Scott Lord Mystery Film

Silent FILM

Silent Film

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silent film

silent film

silent film

silent film

silent film

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film

Silent Film

Silent Film

Silent Film

Scott Lord mystery

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silent mystery

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SILENT FILM

SILENT FILM silent film

Scott Lord

Lon Chaney

Silent Film

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Mystery

Silent Film

Scott Lord silent film

Silent Film

Silent Film silent film

SILENT FILM

SILENT FILM

MYSTERY

The above film reuinted Bela Lugosi with David Manners and Edward Van Sloan from Dracula (Browning)
Please include the film below, The Vampire Bat, which united Edward Van Sloan and Dwight Frye.



Condemned to Live is a Vampire film directed by Frank Strayer.

Postscript:

Allow me to include an additional poster if you can find a mystery that you like enough to watch in the blog. Later pages include Boris Karloff and Basil Rathbone, if I can invite you to search the blog. Next to reading, its actually a quiet thing to do and its my selection of quiet, little mysteries if you were to peruse them. Quiet, not necessarily macabre.








Mystery
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silent film mystery mystery

Scott Lord

Silent Film Scott Lord Victor Sjostrom Silent Film

Silent Film Silent Film Scott Lord Silent Film

Now directing for the Reliance Motion Picture and Majestic Motion Picture Corporation, D.W. Griffith had expanded his running length to six reels by 1914 with the film "Home Sweet Home", starring actresses Lillian Gish, Doroth Gish and Mae Marsh.
During 1914 Mutual Film released the seven reel film "The Escape", directed by D.W. Griffith and photographed by G.W. Bitzer. Starring in the film were Edna Foster, Mae Marsh and Blanche Sweet. The film is considered a Lost Silent Film. Silent Film D.W. Griffith

Lillian Gish's autobiographical account of "Judith of Bethulia" (D.W. Griffith at Biograph, 1914) included in her volume The Movies, Mr. Griffith and Me can again be placed in the historiography of film criticism by being a combination of reminiscences and digests of media accounts reflecting her perspective. "The advertisements later announced that 'Judith of Bethulia' was the most expensive film that Biograph ever produced . They went on to exaggerate the number of extras and costliness of the sets, ignoring Mr. Griffith's talent for making much out of little. It is true, however, that 'Judith' was more expensive and took longer to make than any Griffith picture up to that." Presaging the epic spectacle of D.W. Griffith, which quickly arrived within a two year period ,in fact still years before Cecil B. DeMille became proficient at the genre, the film stars one of the first all-star casts including Blanche Sweet in the titular role, Lillian and Dorothy Gish, Kate Bruce and Mae Marsh. It was the longer running time that allowed D.W.Griffith to film spectacle in his three reel "The Battle of Elderbush Gulch" and four reel "Judith of Bethulia", author Tom Gunning, in his volume D.W. Griffith and the origins of American narrative film: the early years at Biograph, noting "the control of space and time offered in Griffith's spectacle films from his late Biograph period."
Eric Rhode, in his volume A History of Cinema, outlines a chromology of Griffith's crescendo at Biograph, "From 1908 on Griffith directed over 400 films for Biograph. But he left the company in 1913 when it declined to change its policy and release the four reel'Judith of Bethulia', even though the public had shown an interest in five and six reel feature films."Iris Barry, in her volume D.W. Griffith American Film Master writes of "Judith of Bethulia" having been Griffith's last film for Biograph. "'Judith of Bethulia', by reason of its legnth, its intricate composition, emotional power, ambitiousness andcistliness, provided a fitting climax to his long connection with biograph, though it is also a film which it is difficult wholly to admire today." By December of 1913, D.W. Griffith had left Biograph to join Mutual and the company had begun cutting the six reel film down to four reels.
The cinematographer to the film was G.W. Bitzer, who left Biograph with D.W. Griffith to accompany him. As quoted by Iris Barry in D.W. Griffith American Film Master, it was at first only reluctantly on Bitzer's oart, Griffith coaxing him with autonomy behind the camera. It is of interest that Griffith would grant Bitzer free reign in that Griffith began as an actor, improvised as a director without detailed shooting scripts when compared to Thomas Ince and was now aquiescing as to becoming primarily a scriptwriter. G.W. Bitzer, in his autobiography Billy Bitzer his story "By the time we were making plans for 'Judith of Bethulia' ,an epic in tour reels, Mr. Griffith told me that he would not sign a new contract at Biograph. 'A film without a message is a waste of time', he declared, as he paced the floor of my workshop trying to convince himself, as well as me, that he needed to leave Biograph if he was to advance.'
Silent Film

Directed by D.W.Griffith and photographed by G.W. Bitzer for the Famous Players Lasky Corporation "The Girl Who Stayed at Home" (seven reels) showcased actress Carol Dempster. In their volume The films of D.W. Griffith, Edward Wagenkneckt and Anthony Slide describe the theater transpiring on screen, the theatrical element, by contrasting the loves scenes of each of the two couples; compared to the Seymour-Harron affair, the "Carol Dempster-Richard Barthelmess love affair is strangely tepid; it lacks the joyful emotion of true feeling."
D.W. Griffith and S.E.V. Taylor had adapted the photoplay from an original story Taylor had written. D. W. Griffith
D.W. Griffith

 



The policy of filming on a closed set that was almost a trademark for actress Greta Garbo may have in part originated earlier. Exhibitor's Herald during 1923 ran an announcement credited to a "Special to Exhibitor's Herald" in Los Angeleas titled "Ince Signs Sweet", which read, "'Anna Christie' star has been signed by Thomas H. Ince for another big special to be made behind closed doors."
"Anna Christie" was seen as a comeback film for Blanche Sweet for many fan and trade magazines. Picture Play magazine during 1924, in a full page of photos entitled "Fulfilling the Promise" wrote, "Years ago, Blanche Sweet gave promise of being one of the screen's greatest emotional actors. Then we saw no more of her, for illness had forced her to give up her work. To her has fallen the honor of playing the title role in 'Anna Christie', one of the greatest contemporary emotional roles and the photograph at the left suggests what an interesting characterization it will be."



For readers familiar with the photographers of Greta Garbo, the above photograph was published by Clarence Sinclair Bull, who became photographer for Greta Garbo with the advent of sound film and her filming for director Clarence Brown with cameraman William Daniels and set designer-costume artist Adrian. Several photographs of Greta Garbo taken by Clarence Sinclair Bull that were scanned from the original negative and left over from the biography Greta Garbo, A Cinematic Legacy, appear in this page in the margins.
Greta Garbo

Greta Garbo

Greta Garbo

Between 1916 and 1921 John Gilbert appeared on screen as Jack Gilbert, his early films having been from Kay-Bee, Triangle.
Jerome Storm began directing drama in 1918 with the C. Gardner Sullivan screenplay "The Keys of the Righteous", starring Enid Bennett and produced by Thomas Ince. In 1923 he directed John Gilbert and Ruth Clifford in the six reel film "Truxton King". The Library of Congress reports no archival copies of the film, leaving it presumed to be a lost silent film.
During 1919, actor John Gilbert appeared in the film "The White Heather" (six reels)directed by Maurice Tourneur and starring actress Mabel Ballin and climaxing with an underwater fight scene filmed with a submarine tube. The film was considered to be lost with no surviving copies untill 2023, when a copy was found.
During 1923 John Gilbert also appeared in the film "Cameo Kirby" (seven reels), directed by John Ford. In the film, Gilbert plays romantic lead to actress Gertrude Olmstead.


Edmund Mortimer paired John Gilbert with actress Betty Boulton and actress Margaret Fielding in the film "The Exiles" (five reels) during 1923.



1923 also saw the lost silent film "Madness of Youth" in which director Jerome Storm brought John Gilbert, Billie Dive and Julanne Johnston to the screen. An early film starring John Gilbert and Norma Shearer, "The Wolfman" (six reels) directed by Edmund Mortimer in 1924 is among the myriad of films thought to be a lost film from Silent Hollywood.
During 1924 John Gilbert appeared for Fox Film Corporation with Evelyn Selbie and Virginia Brown Faire in "Romance Ranch"(five reels) directed by Howard M. Mitchell, deemed to be a "melodramatic romance" by Motion Picture News Booking Guide. Howard M. Mitchell also directed John Gilbert in the five reel 1924 film "The Lone Chance" for Fox Film, the film having costarred Evelyn Brent. It is considered a lost silent film. Also a lost silent film, "A Man's Mate", in which Edmond Mortimer directed John Gilbert and Renee Adoree was released by the Fox Film Corporation during 1924.
King Vidor in 1924 paired John Gilbert and actress Aileen Pringle in two films, "Wife of the Centaur" (seven reels) with Kate Lester, and in "His Hour" (seven reels), from a novel by Elinor Glyn. Norwegian film director Tancred Ibsen while briefly in Hollywood, worked on the set design to the Vidor film "His Hour".
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Director Monta Bell that year directed John Gilbert and Norma Shearer in "The Snob" (seven reels).

Scott Lord Sherlock Sherlock Holmes in Film - Scott Lord Sherlock Holmes:

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I've been looking through mystery film posters from 1913. Please keep reading my blogs for more.

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