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The periodical Motion Picture News during 1926 the filming of "Temptress" with a review entitled "Greta Garbo in the Title Role of 'The Temptress'. It read,"Greta Garbo, Swedish actress, will have the title role in Cosmopolitan's production of 'The Temptress, which will be a Metro Goldwyn Mayer release directed by Mauritz Stiller. She is now working in 'Ibanez' The Torrent'." Greta Garbo had in fact signed to do the film on the condition that Stiller was to direct.
Author Forsyth Hardy, in his volume Scandinavian Film, curtly, only briefly mentions that Mauritz Stiller was removed as director of the film after a disagreement with Metro Goldwyn Mayer. Biographer William Stewart, in The True Life Story of Greta Garbo gives an account purporting that Mauritz Stiller "had not yet mastered the American method of making pictures. Handling crowds gave him trouble and his lack of English made every move difficult."
Biographer William Stweart, in his volume The True Life Story of Greta Garbo claims that Greta Garbo had begun her living as a recluse and refusing to be seen in public as early as the film "The Torrent", excerpts from the biography reprinted in the oeriodical Modern Screen during 1937 quoting the actress as having turned journalists away with "I have nothing to wear." The biography gives an account that the young Garbo soon relented to the studio and its demands for publicity.
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The Swedish censorship of 1911 prevented "The Perils of Pauline from becoming familiar to audieneces in Sweden. Marina Dahlquist, in her article "The Best Known Woman in the World" writes that the cliffhanger "constituted precisely the type of films that the Swedish national censorship body was ser up to weed out from the market, aside from sexually tinged Danish melodrama." Dahlquist adds that there had also been a lack of publicity for the film, a lack of dvertising, or "newspaper-magazine tie ins".
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Perils of Pauline, Silent Cliffhanger

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Notably, Mary Pickford and James Kirkwood, who would later become her director, appear under the direction of D. W. Griffith in the one reeler "The Cardinal's Conspiracy", along with Mack Sennet as well as Griffith's wife Linda Ardvidson and actress Kate Bruce. The film was photographed by G.W. Bitzer for the Biograph Film Company.
The periodical Moving Picture World reviewed the film with an early description approaching genre theory. "The picture is of the costume kind. In other words, one, when looking at it, has gone to the pages of Stanely Weyman, Henry Harland or Morris Hewitt for his inspiration. We breathe the atmosphere of court life and are taken back, as it were, into a far more romantic period than the present." The periodical continued by regretting that they had viewed the film in "cold monochrome" rather than a more vibrant spectrum of pageant. Biograph Films had advertised the film in the previous issue of Moving Picture World, sharing the full page with Selig, Independent and Kalem studios. Paired with the film "Friend of the Family", Biograph proclaimed that in the film "The Cardinal's Conspiracy", "The subject is elaborately staged, comprising some of the most beautiful exterior scenes ever shown."In her autobiography When The Movies Were Young, Griffith's wife Linda Arvidson sees the film as the first important screen characterization for actor Frank Powell, adding him to the "remarkable trio" at Biograph of actors Frank Powell, James Kirkwood and Henry B. Walthall. Tom Gunning points to the film belonging to a period when a cinema of narrative integration in fact centered on characterization and accordingly developed film technique with that in mind. To accomadate that narrative integration and its movement to a versimilar acting rather than the florid, histrionic gestures of a filmed theater, Griffith would bring the camera into the story.
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The year 1912 was to mark the first film with Lillian and Dorothy Gish, “An Unseen Enemy” (one reel), directed by D.W. Griffith. Lillian and Dorothy Gish appeared in a dozen two reel films together during 1912 and several more during 1913. In The Man Who Invented Hollywood, the autobiography of D.W. Griffith, published in 1972, Griffith outlines his arriving at the Biograph Film Company and adding actors, including Mary Pickford,tohis ensemble. Griffith recalls, "One day in the early summer of 1909, I was going through the dingy, old hall of the Biograph studio when suddenly the gloom seemed to disappear. The change was caused by the prescence of two young girls sitting side by side and on a hall bench...They were Lillian Gish and Dorothy Gish. Of the two, Lillian shone with an extremely fragile, ethereal beauty...As for Dorothy, she was lovely too, but in another manner- pert, saucy, the old mischief popping out of her." Actress Lilian Gish, in her autobiography, The Movies, Mr. Griffith and Me writes,"Mr. Griffith had rehearsed 'The Unseen Enemy' with other actresses, but after meeting us, he decided we would be suitable for the leads and changed the plot just enough to fit us."
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Lillian and Dorothy Gish Biograph Film Company

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Motion Picture News explained that Corrinne Griffith would begin filming "Into Her Kingdom", based on a nobel by Ruth Comfort Mitchell, upon the completion of the film "Mllo. Modiste" of which she was then currently on the set.
The photo caption beneath Einar Hanson's photograph Picture Play Magazine read, "Einar Hanson, who, made his debut in Corinne Griffith's Into her Kingdom is romantic adventurous, much more like a Latin than Scandinavian." In the article Two Gentlemen from Sweden, Myrtle Gebhardt relates about having dinner with him, her having at first hoped to interview Lars Hanson and Einar Hanson together in the same room. "For it appeared that Einar was working not for Metro, but for First National...Two evenings later I ringed spaghetti around my fork in a nook of an Italian cafe with Einar Hansen...Prepared for a big, blond man, whose bland face would be overspread with seriousness, I was startled by his breathtaking resemblance to Jack Gilbert. "Ya," he admitted, "Down the street I drive and all the girls call, 'Hello Yack' and I wave to them."

Motion Picture News announced the decision for the directorial assignment to the film with Director or Interpreter, "Svend Gade, the Danish director now making Into Her Kingdom is wondering whether he is engaged as a megaphone weirder or interpreter. In directing Miss Griffith, of course, he uses English; but Einar Hanson receives his instructions in Swedish" Meanwhile it also introduced Griffith's co-star, "Einar Hansen, 'The Swedish Barrymore' has arrived in Hollywood to appear opposite Corinne Griffith in her newest First National starring vehicle, Into Her Kingdom, by Ruth Comfort Mitchell." it had been announced by the magazine during early 1926 that, "Corinne Griffith is already planning to start work the first week of March on Into Her Kingdom though now she is only now finishing Mlle. Moditte, both of which are to be First National releases. It is uncertain whether a viewable copy of "Into Her Kingdom" exists, it has appeared as a lost film among films listed as not surviving made by First National, and it seems omitted on lists of lost silent films as either being missing or as being surviving, but at any rate locating a copy held by a museum which preserve films seems beyond public access.

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D.W. Griffith

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Donna and I were having lunch in Downtown Boston, the West End near Boston Garden at Jersey Mike's Sub Shop and I looked up and noticed they originated in Point Pleasant, New Jersey. Donna is from Tom's River, New Jersey where she went to highschool but her father was the principal at the high school in Point Pleasant. She thinks she would have been more popular had she gone to highschool there. Mike's Jersey Sub shop just opened recently in Downtown Boston and we hadn't been there before. Scott Lord Donna and I just celebrated our fourteenth anniversary and have lived together for fourteen years, near the West End of Boston, just over the River, in Cambridge, Massachusetts where we can see the Boston Garden and Boston Science Museum from the thirteenth floor.

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During 1912 D.W. Griffith directed Mary Pickford,Mabel Normand and Maugeritte Marsh in "The Mender of Nets", photographed by G.W. Bittzer. Biograph Film Company Silent Film

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Mauritz Stiller directed "Karleck och Journalistick", a comedy based on the writing of Harriet Bloch, in 1916. The film stars Jenny Tschernichin-Larsson, Stina Berg, Gucken Cederberg and Karin Molander.
The most widely known films directed by Mauritz Stiller during 1916 were "The Ballet Primadonna" (Balletprimmadonnan), starring Lars Hanson, and Jenny Tschernichin-Larsson and "The Wings" (Vingarne), a film in which both photographer Julius Jaenzon and director Mauritz Stiller appear on screen, starring Lars Hanson and Lilli Bech.
The film "The Ballet Primmadonna" was phtographed by Julius Jaenzon and featured one of the only two photoplays written for Svenska Biografteatern by Djalmer Christophersen.
When "The Wings" was recently screened by curator Jon Wengstrom of the Swedish Institute, Mauritz Stiller was commended for his onscreen appearance by virtue of his adding a self-reflexive scene with the on the set filming of a film to the framing structure when adapting the original story written by Herman Bang. The film currently screened by Wengstrom at Silent Film Festivals is in fact a restoration of an incomplete print which includes the footage of Stiller and Jaenzon, which had been unpopular and neglected as a lost film sequence. Wengstrom writes, "The erotic drama, and the delightful play of ancient myth and urban modernity is framed by a prologue and epilogue where Stiller gets the idea to the manuscript, casts and shoots the film"
In outlining the initial differences between Victor Sjostrom and Mauritz Stiller, the former having a propensity toward serious, artistic film, the latter making more comedic satires, Aleksander Kwaitkowski, in his volume Swedish Film Classics looks at the technique used by Mauritz Stiller as the film "Love and Journalism" unfolds, "Stiller's narration is purely visual (only twenty five intertiles in the whole picture), streamlined, lucidly carrying the plot forward."
Although there have been films directed by Victor Sjostrom and Mauritz Stiller that have been rediscovered, restored and preserved during the twenty-first century, the 1916 film "The Fight For His Heart" (Kampen om hans hjarta) directed by Maurtiz Stiller and starring actresses Karen Molander and Anna Diedrich is a Lost Silent Film with no surviving copies or fragments. Also directed that year by Stiller and also lost is the Swedish Silent Film "The Lucky Brooch" (The Lucky Pin/Lyckonalen), photographed by Hugo Edlund and satrring Greta Almroth and Stina Berg.
In regard to Lost Film, Found Magazines according to Peter Cowie, author of the volume Scandinavian Cinema, the film "Love and Journalism" directed by Mauritz Stiller, taken with Stiller's film "The Wings", is one that has "miraculously survived", the bulk of the films made by Mauritz Stiller and Victor Sjostrom before 1916 now lost with no surviving copies existing.
Of "Love and Journalism" Peter Cowie, in his volume Swedish Cinema, writes, "Only about a half hour in legnth, it remains sparkling fresh and worldly-wise."
Harriet Bloch, who wrote the screenplay to Stiller's film "Love and Journalism" also during 1916 wrote the photoplay to the film "Old Age and Folly" (Alderdom och darskap) directed by Swedish Silent Film director Edmond Hansen, the cinematographer to the film Carl Gustaf Florin. Starring in the film, a lost silent film with no surviving copies, were Edith Erastoff and Greta Almroth. During the following year Harriet Bloch wrote the photoplay to "The Millionaire Inheritance" (Miljonarvet) directed by Konrad Tollroth and starring Jenny Tschernichin-Larsson, Greta Almroth, Stina Berg and Hedvig Nenzen. The film is also a lost silent film.
Norman J. Zierold, in his biography entitled Garbo, explains that some of the noteriety that Mauritz Stiller did have, complemented by his "dashing" public image of fur coats and jewlery, may have been well deserved. "In his major efforts, Stiller was an authentic innovator, not unlike D.W Griffith. He was the first European director to use closeups, to employ the shifting camera, to develop new and striking canera angles."
Mauritz Stiller and Victor Sjostrom Silent Film

Pauline Brunius

During 1911, Pauline Brunius acted on stage at the Svenska Teatern. After directing and acting in film, Pauline Brunius, wife of Swedish Silent Film director John Brunius, went on to become manager of the Royal Dramatic Theater, Stockholm.

John Brunius

During 1912 John Brunius acted on stage at the Svenska Teatern. Swedish Silent Film Stars Swedish Silent Film Stars Swedish Silent Film: John Brunius Swedish Silent Film John Brunius

"The Divine Woman" directed in the United States during 1928 featured three Swedish Silent Film stars from the Golden Age of Swedish Silent film, two of whom, Victor Sjostrom and Lars Hanson, would soon return to Sweden to mark the advent of sound film. Sjostrom would return to act and only act, in front of the camera rather than behind it. Only one reel of the film survives, it being presumed lost with no other footage of the film surviving other than the fragment.
Bo Florin, Stockholm University, in his volume Transition and Transformation- Victor Sjostrom in Hollywood 1923-1930, looks as a film detective not only to film critics and magazine articles printed during the first run of the film, as I have, this webpage in fact subtitled "Lost Films, Found Magazines", (please excuse the trendy contemporary use of subtitles during peer review) but also to the the cutting continuity script, his finding a specific sequence where Sjostrom uses "a combination between iris and dissolve", one which, as an iris down, fulfills the "classic Sjostrom function of an analogy". There are two other dissolves in the same sequence that are used as transitions, spatial transitions, yet both are taken from different camera distances. It is a contonuity cutting script from which author Bo Florin has found fifty four dissolves that were used in the film. Again, no footage from the scene or the reel it is from survives. One can ask if double exposures were only infrequently published in magazines or advertisements as publicity stills, or even as lobby cards or posters and if modern audiences have ever seen photographs from the scene- Screen Secrets Magazine during 1928, in their Tipping off the Screen's Secrets, provided a photograph of Victor Sjostrom filming "Lars Hanson and some French soldiers from the hurricane deck of a bus".
Greta Garbo biographer Norman Zierold writes, "Garbo asked for, and got, Victor Seastrom as her director in 'The Divine Woman'." Journalist Rilla Page Palmborg, in The Private Life of Greta Garbo fulfills the search for Lost Film, Found Magazines when giving an account of being on the set of 'The Divine Woman' for a rare interview with Greta Garbo, giving a description of what what on film in a film we at presenent no longer have. "There came a shy little French girl and a young officer walking slowly down the street. They paused in a doorway. The officer asked a frowsy inkeeper for lodgings. The girl looked up shyly at the officer. She hesitated a moment, raised up on her toes and kissed him on the cheek. Then she hurried past him up the stairs. 'Cut' shouted the director." The director was in fact Swedish Silent Film director Victor Sjostrom, Greta Garbo leaving the set in a high collared cape to bring journalist Rilla Page Palmborg to her dressing room. The commodity Garbo at that time? The journalist had obtained the interview not to ask about Lars Hanson, Victor Sjostrom or the upcoming film "The Divine Woman", but was admittedly there to ask Garbo about her tabloid romance with actor John Gilbert. The dressing room was small and on wheels and Garbo politely expressed concern if they both would fit into it. Greta Garbo answered the question regarding her intentions of marriage with "it is only a friendship. I will never marry. My work absorbs me. I have time for nothing else. But I think Jack Gilbert is one of the finest men I have ever known." There would seem a contradiction between the onscreen Garbo who 'nearly invented the torrid love scene' and the extratextural discourse of pursuing the reclusive hermit Garbo everywhere- oddly enough Palmborg claims that the relationship between Garbo and Lars Hanson and his wife Karin Molander was more professional than social although Hanson and Garbo arrived from Sweden at the same time with Victor Sjostrom and Mauritz Stiller. Swedish Silent Film actress Karen Molander explained, " 'Garbo never had any friends with whom she chummed around in Stockholm.' said Mrs. Hanson. 'When we knew her she was devoted to Mauritz Stiller. He seemed to be the only person with whom she would associate.' "
Paul Rotha, in his volume The Film Till Now, commented on the topic that would be taken up by Bo Florin during this century, the artistic differences between the films made by Victor Sjostrom for Svensk Filmindustri, Stockholm and for Metro Goldwyn Mayer, Hollywood. "But Sjostrom has ceased to develop. He remains stationary in his outlook thinking in terms of his early Swedish imagery. He has recently made little use of the progress of cinema itslef. 'The Divine Woman', although it had the Greta Garbo of 'The Atonement of Gosta Berling' had none of the lyricism, the poetic imagery of the earlier film."
In regard to Lost Films, Found Magazines- gleaning conceptions about what appeared on the screen in the silent films that have been lost by finding magazine articles, pressbooks, lobby cards, movie posters and other extratextural discourse documenting the film's first run, Gary Cary, Museum of Modern Art, in his volume Lost Film views the photoplay of "The Divine Woman" as being less autobiographical than it was presented. "The play upon which the film was based on was reportedly inspired by the life of Sarah Bernhardt. The movie, however, departs radically from both play and Madame Bernhardt's life. The leading role of Marianne was played on stage by Doris Keane, a popular favorite of the period."
Photoplay Magazine during 1928, in its The Shadow Stage pages, offered a review of the film, "A Story based on the life of Sarah Bernhardt and played by Greta Garbo as the Divine Sarah Herself" while adding the provision, "The interest centers in the acting of Miss Garbo and Lars Hanson, her soldier lover, rather than the story itself." Perhaps after the audience reception of Garbo and Gilbert having had been being a phenomenon both onscreen and off, using romance as a genre commodity commercially suggested using the life of the French theatre actress as primarily a backdrop for the dynamic. Victor Sjostrom and Greta Garbo
Greta Garbo in The Temptress
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