THE LAST KNOCK PRESENTS: Silent Horror

The Last KnockCome into black-and-white madness with some great music, cool sets, and pre-code storytelling with horror films from the silent era. Sure, we’ll take a bite out of NOSFERATU, but we talk about THE STUDENT OF PRAGUE, THE CABINET OF DR. CALIGARI, GOLEM, FAUST, THE MAN WHO LAUGHS, and other great features from early cinema – and why their preservation is vital to horror art.

This episode’s SCREAM OUTS go to: @EW @lizzyerwin @GTGMcast @DawnHillDesigns @deadgoodscreen1 @M_FOneTT @dkarner @palkodesigns @sg_lee_horror @TimothiousSmith @NOTLP @SamesCarolyn @LolaTarantula @FriscoKidTX @LoudGreenBird @ThisIsHorror @newo394b @OwenMcCuenQuest @Tammysdragonfly @BleedingCritic @RiiTiger @300mushrooms @EmilieFlory @RealJillyG @AnnThraxx @Mel_McBoutin @Theladyphantom

5 Replies to “THE LAST KNOCK PRESENTS: Silent Horror”

  1. Guys, this was an excellent show. I didn’t nod off or stray more than a few seconds while listening. All jerking about aside, this is a topic that we peanut gallery front rowers don’t get to hear about often. The historical information that both of you threw out there was extremely interesting. This one was unusual. I’d say it even had a black and white, silent but Chatty Cathy meets Faust feel to it. Neat knock!

    1. Ha! Quite kind of you to say, my friend. I’m certainly glad you enjoyed the show. Growing up in NJ, right outside of NYC and Fort Lee, learning about “Hollywood East” came with the territory.

      1. Bill, I can totally relate to territorial attractions such as yours from the yesteryear’s of my butt-knockin’ around the old rabbit hole of the Atlanta briar patch that deeply influenced Joel Chandler Harris’ works…like shackles, switchblades, juvenile detention, the right to remain silent,and gutter rats the size of Nosferatu’s head. Film at eleven bells.

  2. Best compliment ever. Thank you, Billy Crash.
    Oh, BTW, finally watched SPRING with the family. You blokes were spot on about it. The leading lady stole the show from the first shot of her in silence sitting in that red dress, and then, the last scene was stolen by her in a similar fashion. She and her love interest were awesome in this movie. The dialogue was refreshingly genuine, quick-witted, and smart. Didn’t much care for the cataract-looking lens effect at the beginning of the movie. Did the director use only ambient lighting here or something? Would have liked more of the “horror” aspect of the film to be shown. It was a neat story that was very well presented.

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