Scott Lord

Silent Film

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Greta Garbo: Greta Garbo in The Kiss (Feyder/Daniels, 1929): Greta Garbo The Film Daily ran an announcement during 1929 titled "Feyder Directing Garbo" It related, "Greta Garbo has b... mystery film victor seastrom

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If filmic address during a cinema of attractions had begun with the act of display, it had begun to incorporate the actor as seen in close shot, which could be edited into a grammar of film - the shot had become "the unit of editing" and the "basis for the construction of the scene" (Jacobs), whereas before it had been the scene that would allow the placement of shots, it now

A. W. Sandberg had cowritten his first filming of "The Clown", which had starred actor Valdimar Psilander, in 1917 with Laurids Skards. "The Golden Clown", cowritten by A.W. Sandberg with Poal Knudsen, starring Gosta Eckman and Karina Bell, was one of two remakes of films that had been originally shot in 1917 that Sandberg had filmed that year, his having also during 1926 having directed Gunnar Tolnaes and Karina Bell in the film "Oriental Love/The Favorite Wife of the Maharadjah" (Maharajahens Yndlingshustru). The Danish Film Museum viewed both films as "tame" in years that brought "decline" for A.W. Sanberg and "catastrophe" for Nordisk, causing the company to liquidate during 1928-1929. Forsyth Hardy, in his volume Scandinavian Film chronicles that after the war, the Danish film industry, by then principally Nordisk Film, had greatly lost popularity through competetion with the better equipped United States and Sweden, which may have been a factor in the decision to refilm earlier successes.
During 1925, A.W. Sandberg had directed the historical drama "Mists of the Past" (Fra Piazza del Popolo) written by Sam Ask and Poul Knudsen, based on novel by Vilhelm Bergsoe, an admirable choice considering the place Denmark held inthe international film market compared to the United States and considering the historical dramas that had built the Golden Age of Swedish Silent Film were quickly headed for desuetude. Thw film starred actor Olaf Fonse.
Danish Silent Film

The caption to the review of "A Girl's Folly" (five reels) in the periodical Wid's Films and Film Folk during March 1917 read "Bad Moral and Tells Secrets, But Will Get Money." It elaborated further with "Very interesting, but tells studio secrets, which is dangerous," if that too can be deciphered by a modern audience sauntering through the cannon of silent films left remaining that have not yet deteriorated over time. The periodical then went so far as to, half-heartedly or not, suggest that "exhibitors", theater owners, should "protest" the film's having divulged what were "backstage secrets". The periodical admittedly was looking for the exploitation of silent films but it takes a historian's glance to decided if there was a sensationalism on which the reviewer may have counted during an extratextural discourse. It continued to question "purely from the viewpoint of whether you can get money with it" and conceded, "The thread of the story is quite slender and has a very questionable moral as presented, but the introduction of scenes showing clearly activity about a film studio is sure to prove exceptionally interisting to any film fan." It offerred the theater owner consolation, "Since the producer has already gone and 'done it', I presume you might as well go ahead and get the money with this, because it would be impossible to eliminate the back-stage scenes and have a picture left."
The photoplay was cowritten with director Maurice Tourneaur by Frances Marion and starred actresses Doris Kenyon, Robert Warwick and June Eldvidge. Frances Marion that year also wrote the photplays to to the films Rebecca of Sunnybrook Farm and Poor Little Rich Girl both starring Mary Pickford. Actress Doris Kenyon appeared on screen in the films of Alice Guy Blanche, in 1916 in the film "The Queen's Waif" and in 1917 in "The Empress".
During 1917 Robert Warwick and Doris Kenyon also starred together in "The Man Who Forgot" (Emile Chautard). The film is presumed to be a lost silent film, with no surviving copies existing.
Silent Film Silent Film

Douglas Fairbanks coscripted the film "The Man In the Iron Mask" with Lotta Woods during 1929, adapted from the works "The Three Muskateers" and "After Twenty Years" by Dumas. Directed by Allan Dwan, it was one of the last silent films ever made and paired Fairbanks with actress Marguerite de la Motte and actresses Dorothy Revier and Vera Lewis.
Movie Makers, with its advertisements for Vitacolor and Kodacolor, was a magazine for amateur photographers during 1929 that offered advice to camera owners by reviewing first run feature films. It felt the shadows and lighting effects filmed by cinematographer Henry Sharp could be favorably reproduced by amateurs and "The Man in the Iron Mask", for its authentic costumes , could be instructive to amatuers.
Douglas Fairbanks in The Three Muskateers
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In 1928, Swedish Silent Film director Gustaf Molander brought "Women of Paris" (Parisiskor) to the screen starring Ragnar Arvedson, Ruth Weyher, Margit Manstad and Karin Swanstrom. The photographer of the film was Julius Jaenzon, the assistant cameraman Ake Dahlqvist. Gustaf Molander Gustaf Molander Gustaf Molander

Lilly Jacobsson played Ophelia opposite Asta Nielsen's titular Hamlet. The film was photographed by Curt Courant and Danish Silent Film cinematographer Axel Graatkjaer, who had photographed the 1911 Danish film version of Hamlet directed by August Blom.

"Hamlet" filmed by Georges Melies as "Hamlet and the Jester's Skull" in 1907 is a lost film with no surviving copies. The first screen version of "Hamlet" appears to have been directed by Will Barker in 1904, which inspired a French version in 1909 directed by George Bourgeois.
It is inevitable that if we ask about audience reception, the individual spectator inevitably experiences and internalizes Hamlet's soliloquy from Act III directed and performed by Laurence Olivier subjectively, but just as inevitably might be drawn to the character by the graveyard scene and Yorik from Act V when directed by Tony Richardson and performed by Nicol Williamson, "the audience as a postulated construct" simultaneously a subjective viewer; and yet the conflict between characters that might bring an immediate response is peripheral.
Sven Gade came to the United States to direct actress Jacqueline Logan during 1925 in the film "Peacock Feathers" before turning screenwriter.
Danish Silent Film
Asta Nielsen in The Abyss

What is most important to Bo Florin, Stockholm University is the question of film style when looking at Victor Sjostrom directing in the United States as Victor Seastrom, the films an inevitable transformation from his having established the Golden Age of Swedish Silent Film with director Mauritz Stiller. It might also be irresistable, Sjostrom having made two films with actress Lillian Gish, to evaluate the work Victor Sjostrom to that of D.W. Griffith, who, during 1926 was filming "The Sorrows of Satan" with Carol Dempster. Peter Cowie in fact likens Victor Sjostrom to D.W. Griffith by noting Sjostrom's admiration for Griffith with the observation thst both directors saw "the human conscience as a register of emotion". Peter Cowie, in his volume Swedish Cinema" goes so far as to write that of the films Sjostrom directed in the United States only the two films Victor Sjostrom made with Lillian Gish are of "lasting importance". Cowie explains that even Sjostrom himself felt that the films he directed after the Golden Age of Swedish Silent Film would in fact be "transformations". "Everyone praised the visual beauty of the film, but many in it a decline of Sjostrom's vitality. 'Det Omringade huset' (1922) and 'Eld omboard' were disappointing, and in 1923 Sjostrom left for Hollywood on account of the lucrative offer from M.G.M and because of an urgent need within himself to find the magic for producing pictures of an international appeal." It had been Victor Sjostrom who had convinced Mauritz Stiller to depart for America in order to meet his artistic aspirations. Admittedly, the films made in the United States are transformations of genre in regard to narrative conventions and transformations of genre in regard to literarary adaptation if in a sense of transnational analysis in the use of genre by an auteur, the auteur Seastrom/Sjostrom with whom Stiller had given up filming comedies after "Erotikon" to film "particularly Scandinavian drama". Of "The Scarlet Letter" Peter Cowie writes,"Both this film and 'The Wind' are given an undeniably Scandinavian character by the intensity of Sjostrom's direction."
Actress Lillian Gish, in her autobiography The movies, Mr. Griffith and me, writes, "I found Victor's Seastrom's direction an education in itself. The Italian school of acting was one of elaboration, the Swedish was one of repression. Lars Hanson played his scenes in Swedish, I in English, neither of us understanding the other."
Paul Rotha in his volume The Film Till Now looked at Victor Sjostrom in the United States directing as Victor Seastrom, "The theme of 'The Scarlet Letter' was gloomy, but Seastrom raised its gloom to moments of great beauty....Seastrom's sweeping sense of landscape, evident in his early Swedish pictures was expanded and gave an enchanting atmosphere to the first love scenes between Miss Gish and Lars Hanson....This feeling for depth and space was common to all the Scandinavian directors in their pre-American work."
Puritanism itself can be reflected in the poetry of Anne Bradstreet, Samuel Sewall, Edward Taylor, Michael Wigglesworth and Cotton Mather, The Puritan Errand, the Scarlet Letter having taking place during the two decades after 1630 when most of the oldest cities near Boston, where Elizabeth Pain the inspiration for Hester Prynne, is buried, were first incorporated. Victor Seastrom
"It was Hawthorne's first sustained effort and of all his works, we still read first the supreme romance of the Puritan conscience in self-torment, 'The Scarlet Letter', with its climax of penance and demoniac triumph at Dimmesdale's shame."
The book below, printed by Metro Goldwyn Mayer, was only sold in theaters where the film was being shown as a souvenier program.
Victor Sjostrom
One quote that can be excerpted explains that although Victor Sjostrom's directing depicted man's relationship to the enviornment, his personification of landscape itself into a character dynamicly delineating the protagonist as the story unfolded, his directing in the United States, after having left Sweden took a turn toward relecting the psychological interior of the character. "With the production of 'The Scarlet Letter', Sjostrom becomes known as the first director to experiment with and successfully accomplish the strange feat of photographing thoughts--putting on the screen what goes on inside man's mind." The souvenier program points out that during six years as an actor at Swedish Biograph,Lars Hanson had worked with both Sjostroms, with the director Victor Sjostrom in the film "Jerusalem", and with Mrs. Victor Sjostrom (Edythe Erastoff) in "Song of the Blood Red Flower", prior to that his having portrayed the titular role in Auguste Strindberg's Gustav the Third.
During 1927, actress Lillian Gish was assigned director Fred Niblo, who directed her in the film "The Enemy", photographed by Oliver Marsh, the photoplay having been written by Agnes Christine Johnston and adapted from play described by author Gary Cary as a "virulently anti-war play" in his volume Lost Films. The film was at the time of the 1970 publication of Cary's volume a Lost Silent Film. Eight of the films nine reels have been since found.
Perhaps it makes it easier when thinking in terms of Lost Film, Found Magazines to speculate on what the missing footage of "The Enemy" looked like on screen due to the missing reel having been the last reel of the film and it requiring us to find out about how the ending was written. H.A. Potamkin described the on screen acting of Lillian Gish in the periodical Close Up, "If, on rare moments, Lillian Gish seems to have achieved genuine condensation of power, that is simply because her habitiual mincing acting has coincided with the necessities of those moments...her clipped movements, timed to the surimpression of the soldier's march, appear to explode with compressed anquish."
Victor Sjostrom

Scandinavian Silent Film: Victor Sjostrom as Seastrom, Mauritz Stiller, John Brunius, Greta Garbo: Swedish Silent Film, The Golden Age in Decline:        Swedish Silent Film scholar Bo Florin makes notes of the province held by Nils Bouveng at the newly structured Svenska Filmindustri ... silent film Greta Garbo Victor Sjostrom

Greta Garbo: Greta Garbo in The Kiss (Feyder/Daniels, 1929): Greta Garbo The Film Daily ran an announcement during 1929 titled "Feyder Directing Garbo" It related, "Greta Garbo has b...

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Greta Garbo: Greta Garbo in Atra (Flesh and the Devil, Brown/Da...: Greta Garbo Garbo photographer William Daniels in 1926, in addition to lighting Garbo and Gilbert was also cinematographer to the films...

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Silent Film Greta Garbo silent film

Greta Garbo: Lady to Love (Victor Seastrom): Vilma Banky under the direction of Victor Sjsotrom . Victor Sjostrom subsequently filmed the sound film Garbo Swedish FIlm Swedish Film

Greta Garbo: Greta Garbo in The Mysterious Lady (Fred Niblo, 19...: While editor of Film Comment magazine, Richard Corliss signed the dedication of his biography of Greta Garbo, "To My Own Mysterio...

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Silent Film: Greta Garbo, Victor Sjostrom, : Greta Garbo before Hollywood- Lars Hanson: The 1927 article Greta Garbo Greta Garbo

Greta Garbo: Greta Garbo in The Single Standard (1929, Marsh): John Bainbridge gives an account of Greta Garbo having returned from Sweden in which the studio and public had expected her to arrive in L...

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Scandinavian Silent Film: Victor Sjostrom as Seastrom, Mauritz Stiller, John Brunius, Greta Garbo: Scott Lord Swedish Silent Film: Revelj (George af...: Directed by George af Klerker in 1917, the film "Revelj" stareed actresses Mary Johnson, Lily Croswin and Gertie Lowestrom... Greta Garbo Greta Garbo Greta Garbo

John Gilbert before Greta Garbo - Greta Garbo greta garbo silent film