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Scott Lord

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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.) scott lord

At the time Motion Picture Magazine began publishing publicity stills from the film "Thief of Bagdad" during 1923, actress Evelyn Brent was the only player other than Douglas Fairbanks announced as being included in the cast, the studio having purchased ten acres to be used as sets fir the film.
The periodical Exhibitors Herld during 1924 announced that the film "The Thief of Bagdad", produced by Douglas Fairbanks came with a story written by Elton Thomas, the scenario editor Lotta Woods, "'The Thief of Bagdad' is a conglomeration of every impossible situation that could be dug out of every 'Arabian Nights' tale ever written, interspersed with a few that do not cause a stretch of the imagination to be what might have happenned."
Included with the autobiography of Douglas Fairbanks, Laugh and Live, is a biographical sketch that refers to Fairbanks occaisionally being called "Doug"; the pseudonym of Douglas Fairbanks was Elton Thomas.
SILENT FILM

Douglas Fairbanks SILENT FILM

The immanent departure of Silent Horror Film director F.W. Murnau for America had already been announced by the periodical Motion Picture News during late 1925 while Murnau was readying the film "Faust". It was to star Gosta Ekman, "a young Swedish actor who has the title role. He has been a star on the legitimate stage and is now making his first appearance in pictures." Scholar Janet Bergstrom, University of California notes that F.W Murnau had recieced a letter from William Fox during 1925 prompted by the success of "The Last Laugh" (Der Letze Mann) and had already signed a contract to leave for America while filming "Faust" and "Tartuffe".
Janet Bergstrom, University of California , writes that with the film "Faust", among others, Murnau had "unchained the camera" with moving shots that seemed unique...sweeping the audience's emotions with them". Of these moving shots, Bergstrom brings to our attention tracking shots that were photographed above their subject by having rails mounted on the ceiling of the studio.
The use of a mobile camera by Murnau is clearly referred to by Robert Herlth, a designer of sets on the film "Faust", who wrote on the lighting of the film in a chapter entitled "With Murnau on the Set" included in the volume Murnau, published by Lotte H. Eisner. The set designer quotes Murnau as having said, " 'Now how are we going to get the effect of the design? This is too light. Everything must be made much more shadowy.' And so all four of us set about to trying to cut the light...We used them (screens) to define space and create shadows on the wall and in the air. For Murnau, the lighting became part of the actual directing of the film.'"
The periodical Photoplay Magazine during 1927 explained that F.W. Murnau had again resorted to literary adaptation for subject matter, "Goethe's panaoramic poem has been used as its basis and the adaptation was folowed, in the main, as closely as the screen permits...Murnau has caught the medieval atmosphere with suprising success." F.W. Murnau had actually jotted Goethe's name on one of his shootingscripts. Lotte H. Eisner, in his volume Murnau, writes that the script for "Faust", written by poet Hans Kyser, had originally contained a Walpurgisnacht, which may have only reluctantly have been elimanted from a script annotated by the director Murnau in order to "translate the text into visual terms and give directions to actors in terms ofimages."
In regard to whether F.W. Murnau was only on the peripheral of German Expression by definition due to its origins, one idea that supports that if anything F.W. Murnau held that peripheral is the adverse reaction of author Paul Rotha to the subsquent films Murnau made after haveing come to the United States to film. Rotha, in his volume The Film till Now: survey of world cinema, writes, "I find it impossible to accept that the Murnau who made 'Faust' and 'The Last Laugh' are the same man who made 'Sunrise' and 'Four Devils'. Some link between the two pairs of films is sought in vain. They seem the work of seperate persons: the first of an artist working with sincerity among harmonious surroundings; the second of a psuedo artist muddling under extreme difficulties of superabundance." There is a similar discorse concerning the films Swedish silent film director Victor Sjostrom made in Hollywood after having left Svenska Bio, yet it is one that recognizes the film technique od Sjostrom, including the use of ciematic devices such as cutting across the line to a reverse angle and flashbacks.
silent film
Silent Horror Film
Silent Horror

Toward the end of 1920, Wid's Daily titled its review of Douglas Fairbanks in "The Mark of Zorro" (eight reels) directed by Fred Niblo, with "Slow Starting But 'Doug' Gets This One Over Well". In regard to the film as a whole, it wrote, "Exceedingly entertaining romance with Doug doing a dual role and his usual acrobatics." Appearing in the film with Douglas Fairbanks is actress Margueritte Del La Motte.
Author Peter Cowie, in his volume Eighty Years of Cinema, described "The Mark of Zorro" as "a finely photographed swashbuckling romance".
Silent Film Douglas Fairbanks Douglas Fairbanks

Directed by D. W. Griffith for the Biograph Film Company the film features the first photoplay written by Anita Loos. Subsequently, Loos was to write the scenarios and screenplays to films which starred Douglas Fairbanks. The New Movie Magazine during 1930 nostalgically related that the film had also introduced Lionel Barrymore to the screen and that Loos, who had only been sixteen years old at the time of its release, had received “the large sum of $15” for writing the film. Author Iris Barry explains that it was not only Anita Loos that was behind the scenes, “At this period, ideas for films were commonly bought from outsiders and members of the company alike. Mary Pickford, Mack Sennett and others contributed many of the plots Griffith used.” This in part can be taken into consideration when apply Autuer theory to the abrupt difference between the scriptwriting methods of D.W Griffith and Thomas Ince and when reconsidering autuer theory when comparing the directorial efforts of D.W. Griffith and Ingmar Bergman in the mileau of a theatrical acting company.
In the volume D.W. Griffith, American Filmaker, Iris Barry writes that 1912 was a year that D.W. Griffith was an innovator not only in the depiction of social themes and social problems but also in film technique and the uses of the camera as well as the legnthening of the onscreen running time of the two reeler. Barry describes the filmmaking involved in “The New York Hat” (one reel),The film uses cut-backs, close-shots and sharply edited scenes with ease and mastery: close-ups made acting a matter of expresssion and minute guestures instead of the stereotyped guestures of the popular theater.” Peter Cowie, in his volume Eighty Years of Cinema, writes, "Close ups already predominate this film."
In the short scenes of Griffith’s film, Mary Pickford is shown to the right of the screen in medium close shot, trying on a hat, her hands and elbows shown in the frame. Griffith cuts on the action of her leaving the frame to exterior shots. In a later scene, Griffith positions her to the left of the screen, and, his already having shown time having elapsed between the two scenes, then brings the action back to the right of the screen frame. As an early reversal of screen direction, or screen positioning, there is the use of screen editing in between the complimentary positions of showing her in the same interior. During the film the actress is, almost referentially, often kept in profile, facing to the right of the screen's frame. Although Griffith may have been still developing editing techniques, it has been noted that the acting style in the film can be seen as an example of a more naturalistic and less histrionic acting style than that of other contemporary films.

The cinematographer to "The New York Hat" was G.W. Bitzer.
Silent Film D.W. Griffith Biograph Film Company

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