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A silent film is a film with no synchronized recorded sound (or more generally, no audible dialogue). Though silent films convey narrative and emotion visually, various plot elements (such as a setting or era) or key lines of dialogue may, when necessary, be conveyed by the use of inter-title cards.

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Most early motion pictures are considered lost owing to their physical decay, for the nitrate filmstock used in that era was extremely unstable and flammable. Additionally, many films were deliberately destroyed, because they had negligible remaining immediate financial value in that era. It has often been claimed that around 75 percent of silent films produced in the US have been lost, though these estimates are inaccurate due to a lack of numerical data.[3]

As motion pictures gradually increased in running time, a replacement was needed for the in-house interpreter who would explain parts of the film to the audience. Because silent films had no synchronized sound for dialogue, onscreen inter-titles were used to narrate story points, present key dialogue and sometimes even comment on the action for the audience. The title writer became a key professional in silent film and was often separate from the scenario writer who created the story. Inter-titles (or titles as they were generally called at the time) "often were graphic elements themselves, featuring illustrations or abstract decorations that commented on the action".[10][11][citation needed]

Showings of silent films almost always featured live music starting with the first public projection of movies by the Lumire brothers on December 28, 1895, in Paris. This was furthered in 1896 by the first motion-picture exhibition in the United States at Koster and Bial's Music Hall in New York City. At this event, Edison set the precedent that all exhibitions should be accompanied by an orchestra.[12] From the beginning, music was recognized as essential, contributing atmosphere, and giving the audience vital emotional cues. Musicians sometimes played on film sets during shooting for similar reasons. However, depending on the size of the exhibition site, musical accompaniment could drastically change in scale.[4] Small-town and neighborhood movie theatres usually had a pianist. Beginning in the mid-1910s, large city theaters tended to have organists or ensembles of musicians. Massive theatre organs, which were designed to fill a gap between a simple piano soloist and a larger orchestra, had a wide range of special effects. Theatrical organs such as the famous "Mighty Wurlitzer" could simulate some orchestral sounds along with a number of percussion effects such as bass drums and cymbals, and sound effects ranging from "train and boat whistles [to] car horns and bird whistles; ... some could even simulate pistol shots, ringing phones, the sound of surf, horses' hooves, smashing pottery, [and] thunder and rain".[13]

Musical scores for early silent films were either improvised or compiled of classical or theatrical repertory music. Once full features became commonplace, however, music was compiled from photoplay music by the pianist, organist, orchestra conductor or the movie studio itself, which included a cue sheet with the film. These sheets were often lengthy, with detailed notes about effects and moods to watch for. Starting with the mostly original score composed by Joseph Carl Breil for D. W. Griffith's epic The Birth of a Nation (1915), it became relatively common for the biggest-budgeted films to arrive at the exhibiting theater with original, specially composed scores.[14] However, the first designated full-blown scores had in fact been composed in 1908, by Camille Saint-Sans for The Assassination of the Duke of Guise,[15] and by Mikhail Ippolitov-Ivanov for Stenka Razin.

At the height of the silent era, movies were the single largest source of employment for instrumental musicians, at least in the United States. However, the introduction of talkies, coupled with the roughly simultaneous onset of the Great Depression, was devastating to many musicians.

A number of countries devised other ways of bringing sound to silent films. The early cinema of Brazil, for example, featured fitas cantatas (singing films), filmed operettas with singers performing behind the screen.[16] In Japan, films had not only live music but also the benshi, a live narrator who provided commentary and character voices. The benshi became a central element in Japanese film, as well as providing translation for foreign (mostly American) movies.[17] The popularity of the benshi was one reason why silent films persisted well into the 1930s in Japan. Conversely, as benshi-narrated films often lacked intertitles, modern-day audiences may sometimes find it difficult to follow the plots without specialised subtitling or additional commentary.

Few film scores survived intact from the silent period, and musicologists are still confronted by questions when they attempt to precisely reconstruct those that remain. Scores used in current reissues or screenings of silent films may be complete reconstructions of compositions, newly composed for the occasion, assembled from already existing music libraries, or improvised on the spot in the manner of the silent-era theater musician.

Interest in the scoring of silent films fell somewhat out of fashion during the 1960s and 1970s. There was a belief in many college film programs and repertory cinemas that audiences should experience silent film as a pure visual medium, undistracted by music. This belief may have been encouraged by the poor quality of the music tracks found on many silent film reprints of the time. Since around 1980, there has been a revival of interest in presenting silent films with quality musical scores (either reworkings of period scores or cue sheets, or the composition of appropriate original scores). An early effort of this kind was Kevin Brownlow's 1980 restoration of Abel Gance's Napolon (1927), featuring a score by Carl Davis. A slightly re-edited and sped-up version of Brownlow's restoration was later distributed in the United States by Francis Ford Coppola, with a live orchestral score composed by his father Carmine Coppola.

In 1984, an edited restoration of Metropolis (1927) was released with a new rock music score by producer-composer Giorgio Moroder. Although the contemporary score, which included pop songs by Freddie Mercury, Pat Benatar, and Jon Anderson of Yes, was controversial, the door had been opened for a new approach to the presentation of classic silent films.

Today, a large number of soloists, music ensembles, and orchestras perform traditional and contemporary scores for silent films internationally.[18] The legendary theater organist Gaylord Carter continued to perform and record his original silent film scores until shortly before his death in 2000; some of those scores are available on DVD reissues. Other purveyors of the traditional approach include organists such as Dennis James and pianists such as Neil Brand, Gnter Buchwald, Philip C. Carli, Ben Model, and William P. Perry. Other contemporary pianists, such as Stephen Horne and Gabriel Thibaudeau, have often taken a more modern approach to scoring.

Orchestral conductors such as Carl Davis and Robert Israel have written and compiled scores for numerous silent films; many of these have been featured in showings on Turner Classic Movies or have been released on DVD. Davis has composed new scores for classic silent dramas such as The Big Parade (1925) and Flesh and the Devil (1927). Israel has worked mainly in silent comedy, scoring the films of Harold Lloyd, Buster Keaton, Charley Chase, and others. Timothy Brock has restored many of Charlie Chaplin's scores, in addition to composing new scores.

Contemporary music ensembles are helping to introduce classic silent films to a wider audience through a broad range of musical styles and approaches. Some performers create new compositions using traditional musical instruments, while others add electronic sounds, modern harmonies, rhythms, improvisation, and sound design elements to enhance the viewing experience. Among the contemporary ensembles in this category are Un Drame Musical Instantan, Alloy Orchestra, Club Foot Orchestra, Silent Orchestra, Mont Alto Motion Picture Orchestra, Minima and the Caspervek Trio, RPM Orchestra. Donald Sosin and his wife Joanna Seaton specialize in adding vocals to silent films, particularly where there is onscreen singing that benefits from hearing the actual song being performed. Films in this category include Griffith's Lady of the Pavements with Lupe Vlez, Edwin Carewe's Evangeline with Dolores del Ro, and Rupert Julian's The Phantom of the Opera with Mary Philbin and Virginia Pearson.[citation needed]

Silent-film actors emphasized body language and facial expression so that the audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. Vaudeville was an especially popular origin for many American silent film actors.[4] The pervading presence of stage actors in film was the cause of this outburst from director Marshall Neilan in 1917: "The sooner the stage people who have come into pictures get out, the better for the pictures." In other cases, directors such as John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. As early as 1914, American viewers had begun to make known their preference for greater naturalness on screen.[20] 2351a5e196