Scott Lord Mystery Film

Bengt Forslund, in his article "Through a Glass Darkly, the silent era of Swedish Film", reminds us that Victor Sjostrom and Mauritz Stiller "made farces, comedies and melodramas, as well as medieval legends and romantic sagas, social films and realistic dramas." Interestingly enough Forslund tries to relate their affinity as having arisen not from a singleness of desire, or from a solidarity, but it having come rather from their disparity, from their having "little in common as individuals". This led to each learning the others technique of filmmaking. Peter Cowie, in his volume Scandinavian Cinema, sees the film as self-reflexive, writing "'Thomas Graal's Best Film' works primarily as a comedy of manners, but it also functions effectively as a satire on filmmaking, evene at this early stage of the industry's development. The implication is that cinema stands beyond reality, and as a medium attracts only the 'hammy' situation and the exagerrated personality." Peter Cowie notes that onscreen Victor Sjostrom and Karen Molander are the "ideal screen couple" and that Gustaf Molander, although only inevitably married to Karin Molander for eight years, wrote "scintillating" dialougue intertiles for her. Cowie points out that the film distinguishes Mauritz Stiller as one of the first directors to use a "film-within-a-film-format". Mauritz Stilleris particularly noted for having has directed Victor Sjostrom in two comedies for A.B Svenska, “Wanted A Film Actress” (“Thomas Graal’s Basta Film”, 1917) with actress Karin Molander and Jenny Tschernichin-Larsson and “Marriage ala mode” [“Thomas Graal’s First Child/ Thomas Graal’s Basta Barn”, 1918) also starring Karin Molander and Jenny Tschernichin-Larsson. The running time to the former, a film noted by Forsyth Hardy as one of the first comedies about filmmaking, was ninety minutes, the latter eighty nine minutes. Rune Carlsten and Henrik Jaenzon both appeared on screen in the film Thomas Graal’s Best Film, which was written under a pseudonym by Gustaf Molander. Molander continued as writer and director of “Thomas Graal’s Ward/ Thomas Graal’s mindling”, photographed by Adrian Bjurnman.

Louise Wallenberg, in her article Woman on Screen I, 1910's-1960's, feautured in the volume Now About All Those Women in the Swedish Film Industry, alludes to the director as spectator while evaluating Mauritz Stiller's view of his characters with his estimation of the while an invisible observer, his early comedies to "depict modern women who try to put an end to their as ribed position as wife and mother only to end up going ack to being docile and loving partners, they clearly express a desire to break free from conventional marital relations and gender roles. In this manner Stiller's comedies are indeed profeminist as they engage with public discourses and notions about women's societal positioning and personal subjecthood, and freedom in a society that is (still) strongly formed by patriarchal values."

Silent Film

Victor Sjostrom

Victor Sjostrom

Mauritz Stiller

Directed D W Griffith during 1919 for ArtcraftPictures Corporation, "True Heart Susie" (six reels) was photographed by G.W. Bitzer and paired Lillian Gish in the titular role with Robert Harron with actresses Kate Bruce and Carol Dempster. In their volume The Films of D.W. Griffith, authors Edward Wagenkneckt and Anthony Slide, divide Griffith's films into two genres, much like author Vachel Lindsay would - the epic and the lyric, the latter being "less ambitious, more intimate" the "stylistic directness" of "True Heart Susie" falling into the latter.
Author Anthony Slide perpiscaciously introduces D. W. Griffith actress Seymour by noting that both Seymour and actor Robert Harron, who had appeared together in both "The Girl Who Stayed Home" and "True Heart Susie" during 1919, had died early during 1920.
After directing “True Heart Susie” in 1919, to end the year, D.W. Griffith directed Lillian Gish in the film “The Greatest Question” (six reels), photographed by G.W. Bitzer.

The films "A Romance of Happy Valley", starring Lillian Gish, and "Scarlet Days", both directed by D.W. Griffith, were thought to be lost and donated to the Modern Museum of Art by Russia when rediscovered. Silent Film D.W. Griffith

Danish Silent Film "Mormonens Offer" (A Victim of the Mormens) starring Valdemer Psilander and Clara Wieth (Clara Pontipoppidan) was written by Alfred Kjerulf and directed by August Blom. It is not only a suspense thriller typical of the Danish genre, but was controversial for its anti-religious message or perhaps propaganda. Author Peter Cowie relates that Valdemar Psilander frequently appeared under the direction of August Blom and had become a "household name" in Europe before haing a heart attack at the age of thirty three.
Peter Cowie, in his volume Scandinavian Cinema, looks to the historiography of the film by noting that Ron Mottram had analyyzed the films made by August Blom when most prolific, between 1910-1914. Cowie writes, "Mottram also emphasizes the audacity of Blom's approach to his subject matter...he paints a lurid picture of the perils awaiting those who succomb to the blandishments of 'The Church of the Latter Day Saints'."
Danish Silent Film

Silent Film

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Silent Film

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Scott Lord

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I wasn't looking for these. They are from a college from where I went to nursery school up to highschool in South Hamilton, Mass. The church is historic and there is a cabinet of books written by minsters who have preached here at Park Street. When I looked for digitalized out of print I suprisingly didn't find anything. We are adjacent to the former offices of Little and Brown and I collect first edition Little and Brown hardcovers and often find them digitalized. What I did find were the student Theological journals from Gordon Conwell Seminary and are reading through them today, particularly an essay on the Futurity of the Resurrection in the writing of Paul.