Scott Lord Mystery Film

Ben Hur Director Fred Niblo brought the running length of the silent film to twelve reels with the 1925 film "Ben Hur" bringing the adjective "epic" to the historiography of genre theory during the development of "religious drama", subtitling the film "A Tale of Christ". Hollywood was notorious for not allowing films to be made with visual images of the historical Jesus so as not to perturb religious organizations and delegated Ancient Civilizations to sensational, if not tawdry exploitation, archeologists falling in love in the film .Made for Love. Paul Rotha, in his volume Film Til Now deigned "Ben Hur" to be "the spectaces of spectacles" but only after deriding Cecil B De Mille as a "psuedo-artist" who could be watched with curiousity but not sincerity, DeMille having a "flair for the spectacular and tremendous."
Fred Niblo
Fred Niblo
Fred Niblo Silent Film Silent Film

Bela Lugosi appeared with actress Lila Lee during 1924 before having been catapulted into fame in Tod Browning's sound film "Dracula". Director WIlfred Noy had begun directing short comedies in 1911, later directing actress Gladys Jennings in the full legnth mystery "The Face at the Window" during 1920.
The periodical Exhibitor's Trade Review described actress Lila Lee as "wistful" in the titular role. Moving Picture World explained that the Chadwick Pictures Corporation had originally titled the film "The Street Singer" from a scenario written by Garret Fort.

Silent Film Silent Film

Scott Lord

Scott Lord

silent film

Silent Film D.W. Griffith scott lord

Silent Film silent film

Silent Film silent film

scottlordpoet shared this story from Svensk Filmhistoria.

---

SILENT Film Silent FILM silent film Victor Sjostrom

Scott Lord

Mystery

Tags: Mystery

Mr. Wong

Tags: Mr Wong

Swedish Silent Film

Tags: Silent Film

scottlordpoet shared this story from Blacklight Castle- Mystery Film.

---

Silent Film

Justine and Juliette (Mac Ahlberg as Bert Torn, 1975) with Marie Forsa and Anne Bie Wargurg is more explicit than the films of exploitation and sexploitation. My copy is in Swedish and, whereas my first copy of Exposed (Exponerad, 1971) was entirely in Swedish, the earlier film contains only nudity without depicting the sexual act. The swith from Something Weird video to dvd has made some films unavailable to me.
The films screenplay was written by its director. There is the use of an expository retrospective voice over during exterior shots of Marie Forsa during exterior shots; the character being an omnicient she already knows the plotline's denoument. The technique could have been used more fully , near beautifully,had the film been more of a serious drama. The plot turns when Juliette brings Justine to a party, which becomes a quiet orgy. She is then introduced an older man, who brings her home with him and she is brought from liscentiousness to romance. The motif is underdeveloped by the film's levity- that Justine is decieved into a love affair is left as a plot gimmick rather than as a moral theme, but in that way the decadence is supported by its its own hedonist theme rather than a plot theme like The Rise and Fall of Susan Lennox where love is the morality.
The bedroom is darkened as he unfastens her bra and the director uses closeshots and superimposures to depict their making love. The voice over connects adjacent scenes, but the motif of sex in the darkness and erotic moviegoing in the darkness is subtle when connected with later scenes. Only through the tenderness of his lovemaking can the bedroom and movie theater (screening room) be connected thematiclly He photographs her nude of the beach and then, as spectator, screens the film in a projection room. During a dinner party, she undresses while, dancing, being shown nude in profile and over the shoulder. She uses voice over to explain that the two are in love and yet he is more intellectually concerned with dabating free love and morality-the open marriage. He then brings her to the projection room to screen one of his films, the camera cutting back and forth between a close shot of her as vouyer and explicit sex scenes on the screen- the direction is reversed one hundred and eighty degress, from screen to spectator. He underesses her from behind in the darkened room and makes love to her slowly from that position. The use of the vouyer is supradiegetic rather than infradiegetic and positions the subject as spectator.
There is an amazing slightly low angled close shot of her lifting her dress in a subsequent scene. her lover returns her to the orgy from the beginning of the film, where she appears with Juliette- she is now a woman.
Mac Ahlberg had photographed the Swedish film Cats (Kattorna, Henning Carlsen) in 1965.
Marie Forsa appeared in the Joseph Sarno films Veil of Blood, Girl Meets Girl (1974) and Butterflies.

Inga silent film

scottlordpoet shared this story from Scott Lord.

---

Donna is shelving books. For anyone interested in Ben Franklin, his parents are buried at the church. The graveyard was here before the church structure, which was a granary that held gunpowder during the revolution. The expression "fire and brimstone" came from our church, it being where the colonists stored gunpowder during the AMerican Revolution.

Silent FILM

Silent Film

Mystery

Silent Film

MYSTERY

silent film silnt film

silent film scott lord

Please include the film beneath as a double feature or matinee as you sit fit:


also directed by Frank Strayer is the mystery film below:


Scott Lord Mystery

Silent Film

I honestly had to dust the television after coming home from church, but please look and the previous entry to see how its grown- it found the little "love" pillow Donna's grandmother had given her - after sprawling across the floor, over a plastic storage bin and up the side of the tv stand for over five feet, most likely seven; it has sixty five leaves across for two of its ten "vines", most likely one hundread leaves, more likely over one hundread and ten or one hundread and twenty.

Silent Film Silent Film

silent film silent film

In her autobiography, Lillian Gish discusses D.W. Griffith's use of shot length in "The Lonely Villa". Linda Arvidson, wife of D.W. Griffith, in her autobiography "When the Movies Were Young" claims that "The Lonely Villa" was the second film in which Mary Pickford had appeared, her having made her motion picture debut in the earlier "The Violin Maker of Cerona". Mack Sennett had gleaned the plot to "The Lonely Villa" from a newspaper.
Author Stanley J. Solomon, in his volume The Film Idea sees "The Lonely Villa" as only the beginning of the development of new film techniques by D.W. Griffith, almost intimating that there would be a synthesis of Griffith as an autuer and new developments in filmmaking would combine. "Although Griffith was working now with materials that could not be effectively duplicated onstage, 'The Lonely Villa' was not really totally cinematic. Griffith's understanding of spatial relationships was still limited; to get a person from one point to another, Griffith shows him moving there in stages." The passage is particularly refreshing because through it Solomon imparts to us where the title of his volume The Film Idea comes from and how it is his point of departure. He writes,"But Griffith learned quickly that a meaningful narrative must be embedded in a total film idea. Otherwise, when the surface movement is the whole film idea, the camera functions simply as a recording device and most of its expressive possiblilities are relegated to either unimportance or mere technique."
In her volume her volume D.W. Griffith, American film master, Iris Barry sees the film technique used by D. W. Griffith developed quickly during a short period of time, "In The Lonely Villa many scenes begin quietly with the entrance of the characters into the set, significant action follows this slow-paced start only belatedly. In The Lonedale Operator there is no leisurely entrance, the characters are already in mid-action when each shot begins and there is no waste footage- no deliberation in getting on with the story when haste and excitement are what is needed." Barry adds, "At no time did he use a scenario. But there was considerable protest when, quite early in his directorial career, he insisted on retaking unsatisfactory scenes and succedded in gaining permission to do so in The Lonely Villa. Bitzer and others were aghast at his extravagence with film."
Silent Film D. W. Griffith Biograph Film Company

scott lord