The afterword from the Library of Congress (LC) says this book's purpose is "to increase the visibility of its film collections." It does that. But as a primer on the history and glories of film's silent era, it fails. Journalist Kobel's text is shallow, disorganized, and full of errors, including those of omission and internal contradiction. A photo caption calls Theda Bara "the screen's first star," but the book's spotty A-to-Z section on "The Stars" doesn't include her, also leaving out all of silent film's geniuses of comedy (who receive insufficient coverage in the "Genres" section). Clara Bow is left "reclusive and melancholy" after 1933, with no word on her happy marriage to star Rex Bell or the last 30-odd years of her life. Predictably, the "cameras worshipped" Garbo, but her magical cameraman William Daniels is unmentioned. Some labels get stuck on the wrong person-Valentino was the "first major star to die young"-or trot out unsubstantiated gossip-Valentino had been a "petty thief." LC's images, especially those reproduced in color, are a treat for the uninitiated; few will seem rare or unique to specialists. Only for comprehensive film collections.-Margaret Heilbrun, Library Journal (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

For decades, silent films have been disintegrating in warehouses or lost to indifference. Director Martin Scorsese, who wrote the foreword to this book, has spearheaded the preservation movement, warning "with every foot of film that is lost, we lose a link to our culture." Kobel, longtime writer about movies, demonstrates the power of silent movies in this spectacular compilation of stills, promo materials and breathtaking posters from the Library of Congress's memorabilia collection. The visual artistry is stunning. Kobel uses these evocative images as a foundation to examine the international film industry from 1893 to 1927. Instead of a chronological treatment, he examines genres such as horror, westerns and comedy, while paying homage to the superb work of art directors, cinematographers and directors. Understandably, a significant section is devoted to actors. As Norma Desmond neatly observes in Sunset Boulevard, "We had faces then." Although early producers were loath to highlight specific actors, fearing their popularity would translate into higher salaries, fans were hungry for information about them. In this treasure trove for film buffs, Kobel details the press campaigns that created stars like Theda Bara and Rudolph Valentino, while fan magazines and newspapers deemed them American royalty. (Nov.) (c) Copyright PWxyz, LLC. All rights reserved

Although most contemporary filmgoers have never seen a silent, cinephiles know that the bygone medium is both related to and distinct from its contemporary descendant. Drawing its illustrations from the Library of Congress, which is in the forefront of film preservation, this volume limns cinema's formative decades of swift evolution. Chapters cover popular genres, from comedy and westerns to serials and animation; popular stars, like Barrymore and Valentino, as well as now-forgotten figures, like Charles Ray and Baby Peggy; leading directors; and the coming of sound and color. Although American productions predominate, just as they did in the global film market of the time, there's also a valuable chapter on international cinema. Inevitably, not everything is covered. Asian cinema is neglected entirely, and Frank Borzage, one of the era's greatest directors, is mentioned only briefly. Still, the handsomely designed book, profusely illustrated with posters and stills that hint at the beauty of the films, more than merely credibly encapsulates an obsolete but not eclipsed art form.--Flagg, Gordon Copyright 2007 Booklist