I've seen some interesting B&W images (meaning images reproduced in magazines and such, where print quality wasn't an issue) that began as digital, but I've yet to see a B&W inkjet print that has the richness and fine gradation of a fine silver print. That's not to say that there aren't some very competent B&W inkjet prints out there, or that by printing in silver one will match the best inkjet prints without some effort, or that print quality is the only issue in making a good photograph, but I think inkjet B&W is still not there yet in 2008, and there is still plenty of reason to shoot B&W film and to print it on silver by contact printing or projection.
There are some interesting possibilities using LightJet/Lambda on Ilford's silver paper for digital laser output, and for smaller prints the DeVere digital enlarger (up to about 20x24"), but there aren't so many people using these technologies yet, and anything involving LightJet/Lambda involves going through a lab that has one, which adds another wrinkle.
Hybrid printing is yet another interesting area. Keith Taylor is making some outstanding platinum and three-layer gum prints from digital enlarged negatives and digital separations. I've seen the prints he has made for Cy DeCosse. These media don't have the resolution of a glossy silver gelatin print, so digital artifacts are not as much of a problem, but platinum has a beautiful tonal scale and three-layer gum can produce a range of interesting textures that trump resolution in these media. I think there are a lot of great possibilities here for photographers who shoot digital, but want to try traditional processes dating from the beginnings of photography like salted-paper printing, carbon, cyanotype, VanDyke brown, gum bichromate, platinum/palladium, Ziatype (actually a modern palladium printing-out process), and other handcoated processes.
There are other issues with digital capture like "small-sensor aesthetic" vs. using medium or large format that might lead one to choose film over digital.