If I were to list the formative screenings in my moviegoing education, I would have to include a double bill of two Buster Keaton features, “Seven Chances” (1925) and “The Cameraman” (1928), that I caught at Film Forum in Manhattan in college.

Although Film Forum normally shows silent movies with piano accompaniment, for whatever reason the theater had no music that afternoon. I had watched silent movies without scores before — this was a curse for anyone who discovered them on cheaply made VHS tapes — but doing so always felt academic, an exercise in concentrated viewing. That day, though, I realized that Keaton’s visual sense was so precise, and so funny, that sound never for a moment seemed necessary.

If you have never seen a silent film, “Seven Chances” is an excellent place to start. The movie, which Keaton directed, can be found in various forms online, including in an excellent restoration by the Cineteca di Bologna and the Cohen Film Collection. And to make it a double feature, pair it with an even earlier film, Ernst Lubitsch’s “The Doll” (1919): two tales involving a highly eligible bachelor pursued by a throng of prospective brides. There is music in some of the streaming versions. I wouldn’t necessarily recommend watching them with the volume turned down — silent movies were rarely shown without some form of accompaniment — but in the hands of these directors, you won’t need supplemental melody.