Eva May in The Count of Charolais (1922, dir. Karl Grune) (via)

Interviewer: Her performance of the blind girl in Jeanne Ney is one of her most striking. I don’t feel Brigitte Helm is acting. I feel she is in a trance. That she has the power to throw herself into a trance and to move and speak and live a life quite outside her own experience.

G.W. Pabst: Ah, you see. You have it. Do you know the scene when she walks with Jeanne Ney in the streets of Paris, she was almost killed. The actor driving the taxi was not a driver really, but had had to learn. He was not very sure of his steering.

Brigitte Helm walked right in front of him. I had to run before the camera to save her. Do you know why? She was blind. She simply did not see it.

-excerpted from Close Up magazine interview (March 1929) 

Brigitte Helm in Metropolis (1927, Fritz Lang) (via)

The Passion of Joan of Arc (1928, dir. Carl Theodor Dreyer) (via)

Mae Murray in The Merry Widow (1925, dir. Erich von Stroheim) (via)

James Murray in The Crowd (1928, dir. King Vidor) (via)

“We do not know how big the crowd is, and what opposition it is…until we get out of step with it.”

Buster Keaton in Sherlock, Jr. (1924, dir. Buster Keaton) (via)

Fay Wray in The Wedding March (1928, dir. Erich Von Stroheim) (via)

Max Schreck in Nosferatu, A Symphony of Horror (1922, dir. F.W. Murnau) (via)

Warning Shadows: A Nocturnal Hallucination (1923, dir. Arthur Robison) (via)

London After Midnight (1927, dir. Tod Browning) (via)

Rudolf Klein-Rogge & Brigitte Helm in Metropolis (1927, Fritz Lang) (via)

Alla Nazimova & Rudolph Valentino in Camille (1921, dir. Ray Smallwood) (via) 

Photo by Arthur Rice.

Louise Brooks in a publicity still for The Canary Murder Case (1929, dir. Malcolm St. Clair) (via)

Genuine (1920, dir. Robert Wiene) Set design by German Expressionist painter César Klein.

(via)