time. We look at which films still made the cut in the ten years since the last poll, and evaluate the merit of such lists while considering how much appreciation is represented for the first forty years of cinematic history. Silent Cinema in the 2022 Sight and Sound Poll: 00:00 - 27:13Feature Films, Shakespeare, and Richard III (1912) : 27:13 -1:12:14 Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

3) Richard III (1912)

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Oscar Micheaux was a pioneering African American filmmaker whose earliest surviving feature, Within Our Gates, grapples directly with the external and internal conflicts uniquely positioned against the Black community during the Jim Crow era of American History. For Micheaux, these struggles were contemporary, but even today, the themes and truths of his films resonate, as the historical oppression which saw the limitation of his opportunities as a filmmaker also sought to erase his legacy as a whole, were it not for the enduring efforts of his entrepreneurial ambitions. Let Micheaux&#39;s legacy be the benchmark for our endeavor here, the flagship film representing our cause to reframe the narrative of film history through the resurrection of nearly lost works, in the same way Micheaux has stood as the paragon of early American race films, and as an icon of pioneering Black filmmakers at large.Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

2) Within Our Gates (1920)

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Our inaugural journey into the vault of early film history sees Stephen and David taking a general survey of Silent Movies as a whole and the way in which their legacy is told and preserved. We go over the early record of how film came to be, our own personal exposure to and discovery of Silent Film, and the many ways films become lost in the first place. Many thanks to Graham Austin and Jack Davenport for the creation of our beautiful logo art and theme music respectively.

1) A Brief History of Lost Films and the Silent Era

A weekly educational discussion of lost films which have been rediscovered and the history of their survival

Destruction, repression, negligence, and indifference have eradicated the vast majority of cinema's early legacy. Studies have estimated that between 75 and 90 percent of all silent films have been lost forever. Despite this, the survival of the medium persists, and long lost films continue to be rediscovered in often bizarre and unexpected places. Ashes to Classics is an effort to record these forgotten histories for posterity, to explore the histories of their creation, discovery, and preservation. Every week we'll be bringing you a new film that was once lost, discussing its merits and context within the wider canon of established film history, and educating you along the way about the rich and often overlooked artistry of film's earliest incarnation.