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13 Jul 04:49
Scott Lord Mystery: SOS Coast Guard, Chapter Three, 1937
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09 Jul 03:15
Scott Lord Mystery Film - YouTube
Mystery
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09 Jul 03:15
garbo-seastrom.blogspot.com - Google Search Silent Film
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09 Jul 03:15
Scott Lord Silent Film: Biblical Drama; Adam and Eve (Vitagraph, 1912)
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09 Jul 03:15
Scott Lord Horror Comedy: One Frightened Night (Christy Cabanne, 1935)
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09 Jul 03:15
Scott Lord on Silent Film Hollywood, Lost Silent Film, Swedish Silent Film, Danish Silent Film: April 2023
Silent Film
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09 Jul 03:15
Greta Garbo
The Film Daily ran an announcement during 1929 titled "Feyder Directing Garbo" It related, "Greta Garbo has begun work on a new picture under the direction of Jacques Feyder, French director recently signed by M.G.M. Anders Randolph will play the husband in the film, an original by Feyder, not yet titled."
New Movie Magazine quoted the director, " 'Dialougue- that is what will make the love sparkle in American films.' Monsieur Feyder has a great vision of Greta Garbo's future. He directed her in her last silent film The Kiss. Says Mr. Feyder, "What possibilities are opened to her with her voice? She will branchout, her characterizations will broaden. She will enter into her cinema inheritance- and what a glorious inheritance it will be." The Film Daily inadvertantly reviewed the film as an "All-Talker", but the studio in its advertisements that ran in the magazine that year included the film in "a deluge of dialogue delights" that it would be offering. The subtitle to the review read, "Sophisticated drama of continental life puts Greta Garbo in a new kind of role but tragic story misses." The review explained, "Greta Garbo as always is very alluring and excersizes her erotic charm throughout the erotic portrayal. But the subject matter is too tragic and the ending not the type that her average fan looks for...Shapes up as a pretty sophisticated farce that lacks the American slant and is problematical whether Garbo fans will feel enthusiastic about seeing their favorite in this type of production...Feyder worked the camera technique in many novel ways and achives some effective shots." Richard Corliss aptly writes, "It's also true that Garbo looks beautiful but distracted. She walks through the role as if her mind were on other things." Picture Play summarily reported, "Commonplace story made glamorous by Greta Garbo, beautifully produced and directed. Film critic Paul Rotha, in his volume The Fill to Now, a survey of world cinema recognized the assingment of Greta Garbo to Jacques Feyder, "Quite recently Jacques Feyder, the Belgian, who in Europe is associated with the brilliant realization of Zola's Therese Raquin and the political satire Les Nouveaux Messiers, made his first picture for Metro Goldwyn Mayer, The Kiss, in which he skillfully combined intelligent direction with the necessary proportion of picture sense. his treatment of Greta Garbo was more subtle that that usually accorded to this actress by American directors...But there was a freshness about The Kiss that raised it above the level of the ordinary movie and a use of camera angle which was reminiscent of Feyder's earlier work." Earlier in the book Rotha had directed his attention to the film of Greta Garbo in an attempt to characterize the then contemporary film of the United States, "There is found then at the close of the pre-dialouge period of the American film, a mixed selection of production made according to formula...The ingredients of a successful film, conceived from a picture-sense point of view may be said to to: a strong, powerful theme (preferably sexual); a high-polished, quick moveing technique employing all the most recent discoveries (usually German); a story interest that will carry the sex at the same time allowing for spectacle and at least two highspots: and a cast of international players. Of such a type were Flesh and the Devil, The Last Command, The Patriot, Wild Orchids and The Kiss."
John Bainbridge reviews the film but more intriguing is his met intoning the social bond between Garbo and Feyder, I that she was less in contact with John Gilbert and both her sister and Mauritz stillerhas passed away. "however threadbare the plot, "The Kiss" has always been of interest to serious filmgoers for two reasons; it was Garbo's last silent film, and it was directed with consummate artistry...she also took pleasure from that Mrs Feyder was on the set nearly every day. After work the three often went to Feyders' house for dinner, and even once in a while to Garbo's." This was reiterated in Silver Screen magazine by Harriet Parson, who in 1930, penned, "24 Hours with Garbo"
It chronicled an evening where the journalist followed Greta Garbo "I caught my breath in excitement. It was Garbo! I sat breathless while she and her escort selected a table. It was the one next to mine, not four feet away. Garbo was dressed as no other girl in Hollywood would have dressed- a grey suit, severely tailored, a man's grey shirt, a navy blue tie with white dots, a navy blue topcoat and a dark blue beret with no hair showing from beneath it... Suddenly I recognized him- Jacques Feyder, the French director who made "The Kiss", Garbo's last silent picture. They began to eat...Afterward she drank black coffee and smoked a denicotinized cigarette. A flower woman came to the table with her little trey of blossoms. Feyder had purchased a gardenia and with a gallant guest urge handed it to Garbo" After dinner, Garbo and her former director went to a puppet show held in a theater next door where Greta Garbo was being portrayed bu a puppet dressed as Anna Christie. Feyder escorted her home that night as the 24 hour reporter followed, "A fortress as impenetrable as she is herself. She disappears-Feyder departs alone-midnight arrives."
The then twenty year old Lew Ayres was described by Screenland Magazine as a rare sensation that had unexpectedly catapulted on to the screen almost as if he had in fact been hurriedly signed as a newcomer in anticipation of the new technology of sound. When interviewed by Myrene Wentworth, Lew Ayers described his meeting Greta Gabo, " 'Gee, she is wonderful,' he said. 'I was scared to death when I walked on to the set but she made me feel right at home and helped me tremendously.'...It was a scene where he had to rush in and embrace her madly. 'And I hadn't even been introduced to her.', he said with an imagine-my-embarrassment gesture... Miss Garbo saw his discomforture and took his arm, turning to Jacques Feyder, the director. 'Would you mind making me acquainted with this young man?'."
Greta Garbo in The Kiss (Feyder/Daniels, 1929)
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Greta Garbo
The Film Daily ran an announcement during 1929 titled "Feyder Directing Garbo" It related, "Greta Garbo has begun work on a new picture under the direction of Jacques Feyder, French director recently signed by M.G.M. Anders Randolph will play the husband in the film, an original by Feyder, not yet titled."
New Movie Magazine quoted the director, " 'Dialougue- that is what will make the love sparkle in American films.' Monsieur Feyder has a great vision of Greta Garbo's future. He directed her in her last silent film The Kiss. Says Mr. Feyder, "What possibilities are opened to her with her voice? She will branchout, her characterizations will broaden. She will enter into her cinema inheritance- and what a glorious inheritance it will be." The Film Daily inadvertantly reviewed the film as an "All-Talker", but the studio in its advertisements that ran in the magazine that year included the film in "a deluge of dialogue delights" that it would be offering. The subtitle to the review read, "Sophisticated drama of continental life puts Greta Garbo in a new kind of role but tragic story misses." The review explained, "Greta Garbo as always is very alluring and excersizes her erotic charm throughout the erotic portrayal. But the subject matter is too tragic and the ending not the type that her average fan looks for...Shapes up as a pretty sophisticated farce that lacks the American slant and is problematical whether Garbo fans will feel enthusiastic about seeing their favorite in this type of production...Feyder worked the camera technique in many novel ways and achives some effective shots." Richard Corliss aptly writes, "It's also true that Garbo looks beautiful but distracted. She walks through the role as if her mind were on other things." Picture Play summarily reported, "Commonplace story made glamorous by Greta Garbo, beautifully produced and directed. Film critic Paul Rotha, in his volume The Fill to Now, a survey of world cinema recognized the assingment of Greta Garbo to Jacques Feyder, "Quite recently Jacques Feyder, the Belgian, who in Europe is associated with the brilliant realization of Zola's Therese Raquin and the political satire Les Nouveaux Messiers, made his first picture for Metro Goldwyn Mayer, The Kiss, in which he skillfully combined intelligent direction with the necessary proportion of picture sense. his treatment of Greta Garbo was more subtle that that usually accorded to this actress by American directors...But there was a freshness about The Kiss that raised it above the level of the ordinary movie and a use of camera angle which was reminiscent of Feyder's earlier work." Earlier in the book Rotha had directed his attention to the film of Greta Garbo in an attempt to characterize the then contemporary film of the United States, "There is found then at the close of the pre-dialouge period of the American film, a mixed selection of production made according to formula...The ingredients of a successful film, conceived from a picture-sense point of view may be said to to: a strong, powerful theme (preferably sexual); a high-polished, quick moveing technique employing all the most recent discoveries (usually German); a story interest that will carry the sex at the same time allowing for spectacle and at least two highspots: and a cast of international players. Of such a type were Flesh and the Devil, The Last Command, The Patriot, Wild Orchids and The Kiss."
John Bainbridge reviews the film but more intriguing is his met intoning the social bond between Garbo and Feyder, I that she was less in contact with John Gilbert and both her sister and Mauritz stillerhas passed away. "however threadbare the plot, "The Kiss" has always been of interest to serious filmgoers for two reasons; it was Garbo's last silent film, and it was directed with consummate artistry...she also took pleasure from that Mrs Feyder was on the set nearly every day. After work the three often went to Feyders' house for dinner, and even once in a while to Garbo's." This was reiterated in Silver Screen magazine by Harriet Parson, who in 1930, penned, "24 Hours with Garbo"
It chronicled an evening where the journalist followed Greta Garbo "I caught my breath in excitement. It was Garbo! I sat breathless while she and her escort selected a table. It was the one next to mine, not four feet away. Garbo was dressed as no other girl in Hollywood would have dressed- a grey suit, severely tailored, a man's grey shirt, a navy blue tie with white dots, a navy blue topcoat and a dark blue beret with no hair showing from beneath it... Suddenly I recognized him- Jacques Feyder, the French director who made "The Kiss", Garbo's last silent picture. They began to eat...Afterward she drank black coffee and smoked a denicotinized cigarette. A flower woman came to the table with her little trey of blossoms. Feyder had purchased a gardenia and with a gallant guest urge handed it to Garbo" After dinner, Garbo and her former director went to a puppet show held in a theater next door where Greta Garbo was being portrayed bu a puppet dressed as Anna Christie. Feyder escorted her home that night as the 24 hour reporter followed, "A fortress as impenetrable as she is herself. She disappears-Feyder departs alone-midnight arrives."
The then twenty year old Lew Ayres was described by Screenland Magazine as a rare sensation that had unexpectedly catapulted on to the screen almost as if he had in fact been hurriedly signed as a newcomer in anticipation of the new technology of sound. When interviewed by Myrene Wentworth, Lew Ayers described his meeting Greta Gabo, " 'Gee, she is wonderful,' he said. 'I was scared to death when I walked on to the set but she made me feel right at home and helped me tremendously.'...It was a scene where he had to rush in and embrace her madly. 'And I hadn't even been introduced to her.', he said with an imagine-my-embarrassment gesture... Miss Garbo saw his discomforture and took his arm, turning to Jacques Feyder, the director. 'Would you mind making me acquainted with this young man?'."
Photoplay magazine during 1931 used two full pages to exhibit one photo of Jacques on the set to follow the director into the sound era in American film. It was a scene from his film "Daybreak", starring Ramon Novarro. The caption explains that the camera was "mounted on a rubber-tired 'dolly' for the making of traveling shots Jacques Feyder, director of Garbo's 'The Kiss' is the boss. He's at the extreme left, seated from the bottom." Film periodicals had counted on there being interest in the offscreen lives of film stars and in how they might put together a sound film, the extra-textual discourse embroidering distant super luminaries into the conversations that were held after the audiences left the public sphere of the theater and entered the fantasy objectifications of spectatorship that to some of the public may have seemed to be merely an ordinary walk home from the theater; and for theater goer Greta Garbo they may have been.
A publicity still published in Picture Play magazine during 1929 kept the caption, "Miss Garbo, at top of page, unhappy in the midst of luxury, reflects on how little life holds." Interestingly, although Greta Garbo in a low cut dress directing the view of the spectator to where she might not be wearing a bra is in front of a dressing room mirror it is not strictly a mirror shot in that she is also photographed in quarter profile as though nearing over the shoulder to effect a double image. P
Greta Garbo
Greta Garbo
Greta Garbo
Greta Garbo
Greta Garbo
Greta Garbo
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09 Jul 03:15
Scott Lord Horror Comedy: Ghost Parade (Mack Sennett, 1931)
Blacklight Castle- Mystery Film.
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09 Jul 03:14
Scott Lord Silent Film: A Narrow Escape (Pathe, 1908)
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09 Jul 03:14
Scott Lord Silent Film: The Cardinal’s Conspiracy (D.W. Griffith, 1909)
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09 Jul 03:14
Scott Lord Silent Film: A Tale of Two Cities (Charles Kent, 1911)
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09 Jul 03:14
Scandinavian Silent Film: Victor Sjostrom as Seastrom, Mauritz Stiller, John Brunius, Greta Garbo
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09 Jul 03:14
Scott Lord Silent Film: Hearts of the World (Griffith 1918) - YouTube
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09 Jul 03:14
Scott Lord Silent Film: Raffles, the Amateur Cracksman (1917) - YouTube
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09 Jul 03:14
Scott Lord: Silent Sherlock Holmes starring Ellie Norwood
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09 Jul 03:14
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Inga's Veil, Evening, erotic novel, film poem page four was updated
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From: scottlordnovel <noreply@google.com>
Date: Thu, Jun 23, 2011 at 11:37 AM
Subject: [scottlordnovel] Inga's Veil, Evening, erotic novel, film poem page four was updated
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From: scottlordnovel <noreply@google.com>
Date: Thu, Jun 23, 2011 at 11:37 AM
Subject: [scottlordnovel] Inga's Veil, Evening, erotic novel, film poem page four was updated
To: scottlordnovelist@gmail.com
Scott Lord updated the page Inga's Veil, Evening, erotic novel, film poem page four. View the changes below.
Color key: Insertion | Deletion
Later in the film the image is reiterated by filming her body horizontally in more complicated set ups, her concupisciescence watched by the camera's technique of varying angle, her each movement, displayed as erotic form, being explored by the shadow perspective of depth as angles rather than object lines converge, the image of the erotic love object repeated as being successive having qualities and attributes that, as graphic plasticity are comparative rather than multiple object relations within a linear plane, or multiple object representations within an abstract plane or multiple plane. There is unity to the scene that is organic in that she has been in love with him and that he is not presently in the room, 'unity as an artistic principle of perfect form if teleological as ideal, unity as interrelated beauty within unities of time. Similarly, there is a unity within the shot in that there is a lack of movement other than her body having just then truning, almost pirrouetting to almost find him there, only to be positioned as an embodiment of love, if not an embodiment of her love for an older man, love being embodied as aesthetic object desired for at distance, and yet only at distance, the syntagmatic alignment of what has value by being imaginary and or absent is constructed by her subjectivity being aware of what has been left as reference, left as mystery. He is with her as what is known between them, watching her as something transcendental in that he is a non-diegetic character symbolic of the contemplation of beauty, there being an internalization of their having had been being together, her form interrelated with the plotline as the object of fantasy and as fantasizing desire. "I don't feel the need to impose upon you other than that I feel like listening to you. You had mentioned earlier that you would be there. I needed to talk to you at the time but not about anything specific." "Whereas?" "In particular, I'm thinking of looking at you and would like it if everything else could wait." She thought, pausing longer that it had when they had had the conversation, there being a temporal position within the scene to the voice-over that is contingent upon her movements and those of the camera, "I was really about to say, 'Intuitively?', next." As it is still early in the, she is mostly a mystery to the film viewer as a female narrative fantasy, the camera watching her continuously during the length of the shot; then again as to create an ideal conception that every possible angle could be filmed at anytime where the duration would be arbitrary the camera watching her only on the authority of her being fantasy and only as authorial when poisitioned where she as fantasized about can be filmed, any interrelated spatial context has still been momentarily left offscreen. What interpellates an identification with the inscription of her subjective desire is that her nude image is as cinematic spectacle, if and when cinematic spectacle, the erotic appropriated and made increasingly available with structrues of the film that are not only those of aesthetic content, but those of erogenous attraction, the visual dimensions articulated within the film being as a zone of passion, or a zone of love felt intensely enough it can be lived for without passion so as to go beyond it as into devotion. Although the retrospective voice over is kept in the film, it can still only be inferrred as to whether she had seen him earlier or whether he had telephoned her earlier, the being a continuity script that includes both that she had had breakfast with him and that she had often been thinking of when they had been together more than a week before, the retrospective voice over narratives intertwined within the film; its is as voice over addressing the spectator directly, but only as being at a juncture of plot events. In one copy of the continuity script had been several instances of her interior monolouge jotted down in the margins, written in pen, including the quote accompanying this series of shots, "More intriguing than I had first tought.", which in no way appears in the rushes of the film and is out of sequence. As a protagonist, in so much as the development of the film is centered around her search for vale as poetic prior to religious or moral, she is complete for the viewer as a discursive agency and as the fantasy object of desire in soliloquy- it is only slowly that the film-viewer relation develops into an unfolding of her physically seeking sexual gratification, it is only slowly that the film enters into narrative scenes that contain erotic resolution of plot as immediate climactic experiences, as either concievably orgasmic clitorally, near orgasmic as auto-erotic or while reluctantantly auto-erotic on her part, the reluctant writhing and caress of postponing female onanism on her part as hours collapse into minutes, or as lesbian fantasy, lesbian indulgence, concievably brought to plateau as the nude is cleanesed by the look of the other and the accompanying lesbian subject positioning constructed around any involvement with her or with her and her lover, whether sexual or only romantic and intellectual. There is an instance during one of their conversations later in the narrative where she asks him, "Is it not that ideas can often carrry emotion?" After either he waits to answer or only responds silently by not saying anything, she adds a second question, "Emotion at first thought complete, although fleeting." Her qualities and attributes are still left to be divulvged within the film's becoming increasingly intimate, if not through the mood of the scene; with spectatorial distance, an aesthetic interest is developed from the need to feel the sensations of objectified pleasure to a deepened attraction to the object mysteriously still ever beautiful. What is to seem suprising in the film to the viewer comparing herself to the protagonist as a speaking or non-speaking subject through the look while the absent-narrator imparts what is absent and or lacking to her is as of yet only felt by their both being perceptive, by both character and viewer being intuitive, and in being perceptive their being levels of shared erotic fantasy within the layers of being observant. The narrative-spatial dimensions of the scene consist of adjacent spaces that include those that have not yet been explored as looked at and omnly then having become as her subjectivity in its interplay of address and reception with the omniscient authorial. Her glance an erotic metaphor, inscribed textually as the glance given by the feminine nude body by there being a heightening interest in how and when her sexual fascination pursues and achieves gratification throughout the erotic core of the narrative, telescoped , if not passively as a combining of the desiring gaze in a thematic substructure with pleasure fantasy and female lonliness into later shot reverse shot, offline reverse angle dialougue scenes, then stanzaiclly foreshadowed into either shots of her telephoning from other than the desk, or into nude, overhead shots of her in the bedroom during multiple angle scenes, each of those showing her decision to either keep her telephone on the dresser or bureau or to keep it nearer to the bedside, each instance of the camera cutting to either a nude over head strait on shot of her while on her back, or nude over head over the shoulder shot of her on her stomach, perhaps orgasming, perhaps during massage, a withheld variation of the reiterated motif, and as further or layered variation, the angles being held from different camera distances, her facial expressions to whisper in nuances of acknowledgement, and or disbelief, centered around lubrication and release, if only the release of fantasy. Her gaze froms an excess within any interchange of subjectivitities in that she is still the only on screen character, and if it is only an appreciation of her beuaty bu him, it forms an excess as being unseen by him and felt by her as seen while unseen, the subjective transactions of desire the object of a present tense voyeurism. The viewer can only be introduced to subjects by the actress being aware of them and by her making the viewer aware of them, so as to compare her relationship to them as poetic truth, within her eyeline there being a sensibiltiy that while not entirely directing the female viewer to any excess of detail or significance, a a subjective close shot would, introduces a unity that is narrative in her being presented as visual motif, and as an individual, if not entirely solitary, motif, as an embodiment of her being beuatiful while percieving romantic beauty, an objectification of her having sexual emotion and emotion that can deepen and that after having become exhilerated into nearly more rapid breathing, would only soften, would only then moisten. It being within introspective narrative that each event is transposed, the modality of exposition and exhibition allows an emotional structuring to the scene. It can be remembered that during the first scene of the film there are only insert shots that can be distinguished as transpiring during the same scene and are non-disruptive to its thematic integrity despite how abruptly the camera cuts back to her crossing the room, it being implicational that she is thinking of the action in the flash forward shots, it yet to have taken place. The film has not yet shown retrospective shots that clearly from their subject and its associations are shots contained within a flashforwarded series of shots but within the diegetic spatial-temporal continuum in fact are to be from before the film's opening sequence, their having been had been being inserted into the flashforwarded series shots, so as to place Winter New Year, Winter New Year, then Summer, then Spring, then Summer, then Winter New Year, then Winter New Year, then Spring and continuing with Spring to Summer. There is a cutback within a flashforward midway through the film. 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Scott Lord
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09 Jul 03:10
Scott Lord Mystery Film - YouTube
Mystery
Tags: My
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09 Jul 03:09
Scott Lord Silent Film: Silent Film Studio Tour, Life In Hollywood (Dell...
by noreply@blogger.com (Scott Lord on Silent Film, Scott Lord on Mystery Film)
The short subject weekly newsreel "Life in Hollywood" featured on the set extratextural introductions of actors and actresses that inckuded Ruth Roland, Vivien Martin, Kathleen Clifford, and Jack and Lottie Pickford.
Silent Film
Life in Hollywood
Silent Film
Life in Hollywood
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09 Jul 03:09
Scott Lord Horror Comedy: Ghost Parade (Mack Sennett, 1931)
by noreply@blogger.com (Scott Lord on Silent Film, Scott Lord on Mystery Film)
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09 Jul 02:50
Television Art: Lifebuoy soap plus sponsor tag (1971)
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09 Jul 02:46
The Black Cat Magazine- Boston 1899;contemporary to The Strand Magazine
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09 Jul 02:46
scottlordpoet2's blurblog
Silent Film
Tags: Silent Silent-Film
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09 Jul 02:46
scottlordpoet's blurblog
Silent Film
Tags: Silent silent film
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09 Jul 02:46
Scott Lord: Sherlock Holmes- Sign of the Four
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09 Jul 02:46
Basil Rathbone in Sherlock Holmes and the Secret Wea...
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09 Jul 02:46
The film adaptation of Robert Louis Stevenson's account of Dr.Jekyll and Mr. Hyde directed by F.W. Murnau during 1920 is presumed lost, with no known existing copies of the film. "The Head of Janus" (Der Janus Kopf, Love's Mockery) had starred Conrad Veidt amd Bela Lugosi and is credited with having been one of the first films to include the use of the moving-camera shot. F.W. Murnau made 21 feature films, 8 of which are presumed lost, with no surviving copies. Included among them is the 1920 horror film "The Hunchback and the Dancer" (Der Bucklige und die Tanzerin) photographed by Karl Freund.
Lotte H. Eisner, in his biography titled Murnau, looks at a scene change to the shooting script of "Nosferatu" written by Henrik Galeen made by the director, F.W. Murnau, but adds that few additons and revisions to the original script were made by Murnau. "Sometimes the film is different than the scenario though Murnau had not indicated any change in the script...But there is a suprising sequence in which nearly twelve pages (thirteen sequences) have been rewritten by Murnau."
Lotte H. Eisner analyzes the film "Nosferatu" in his companion volume to his biography of Murnau, The Haunted Screen. "Nature participates in the action. Sensitive editing makes the bounding waves foretell the approach of the vampire." Eisner later adds, "Murnau was one of the few German film-directors to have the innate love of the landscape more typical of the Swedes (Arthur von Gerlach, creator of Die Chronik von Grieshums, was another) and hes was always reluctant to resort to artifice." Murnau had visited Sweden where the cameras being used were made of metal rather than wood, which aquainted him with techniques that were in fact more modern. Author Lotte H Eisner, in his volume Murnau writes of F.W. Murnau viewing the films of Victor Sjostrom and Mauritz Stiller "when he made 'Nosferatu', the idea of using negative for the phantom forest came from Sjostrom's 'Phantom Carriage', which had been made in 1920. Above all, he had a love-hatred for Mauritz Stiller, whose 'Herre Arne's Treasure' he couldn't stop admiring."
Not only can we look at Murnau's film to compare and contrast its use of landscape and location to that of Swedish Silent Films, but the Wisconsin Film Society during 1960 pointed out that its narrative was situated in a different century. "Murnau probably felt that by transferring the action to the year 1838 he would have an atmosphere more condusive to the supernatural. Because of the distance in time, an audience is perhaps more willing to employ its 'suspension of disbelief'." The Film Society mentions F.W. Murnau having filmed the Vampire's carriage in fast-motion for effect, an effect which it felt had been lost on the audiences of 1960. It conceded that shooting on location brought the film "far from the studio atmosphere", but hesitated, "Although frequently careless in technical details (camerwork, exposure, lighting, composition, and actor direction) it had variety and pace."
Lotte H. Eisner, in her volume Murnau, writes, "As always, Murnau found visual means of suggesting unreality". Professor David Thorburn, Massachusetts Institute of Technology, expresses aprreciation and gratitude for the author's writings pointing out that "her arguments in The Haunted Screen are still widely accepted." In regard to the expression of unreality, David Thorburn sees Expressionism as having been typified by "distortion and surreal exaggation" as well as having been "interested in finding equivalents for he inner life, dramatizing not the external world, but the world within us." If not the first horror film, Thorburn delegates "Nosferatu" to being an "origin film" and as "the film in which we can see Murnau freeing the camera.....no one had ever used the camera outdoors more effectively up to this time than Murnau". Lotte H Eisner, in The Haunted Screen writes, "The landscape and views of the little town and the castle in Nosferatu were filmed on location...Murnau, however, making Nosferatu with a minimum of resourses saw all that nature had to offer in the way of fine images...Nature participates in the action."
Close-up magazine during 1929 reviewed the film, unaware that the Wisconsin Film Society would later favor the 1931 Tod Browning version, "The film opens with beautifully composed shots typical of Murnau (one spotlight on the hair, now turn the face slightly, and another spotlight)....It is unquestionably a faithful transcription of the book.
During 1926, when Murnau was readying to come to American, the periodical Moving Picture World interviewed his assistant, Hermann Bing, "Murnau's intention is to try to make pictures which will please the American theatre patrons- commercial successes because of their artistry....Murnau's object will be not to describe but to depict the relentless march of realities not for the objective, but from a subjective viewpoint." This almost seems like a nod to Carl Th. Dreyer's later film "Vampyr", other than that Dreyer's film had been made during the advent of sound film while Murnau was in America, shortly before Murnau's death. Fox Film publicity happenned to announce F.W. Murnau's coming to America by withholding the title of his debut American fim, giving the name of the dramatist that wrote its photoplay as Dr. Karl Mayer. "Theater Audiences Everywhere Are Waiting For This Creation".
Silent Film
In regard to the extratextual discourse of movie magazines of the time period, during 1929 the periodical Motion Picture News subtitled their review of "Nosferatu" with "Morbid and Depressing". It deemed Murnau's adaptation of the novel by Bram Stoker to be "a vague yarn hard to follow with several sequences that have a tremendous part to do with the plot introduced most haphazardly."
Silent Horror Film
Faust (F.W. Murnau, 1926)
Silent Film
Silent Film
Scott Lord Silent Film: Nosferatu (F.W. Murnau, 1922)
The film adaptation of Robert Louis Stevenson's account of Dr.Jekyll and Mr. Hyde directed by F.W. Murnau during 1920 is presumed lost, with no known existing copies of the film. "The Head of Janus" (Der Janus Kopf, Love's Mockery) had starred Conrad Veidt amd Bela Lugosi and is credited with having been one of the first films to include the use of the moving-camera shot. F.W. Murnau made 21 feature films, 8 of which are presumed lost, with no surviving copies. Included among them is the 1920 horror film "The Hunchback and the Dancer" (Der Bucklige und die Tanzerin) photographed by Karl Freund.
Lotte H. Eisner, in his biography titled Murnau, looks at a scene change to the shooting script of "Nosferatu" written by Henrik Galeen made by the director, F.W. Murnau, but adds that few additons and revisions to the original script were made by Murnau. "Sometimes the film is different than the scenario though Murnau had not indicated any change in the script...But there is a suprising sequence in which nearly twelve pages (thirteen sequences) have been rewritten by Murnau."
Lotte H. Eisner analyzes the film "Nosferatu" in his companion volume to his biography of Murnau, The Haunted Screen. "Nature participates in the action. Sensitive editing makes the bounding waves foretell the approach of the vampire." Eisner later adds, "Murnau was one of the few German film-directors to have the innate love of the landscape more typical of the Swedes (Arthur von Gerlach, creator of Die Chronik von Grieshums, was another) and hes was always reluctant to resort to artifice." Murnau had visited Sweden where the cameras being used were made of metal rather than wood, which aquainted him with techniques that were in fact more modern. Author Lotte H Eisner, in his volume Murnau writes of F.W. Murnau viewing the films of Victor Sjostrom and Mauritz Stiller "when he made 'Nosferatu', the idea of using negative for the phantom forest came from Sjostrom's 'Phantom Carriage', which had been made in 1920. Above all, he had a love-hatred for Mauritz Stiller, whose 'Herre Arne's Treasure' he couldn't stop admiring."
Not only can we look at Murnau's film to compare and contrast its use of landscape and location to that of Swedish Silent Films, but the Wisconsin Film Society during 1960 pointed out that its narrative was situated in a different century. "Murnau probably felt that by transferring the action to the year 1838 he would have an atmosphere more condusive to the supernatural. Because of the distance in time, an audience is perhaps more willing to employ its 'suspension of disbelief'." The Film Society mentions F.W. Murnau having filmed the Vampire's carriage in fast-motion for effect, an effect which it felt had been lost on the audiences of 1960. It conceded that shooting on location brought the film "far from the studio atmosphere", but hesitated, "Although frequently careless in technical details (camerwork, exposure, lighting, composition, and actor direction) it had variety and pace."
Lotte H. Eisner, in her volume Murnau, writes, "As always, Murnau found visual means of suggesting unreality". Professor David Thorburn, Massachusetts Institute of Technology, expresses aprreciation and gratitude for the author's writings pointing out that "her arguments in The Haunted Screen are still widely accepted." In regard to the expression of unreality, David Thorburn sees Expressionism as having been typified by "distortion and surreal exaggation" as well as having been "interested in finding equivalents for he inner life, dramatizing not the external world, but the world within us." If not the first horror film, Thorburn delegates "Nosferatu" to being an "origin film" and as "the film in which we can see Murnau freeing the camera.....no one had ever used the camera outdoors more effectively up to this time than Murnau". Lotte H Eisner, in The Haunted Screen writes, "The landscape and views of the little town and the castle in Nosferatu were filmed on location...Murnau, however, making Nosferatu with a minimum of resourses saw all that nature had to offer in the way of fine images...Nature participates in the action."
Close-up magazine during 1929 reviewed the film, unaware that the Wisconsin Film Society would later favor the 1931 Tod Browning version, "The film opens with beautifully composed shots typical of Murnau (one spotlight on the hair, now turn the face slightly, and another spotlight)....It is unquestionably a faithful transcription of the book.
During 1926, when Murnau was readying to come to American, the periodical Moving Picture World interviewed his assistant, Hermann Bing, "Murnau's intention is to try to make pictures which will please the American theatre patrons- commercial successes because of their artistry....Murnau's object will be not to describe but to depict the relentless march of realities not for the objective, but from a subjective viewpoint." This almost seems like a nod to Carl Th. Dreyer's later film "Vampyr", other than that Dreyer's film had been made during the advent of sound film while Murnau was in America, shortly before Murnau's death. Fox Film publicity happenned to announce F.W. Murnau's coming to America by withholding the title of his debut American fim, giving the name of the dramatist that wrote its photoplay as Dr. Karl Mayer. "Theater Audiences Everywhere Are Waiting For This Creation".
Silent Film
In regard to the extratextual discourse of movie magazines of the time period, during 1929 the periodical Motion Picture News subtitled their review of "Nosferatu" with "Morbid and Depressing". It deemed Murnau's adaptation of the novel by Bram Stoker to be "a vague yarn hard to follow with several sequences that have a tremendous part to do with the plot introduced most haphazardly."
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09 Jul 02:46
Sherlock Holmes And The Secret Weapon
by Scott Lord on Silent Film, Scott Lord on Mystery Film
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09 Jul 02:40
Donna and I walked down Tremont Street, Boston, passed the church where she is a librarian, it bells ringing, and went to lunch at one of our usual places for my Sixty Second brithday.(She bought me a pocket hair comb for a dollar and said it was for my birthday, I took her to lunch this time, ps. I had a Western Omlette.)
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With Donna on my Sixty Second Birthday, Downtown Boston
by Scott Lord on Silent Film, Scott Lord on Mystery Film
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