Scott Lord

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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

Tags: silent film

09 Jul 03:15

Greta Garbo in The Kiss (Feyder/Daniels, 1929)

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Greta Garbo 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
09 Jul 03:15

Scott Lord Horror Comedy: Ghost Parade (Mack Sennett, 1931)

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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)

d w grifffith silent film
09 Jul 03:14

Scott Lord Silent Film: A Tale of Two Cities (Charles Kent, 1911)

scott lord silent film
09 Jul 03:14

Scandinavian Silent Film: Victor Sjostrom as Seastrom, Mauritz Stiller, John Brunius, Greta Garbo

09 Jul 03:14

Scott Lord Silent Film: Hearts of the World (Griffith 1918) - YouTube

09 Jul 03:14

Scott Lord Silent Film: Raffles, the Amateur Cracksman (1917) - YouTube

09 Jul 03:14

Scott Lord: Silent Sherlock Holmes starring Ellie Norwood




please include this addtional feature


Scott Lord Silent Film
09 Jul 03:14

Inga's Veil, Evening, erotic novel, film poem page four was updated



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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.
 
 


 
 
 
 
 

Complimenary Movie

 


Complimentary Movie








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Scott Lord

09 Jul 03:13

Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem was updated



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Subject: [scottlordnovel] Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem was updated
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Scott Lord updated the page Inga's Veil, Evening chapter one Blue White Rainbow erotic novel, film poem. View the changes below.

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Wife in Mirror, 1966 by William Stilson
     The painted was kept in a gallery on Bearskin Kneck when the present author lived there. She is, for the most part, "the real Inga", though only a painting.



      She is the only direct subject of the first scene of the film: there is the use of voice over narrative and flashforward. In the opening shot she is seen in mediuum full shot, her having finished her correspondence. Depending upon what hour she had begun, there previously had been added to that an infrequent journal entry in epistolary form addressed to her lover more often than not rather than to herself. Despite its seeming to be too early in the evening, she appears to be putting a manuscript into the top drawer of her desk, which she closes with her right hand. If it can be said that as an actress she will be drifting and that her instructions are to dress off to the right of her chair, on film the sequence is an on camera turn-her directions to sit into the set have been precluded in that later within the scene there is the use of retrospective narrative cut in shots of her sitting at the desk from within a half hour of her having risen from her chair, the camera intriguing the spectator by suprisingly creating a voyouerism within discourse throught its third person omniscient voice, the transdiegetic aspect of its having omniprescence being temporal rather than spatial as it returns to a cutback shot in the present tense.
     There is a cup of coffee on the desk, the height of which is  above her knees while below her stomach. At first, the tight closeups, close ups and medium close shots are lensed from behind the desk, from a vantage point not thought possible for the camera to acquire, as though there were  physically no wall behind it, much like a three wall set, whereas the medium shots are near to being filmed over the shoulder and in three quarter profile. Near to the right of the chair, she has already skimmed the contents of the drawer before closing it and has brought her glance to the horizontal plane, the subjective high angle withheld from the film as she is to lower her view to reassure herself that the objects on the desk are neatly placed, her not necessarily imediately having noticed the telephone having had been being now more to the left within the square created by what is either a computer or a television with a digital video recorder within the  polished wooden rectangle . The script given to the actress includes description as to whether or not there is an object on the desk that ostensibly belongs to him, it appearing during the course of the scene that there is the disclosure that they could more than live together or that they were seeing each other frequently. The script has also withheld information from the actress untill shooting. If one or more of the items are his, they could include a gift that she had brought back as a present still waiting for him or older articles they had acquired together, the emotional content of the spatial object  within the filmed frame subject to the look and actions of the character.
     Were the films use of multiple cameras to include her surveying the desk, watching her eyes would have relayed a sentimental look in her having accomplished having written the particular letter or poem and in their sense of immediacy and yet there is an urgency that has concluded or transformed, something indicative of her being unfailiar with a newly felt emotion, one different than she previously had concieved it would be were she to ever experience it. As she slowly, only gradually lowers her eyelids, it is not according to a personal, solipstic fascination, but more so her lips are only slightly apart, her having ostensibly precluded opening them any wider as her unspoken response to something she had remembered his having said and would not allow herself to answer, to quote or to reiterate, she herself only having heard it said only once, only by him on that occaision, it cloistered within her memory-laden femininity as she looked to him to kiss her eyelids again. There was now a smoothness, or ease to her movements, one in part self acknowledgement, there being a look of introspective holiness, or spiritual beauty derived from that which is known intimately, and known as being particularly singular or unique to her own experience; there is a sensuality to her being in reflection and yet her herself being an an emotive image as a softness impinged her sensibility and her sensibility of self awareness. Within the transcription of her moving image into the dramaturgical significance it would acquire positioned within the linear visual plotline, projected onto, and or projected for the ideal viewer of an implied or disembodied spectator is her solitude projected as not only a mobilized gaze, but as an act of prayer that can be taken as a metaphor for what not only would be tacit between them when they later would meet, but also for her present need to speak to him at that moment- female desire as transcendental. It is discernable, before viewing the retrospective interdiegetic shots of her penning what she had only then finished writing, that it may hvae been only after her having recieved, or found, an earlier letter of his, or a volume of poetry on the shelf in which he had written something in the margins and had telephoned her about in hope she would have time to thumb through the book to find it.  Was it that belief, and accordingly beauty, was the desire for union with something that found the fondness of appreciation?
    "I can't say a word on this telephone untill your finished telling me everything."
     "Why did you stop using words while we were making love?"
     The shot at present is stationary. An as objectification of pleasure, her body, and any beauty inherent within  the erotic object as a quality and its accompanying position of belief as the desire for a transcendental love and ideal beauty, in its femininity is beauty as is modified, her nudity and its foreshadowing of its possible later reoccurrence in the film beuaty that as an objectification of pleasure takes action rather than being only transitory, beauty as perpetual, truth, searched for as being absolute, held by her spontaneity; as an aethetic continuum there is a sensuality to the narrative-spatial dimensions of the scene in which its motifs are encased as she is the center of the vertical composition, the spatial planes of the room limited to the vertical frameline untill divulged by her horizontal movement.
     Within the spectatorial address or any consequent objectification of spectatorial pleasure or desire, including viewer identification as desire for an erotic subjectivity as erotic object, the sequence, itself designed as thematicly autonomous, is not an autonomous single shot in that there is a cutting for continuity that includes reframings and cutting to similar angles. There is a thematic unity of context within the interframe narrative that, in being centered around her and her movement, her movement and or action theatrical space in relation to object positions that within their spatial proximity to her and within their spatial contiguity to each other are measured by linear perspective as non-moving height or width, is becoming increasingly interested in her.
     Within narrative as a mode of address, the viewer is not only interpellated but reproduced, transmogrified or reconfigured, as subject and, within a unfied ideal spectatorial position is brought into a suture pattern of characterization, there being a suture pattern to identification, an appearance dissappearance within the relationship of protagonist observer, an absence presence of emotion, the emotion involved in reception, each relsolution of narrative action holding a lack of closure in the presence and absence of future event, particularly in that the view has constructed an imaginary eroticism which is either supported by the object of fantasy, or brought to a greater excitement than that which the viewer had been looking forward to while waiting. There is, casually, an erotic relationship of hers, whether erotic action or fantasy, contained in what she is doing that becomes seemingly more singular, which at first seems almost ordinary, the viewer only omniscient in that the left shot is left as imaginary and as being among the possible movements she could make within the limited space of the frame, and then in turn, within each framing, there being a diegetic logic of the erotic, there a suture relationship between the camera's decisions and selections, the individual's agency,or fate, or urgency within her particular position in the narratvie core and the viewer as fantasisizing desire to act as protagonist while vouyer.  As to create a shot to shot contrast of spatial configuration, the spatial distance she is kept from the camera and each object brings a diegetic connontation that the action of the scene is her desire, or her desire to transcend sexual gratification. There is a discursive organization to the contiguous images that lends them a figurative context, a cutting for emotional effect with legnthy static shots  that bring to poin her meditations and continuous shots of varying, yet measurably comparable, duration; each reframing a perspectival acknowledgement of each slight purient motion on her part and each decision as to how long they are to continue, the suprise of the nymph elapsed; each a deigetic reference to each postition her body acquires to create spatial temporality while creating vanishing points with off-screen space that had previously been onscreen and with space eroticlly hidden inhabited by the image in the shot to follow;each a reference to her moving without being as near to him as she could be.
 
 

YouTube Video erotic trailer written in between revisions




An Erotic Trailer Reel Two Scott Lord





 
 
 
 

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Scott Lord

09 Jul 03:13

Silent Fim Mysteries 1913

While listening to a 1939 radio braodcast of The Shadow of Fu Man Chu, an old time radio drama with Nayland Smith of Scotland Yard, the detective created by Sax Rohmer, I'm researching the mystery films made in 1913. Tonight's episode is The Golden Pomegranate.



Scott Lord Silent Film
09 Jul 03:13

Silent Film Movie Posters: Comedy

The Haunted House
Silent FIlm Movie POsters
09 Jul 02:56

Scott Lord Mystery: Boris Karloff in The Raven (Roger Corman, 1963)

View attached file (57A0Vthq4FI?version=3, unknown)
09 Jul 02:56

Scott Lord Silent Film: The Politician's Love Story (D.W. Griffith, 1909)


The Politicians Love Story is a brialliant, early example of reverse screen direction, using diagnol framing to depict perspective.
Linda Arvidson, wife of director D.W. Griffith chronicled having known Mack Sennett in her autobiography "When Movies Were Young", " 'The Curtain Pole' and 'The Politicians Love Story' started the grumbling young Mack Sennett on the road to fame and fortune. Like the grouchy poker player who kicks himself into financial recuperation,Mack Sennett grouched himself into success." Silent Film D.W. GriffithD Biograph Film Company
09 Jul 02:56

Sjostrom

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09 Jul 02:56

Silent Sherlock Holmes

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Silent Film
09 Jul 02:56

Greta Garbo in The Kiss (Feyder/Daniels, 1929)

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Greta Garbo 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
09 Jul 02:56

Scott Lord Silent Film: The Invaders (Ince, 1912)

Silent Film
Having directed "The Indian Massacre" and Across the Plains" the year before, Thomas Ince during 1012 directed the films "The Invaders" (three reels) starring its co-director Francis Ford and Ethel Grandin and "Custer's Last Fight" (three reels) for the New York Motion Picture Company and "Shadows of the Past" for the Vitagraph Company of America.
It is often acknowledged that Thomas Ince was the first director to use a shooting script. These were detailed shooting scripts, known to be meticulous in their planning, where plotline would emerge as having precedence over action and spectacle.
Author Kenneth MacGowan notes that Thomas Ince "strove for theatric effect", but only with scripts that were "direct and tight" and used intertitles to advance character action dramatically relating to events as a technique of exposition.
Silent Film D. W. Griffith
09 Jul 02:55

Scott Lord on Silent Film Hollywood, Lost Silent Film, Swedish Silent Film, Danish Silent Film: Scott Lord Silent Film: Ben Hur, A Tale of Christ (Fred Niblo, 1925)

Silent Film

Tags: Silent silent film

09 Jul 02:55

Silent Film

Silent Film

Tags: Silent Film

09 Jul 02:55

Swedish Silent Film

Swedish Silent Film

Tags: Silent Film

09 Jul 02:55

Scott Lord Silent Film: Biblical Drama; The Miracles of Jesus (Mogul Film Company, 1910s) - YouTube

Silent Film

Tags: Silent Film

09 Jul 02:55

Scott Lord on Film: Mae Murray in Peacock Alley (Marcel de Sano, 1930)

View attached file (dg88BNbfdvI?version=3, unknown)
09 Jul 02:55

Sherlock Holmes, The Dying Detective (Elvey, 1921)



Mystery

Silent Film

Scott Lord
09 Jul 02:55

Silent Sherlock Holmes




Silent Film
09 Jul 02:39

Fwd: Wayback Machine - Save Page Now



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