Scott Lord Mystery Film

SILENT FILM

SILENT FILM silent film

Scott Lord

Lon Chaney

Silent Film

silent film

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.








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Scott Lord

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Stanely J Solomon, in his volume The Film Idea, attribures George Melies with being a film pioneer, "The following film techniques were popularized- and some perhaps invented by Melies: double exposure, stop motion, fast motion, slow motion, animation, fades and dissolves." Silent Film A Trip to Mars

Silent Film Eclipse

The films of Clara Kimball Young were a springboard for the scriptwriter Lenore Coffee, whose first films as a screenwriter "The Better Wife" (William Earle, 1919, five reels) and "The Forbidden Woman" (1920) had starred the actress.
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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

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

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Victor Sjostrom

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Victor Sjostrom

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Scott Lord

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