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Happy Easter
Paul Revere’s Ride to Lexington Concord 1775
Kyrie, Eleison, Donna and I attended a Franciscan Mass after church.
"That was nice."
Donna and I were at the church library at nine o'clock in our Congregational church Sunday in Boston and were in Mass at five o'clock. I'm specificly a little thankful- our contemporay service at four o'clock that we attended weekly after the library closed was cancelled. Between you and I, the music in Mass was beautiful for her- she liked the evangelical music of the contemprary service at our church and I liked the poetry of traditional hymns, often by Charles and Samuel Wesley, during the two services while she was at her desk during the ealier services. After ten years of church going I understand the Mass a little qucker than I would have. There was a beam of light through the stained glass that led to the altar that was stunning. The Mass concerned The Good Shepherd. So, it's not her birthday and our fifteenth anniversary isn't till June, but we attended Mass together for the second time and she has a service where she can find her "praise music".
Peace.
Scott Lord By the way, a little "independent reading/homework" helped. In our church this Sunday I held my own a little during a conversation about Paul Revere's engravings with a librarian from the Boston Antheneum. You'll see from the blog Revere is buried in our churchyard.
Our Fifteenth Anniversary
The Beacon Hill Tomato Soup Romance
Another Rainbow
Swedish Silent Film, director George af Klercker
Sherlock Holmes
Silent Film, Swedish Silent Film: Biograph and Svenska Bio; D.W. Griffith and Victor Sjostrom: Scott Lord Silent Film: Lon Chaney in East is East (Tod Browning, 1929)
Scott Lord Silent Film:: Nosferatu (F.W. Murnau, 1...
Ellery Queen
New writing
Silent Film, Swedish Silent Film: Biograph and Svenska Bio; D.W. Griffith and Victor Sjostrom: Scott Lord Silent Film: Lon Chaney in East is East (Tod Browning, 1929)
Lon Chaney
John Brunius, Greta Garbo: Scott Lord Swedish Silent Film: Revelj (George af...
Ellery Queen
Victor Sjostrom as Seastrom, Mauritz Stiller, The Golden Age of Swedish Silent Film
Swedish Silent Film
Tags: silent film
Silent Film
Swedish Silent Film Blog Analysis
The website garbo-seastrom.blogspot.com, titled "Swedish Silent Film," is an extensive and scholarly archival project curated by Scott Lord. It serves as a specialized deep-dive into the "Golden Age" of Swedish cinema and its profound intersection with the Hollywood studio system during the silent and early sound eras.
The blog is characterized by its "archival poetics," a methodology that reconstructs film history by blending traditional film criticism with a meticulous examination of primary source materials.
1. Core Subject Matter and Key Figures
The blog's primary focus is the migration of Swedish talent to America and their subsequent impact on global cinema. Central figures include:
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Greta Garbo: The site tracks her metamorphosis from Greta Gustafsson in Stockholm to the "Divine Garbo" of MGM. It provides granular detail on her early Swedish works, such as The Saga of Gösta Berling (1924), and her Hollywood breakthroughs like The Torrent (1926) and A Woman of Affairs (1929).
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Victor Sjöström (Victor Seastrom): Lord analyzes Sjöström's dual legacy as a pioneer of Swedish naturalism and a master of American psychological drama, specifically highlighting masterpieces like The Wind (1928) and He Who Gets Slapped (1924).
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Mauritz Stiller: Recognized as Garbo's discoverer and mentor, the blog explores Stiller's flamboyant directorial style and his ultimately tragic struggle to navigate the rigid Hollywood machine.
The Swedish Diaspora: Beyond the "Big Three," the blog also documents the careers of actors Lars Hanson and Einar Hanson, as well as directors like Gustaf Molander and John Brunius.
2. Distinctive Research Themes
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"Lost Films in Found Magazines": One of the blog's most innovative features is the reconstruction of lost or deteriorated films through "extratextual discourse." Lord uses vintage fan magazines (e.g., Photoplay, Screenland, Motion Picture Classic), trade papers, and advertisements to provide a "ghost-like" view of films that no longer exist in viewable form.
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Iconography and Modernity: The site frequently applies academic frameworks to analyze Garbo as an "Art Deco Icon" and a "figurehead of modernity." It examines how her image was constructed through fashion, lighting, and the specific mise-en-scène of directors like Clarence Brown and Fred Niblo.
The Transition to Sound: There is significant focus on the "talkie" revolution, exploring how the voices of international stars were managed and how technological shifts altered the "silent mystique" of the Swedish imports.
3. Content Depth and Visual Richness
The blog functions as a visual museum, featuring:
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Rare Ephemera: High-quality scans of 1920s fashion sketches (e.g., "What the Garbo Girl Should Wear"), rare film stills, and contemporary reviews.
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Literary Analysis: Lord often discusses the adaptation process, looking at how novels (such as those by Selma Lagerlöf) were transformed into cinematic "photoplays."
Private vs. Public Personas: The blog balances professional film history with the contemporary media narrative of the time, often citing early biographers like Rilla Page Palmborg to show how the "Hermit of Hollywood" persona was curated by the press.
In summary, Swedish Silent Film is more than a fan site; it is a sophisticated research tool for film historians, students of "star studies," and enthusiasts of the silent era, offering a comprehensive look at how Swedish aesthetics helped define the visual language of classical Hollywood.
Swedish Silent Film Blog Analysis
The blog garbo-seastrom.blogspot.com, titled "Swedish Silent Film," is a comprehensive historical and analytical archive curated by Scott Lord. It serves as a specialized scholarly resource dedicated to the "Golden Age" of Swedish cinema and its profound influence on the early Hollywood studio system. The site's title pays homage to its two primary pillars: Greta Garbo, the quintessential Swedish export and international icon, and Victor Sjöström (known in America as Victor Seastrom), the pioneering director whose visual naturalism redefined cinematic storytelling.
The blog is characterized by a sophisticated, multidisciplinary approach that blends film theory, biographical research, and archival preservation. Its content and themes can be categorized into several key areas:
1. The "Lost Films in Found Magazines" Methodology
Perhaps the blog's most distinctive feature is its use of "extratextual discourse" to reconstruct cinema history. Because many silent-era films have physically deteriorated or been lost to time, Lord utilizes vintage fan magazines (such as Photoplay, Screenland, and Motion Picture Classic) and trade journals from the 1920s to "resurrect" these works. By analyzing contemporary reviews, advertising campaigns, and behind-the-scenes photography, the blog provides a spectral view of films that no longer exist, treating the printed word as a crucial archaeological clue to lost celluloid.
2. Deep Dives into Key Figures
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Greta Garbo: The site meticulously tracks Garbo's evolution from her humble beginnings as Greta Gustafsson in Stockholm to her status as the "Divine Garbo" of MGM. It explores her early collaborations with Mauritz Stiller, such as The Saga of Gösta Berling, and her transition into American masterpieces like The Torrent, Flesh and the Devil, and A Woman of Affairs. The blog often examines her as an "Art Deco icon" and a figurehead of modernity.
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Victor Sjöström (Seastrom): Lord analyzes Sjöström's dual legacy, covering his foundational Swedish works (e.g., The Outlaw and His Wife, The Phantom Carriage) and his influential American period, specifically his collaborations with Lillian Gish in The Wind and Lon Chaney in He Who Gets Slapped.
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Mauritz Stiller: The blog frequently discusses the tragic and brilliant director who discovered Garbo. It highlights his struggle to adapt to the Hollywood machine and his pivotal role in developing the visual language of the era.
The Swedish Diaspora: Beyond the "big three," the blog documents the careers of other Swedish transplants, including actors Lars Hanson and Einar Hanson, and director Gustaf Molander.
3. Archival Poetics and Visual Richness
The blog is heavily illustrated with high-quality scans of rare primary sources. These include:
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Fashion and Iconography: Features such as "What the Garbo Girl Should Wear" (by legendary designer Gilbert Adrian) illustrate how Garbo's image was commodified and how it influenced global fashion trends.
Public vs. Private Narratives: Lord examines the "Hollywood Hermit" persona of Garbo, contrasting the sensationalist reports in fan magazines with the sparse factual data available from the actress herself.
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Technological Transitions: There is significant focus on the "death of the silent era," tracking how foreign stars dealt with the advent of the "Talkies" and the perceived threat the microphone posed to those with heavy accents.
4. Theoretical and Historical Context
The writing often employs what the author calls "heuretical metaphors" and "archival poetics." Rather than mere trivia, the posts function as essays that situate these films within the broader cultural life of the 1920s. This includes discussions on how novels were adapted into "photoplays," the role of the "continuity writer" as a dramaturgist, and the audience reception of early screen culture.
In summary, Swedish Silent Film is not just a fan site; it is a rigorous digital museum. It provides an invaluable service to film historians and cinephiles by preserving the "ephemera" of the silent era—the magazines, the fashion sketches, and the trade ads—that offer the only remaining window into the birth of modern stardom.
Scott Lord on Danish Silent Film: House of Ill-repute (Det Byrygtede Hus, Urban Gad, 1912)
Swedish Silent Film Blog Analysis
The blog "Swedish Silent Film" (garbo-seastrom.blogspot.com), authored by Scott Lord, is a specialized archival and historical project that serves as a meticulous deep-dive into the "Golden Age" of Swedish cinema and its subsequent influence on the Hollywood studio system.
The site operates at the intersection of film history, star studies, and "archival poetics," reconstructing the lost or fragmented history of early 20th-century cinema through a variety of lenses:
1. Key Figures and Central Subjects
The blog's name highlights its primary muses:
Greta Garbo: The site explores her metamorphosis from "Greta Gustafsson" in Stockholm to the "Divine Garbo" of MGM. It provides extensive coverage of her early Swedish films, like The Saga of Gösta Berling, and her transition to American hits like The Torrent and A Woman of Affairs.
Victor Sjöström (Victor Seastrom): Lord analyzes Sjöström's dual legacy as a pioneer of Swedish naturalism and a master of the American silent psychodrama (most notably his work on The Wind and He Who Gets Slapped).
Mauritz Stiller: Often cited as Garbo's "discoverer" and mentor, Stiller's flamboyant directorial style and his tragic struggle to adapt to the Hollywood machine are recurring themes.
Wider Swedish Diaspora: The blog also tracks other Swedish exports of the era, including actors Lars Hanson, Einar Hanson, and director Gustaf Molander.
2. "Lost Films in Found Magazines"
One of the blog's most distinct features is its use of extratextual discourse. Because many silent films have physically deteriorated or been lost to time, Lord uses vintage fan magazines (such as Photoplay, Screenland, and Motion Picture Classic) to "reconstruct" them. By analyzing contemporary reviews, advertisements, and behind-the-scenes photography, the blog provides a ghost-like view of films that no longer exist in viewable form.
3. Visual and Cultural Richness
The site functions as a high-quality visual archive, featuring:
Rare Ephemera: Scans of original fashion sketches (e.g., "What the Garbo Girl should Wear"), movie program books, and studio stills.
Fashion and Modernity: The blog examines how stars like Garbo became icons of Art Deco and "modernity," influencing global style and social behavior during the 1920s.
Literary Roots: Much of the content discusses the "literary quality" of Swedish film, particularly its reliance on the works of Nobel laureate Selma Lagerlöf, whose novels provided the backbone for the era's dramatic landscapes.
4. Scholarly Approach
Unlike typical fan sites, "Swedish Silent Film" employs a more academic tone, often referencing film theorists and historians like Bo Florin, Tommy Gustafsson, and Lucy Fischer. It engages with complex ideas such as:
Nationalistic Style: The "perceived artiness" and naturalistic acting styles that distinguished Swedish film from its American and Danish competitors.
The Transition to Sound: The site documents the often-unsuccessful attempts of European stars to navigate the technological shift to "talkies," which effectively ended many careers while cementing Garbo's legend.
For researchers, classic film enthusiasts, or those interested in the history of the "Garbo mystery," this blog remains one of the most comprehensive and visually rich resources on the web for the Swedish contribution to early cinema.
Scott Lord Silent Film: Clara KImball Young in Hearts in Exile (James Young, 1915)
Clara Kimball Young starred in two films during 1915 listed as a Lost Silent Film by Stanford University, both directed by James Young, "Making Money" (five reels) and "The Heart of Blue Ridge" (five reels). The film "Magda" (Emile Chatutard, 1917) with Clara Kimball Young, scripted by Margaret Turnball, is also listed as being lost. More significantly, the existant films starring Clara Kimbal Young from that year are noted for being adaptations of literature in light of Hollywood have spent its first decade of the transition from stage to screen, her that year having starred in "Trilby", directed by Maurice Tourneur and "Camille" written by Frances Marion.
Actress Clara Kimball Young was married to James Young between 1910-1919. Both appeared on screen in front of the camera in the Vitagraph film "Lady Godiva" (J. Stuart Blackton, 1911).
Silent Film Silent Film
Scott Lord Silent Film: (Hårda viljor (John Brunius, 1923)
Scott Lord Finnish Silent Film: The Bride of the Trickster (Konskenlaskijan morsian, Erriki Karu, 1923)
Konrad Tollroth, who had directed in Sweden for Charles Magnusson and Svenska Bio, starred in the adaptation of the 1911 Vaino Kataja novel "The Rapid Rider's Brides" written and directed by Erikki Karu during 1923. Karu followed in 1923 by directing the film "The Village Shoemakers" (Nummisuutarit). Both films star actress Kristi Suonio.
Finnish silent film director Erikki Karu directed two of his earliest films, romantic comedies in regard to genre, for Suomen Biografi during 1920, both photographed by Finnish cinematographer Frans Ekebom, "War Profiteer Kaikus Disrupted Summer Vacation" (Sotagubishi Kaiun Hairitty Kesabma) and "Student Pollevaava's Betrothal" (Ylioppilas Pollovaaran Kihlaus). Both films are primarily considered Lost Silent Films with only fragments presently existing. Erriki Karu silent film
Scott Lord Silent Finnish Film: The Young Pilot (Nuovi Luotsi, Erriki Karu, 1928)
Peter Cowie, in his volume Scandinavian Cinema explains, "The arrival of the talkies was delayed by the efforts of the world wide stockmarket crash and the career of Erikki Karu came to a swift and melancholy end."
Erriki Karu
The Silent Film of John Gilbert
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).
Remade by Greta Garbo: Anna Christie
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
Scott Lord Silent Film: Blanche Sweet in Judith of Bethulia (D.W. Griffith, Biograph, 1914)

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.'
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