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03 May 04:08
Scott Lord on Silent Film Hollywood, Lost Silent Film, Swedish Silent Film, Danish Silent Film: Scott Lord: Greta Garbo in The Divine Woman (1928, Victor Sjostrom)
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03 May 04:01
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03 May 03:57
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03 May 03:57
Scott Lord on Silent Film Hollywood, Lost Silent Film, Swedish Silent Film, Danish Silent Film: Scott Lord: Greta Garbo in The Divine Woman (1928, Victor Sjostrom)
Greta Garbo Victor Seastrom
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03 May 03:57
Scott Lord on Silent Film Hollywood, Lost Silent Film, Swedish Silent Film, Danish Silent Film: Scott Lord: Greta Garbo in The Divine Woman (1928, Victor Sjostrom)
Greta Garbo Victor Seastrom
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03 May 03:57
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03 May 03:57
Swedish Silent Film: Love and Jornalism (Karleck Och Journalistik, Mauritz Stille...
Mauritz Stiller directed "Karleck och Journalista", a comedy based on the writing of Harriet Bloch, in 1916. The film stars Jenny Tschernichin-Larsson, Stina Berg, Gucken Cederberg and Karin Molander.
The most widely known films directed by Mauritz Stiller during 1916 were "The Ballet Primadonna" (Balletprimmadonnan), starring Lars Hanson, and Jenny Tschernichin-Larsson and "The Wings" (Vingarne), a film in which both photographer Julius Jaenzon and director Mauritz Stiller appear on screen, starring Lars Hanson and Lilli Bech.
The film "The Ballet Primmadonna" was phtographed by Julius Jaenzon and featured one of the only two photoplays written for Svenska Biografteatern by Djalmer Christophersen.
When "The Wings" was recently screened by curator Jon Wengstrom of the Swedish Institute, Mauritz Stiller was commended for his onscreen appearance by virtue of his adding a self-reflexive scene with the on the set filming of a film to the framing structure when adapting the original story written by Herman Bang. The film currently screened by Wengstrom at Silent Film Festivals is in fact a restoration of an incomplete print which includes the footage of Stiller and Jaenzon, which had been unpopular and neglected as a lost film sequence. Wengstrom writes, "The erotic drama, and the delightful play of ancient myth and urban modernity is framed by a prologue and epilogue where Stiller gets the idea to the manuscript, casts and shoots the film"
In outlining the initial differences between Victor Sjostrom and Mauritz Stiller, the former having a propensity toward serious, artistic film, the latter making more comedic satires, Aleksander Kwaitkowski, in his volume Swedish Film Classics looks at the technique used by Mauritz Stiller as the film "Love and Journalism" unfolds, "Stiller's narration is purely visual (only twenty five intertiles in the whole picture), streamlined, lucidly carrying the plot forward."
Although there have been films directed by Victor Sjostrom and Mauritz Stiller that have been rediscovered, restored and preserved during the twenty-first century, the 1916 film "The Fight For His Heart" (Kampen om hans hjarta) directed by Maurtiz Stiller and starring actresses Karin Molander and Anna Diedrich is lost with no surviving copies or fragments. Also directed that year by Stiller and also lost is the film "The Lucky Brooch" (The Lucky Pin/Lyckonalen), photographed by Hugo Edlund and satrring Greta Almroth and Stina Berg.
In regard to Lost Films, Found Magazines, according to Peter Cowie, author of the volume Scandinavian Cinema, the film "Love and Journalism" directed by Mauritz Stiller, taken with Stiller's film "The Wings", is one that has "miraculously survived", the bulk of the films made by Mauritz Stiller and Victor Sjostrom before 1916 now lost with no surviving copies existing.
Mauritz Stiller and Victor Sjostrom Silent Film
The most widely known films directed by Mauritz Stiller during 1916 were "The Ballet Primadonna" (Balletprimmadonnan), starring Lars Hanson, and Jenny Tschernichin-Larsson and "The Wings" (Vingarne), a film in which both photographer Julius Jaenzon and director Mauritz Stiller appear on screen, starring Lars Hanson and Lilli Bech.
The film "The Ballet Primmadonna" was phtographed by Julius Jaenzon and featured one of the only two photoplays written for Svenska Biografteatern by Djalmer Christophersen.
When "The Wings" was recently screened by curator Jon Wengstrom of the Swedish Institute, Mauritz Stiller was commended for his onscreen appearance by virtue of his adding a self-reflexive scene with the on the set filming of a film to the framing structure when adapting the original story written by Herman Bang. The film currently screened by Wengstrom at Silent Film Festivals is in fact a restoration of an incomplete print which includes the footage of Stiller and Jaenzon, which had been unpopular and neglected as a lost film sequence. Wengstrom writes, "The erotic drama, and the delightful play of ancient myth and urban modernity is framed by a prologue and epilogue where Stiller gets the idea to the manuscript, casts and shoots the film"
In outlining the initial differences between Victor Sjostrom and Mauritz Stiller, the former having a propensity toward serious, artistic film, the latter making more comedic satires, Aleksander Kwaitkowski, in his volume Swedish Film Classics looks at the technique used by Mauritz Stiller as the film "Love and Journalism" unfolds, "Stiller's narration is purely visual (only twenty five intertiles in the whole picture), streamlined, lucidly carrying the plot forward."
Although there have been films directed by Victor Sjostrom and Mauritz Stiller that have been rediscovered, restored and preserved during the twenty-first century, the 1916 film "The Fight For His Heart" (Kampen om hans hjarta) directed by Maurtiz Stiller and starring actresses Karin Molander and Anna Diedrich is lost with no surviving copies or fragments. Also directed that year by Stiller and also lost is the film "The Lucky Brooch" (The Lucky Pin/Lyckonalen), photographed by Hugo Edlund and satrring Greta Almroth and Stina Berg.
In regard to Lost Films, Found Magazines, according to Peter Cowie, author of the volume Scandinavian Cinema, the film "Love and Journalism" directed by Mauritz Stiller, taken with Stiller's film "The Wings", is one that has "miraculously survived", the bulk of the films made by Mauritz Stiller and Victor Sjostrom before 1916 now lost with no surviving copies existing.
Mauritz Stiller and Victor Sjostrom Silent Film
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03 May 03:57
Greta Garbo Victor Sjostrom
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03 May 03:56
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03 May 03:56
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03 May 03:56
Scott Lord: Greta Garbo in The Divine Woman (1928, Victor Sjostrom)
"The Divine Woman" directed in the United States during 1928 featured three Swedish Silent Film stars from the Golden Age of Swedish Silent film, two of whom, Victor Sjostrom and Lars Hanson, would soon return to Sweden to mark the advent of sound film. Sjostrom would return to act and only act, in front of the camera rather than behind it. Only one reel of the film survives, it being presumed lost with no other footage of the film surviving other than the fragment.
Bo Florin, Stockholm University, in his volume Transition and Transformation- Victor Sjostrom in Hollywood 1923-1930, looks as a film detective not only to film critics and magazine articles printed during the first run of the film, as I have, this webpage in fact subtitled "Lost Films, Found Magazines", (please excuse the trendy contemporary use of subtitles during peer review) but also to the the cutting continuity script, his finding a specific sequence where Sjostrom uses "a combination between iris and dissolve", one which, as an iris down, fulfills the "classic Sjostrom function of an analogy". There are two other dissolves in the same sequence that are used as transitions, spatial transitions, yet both are taken from different camera distances. Again, no footage from r the scene or the reel it is from survives. One can ask if double exposures were only infrquently published in magazines or advertisements as publicity stills, or even as lobby cards or posters and if modern audiences have ever seen photographs from the scene.
Victor Sjostrom and Greta Garbo Greta Garbo in The Temptress
Bo Florin, Stockholm University, in his volume Transition and Transformation- Victor Sjostrom in Hollywood 1923-1930, looks as a film detective not only to film critics and magazine articles printed during the first run of the film, as I have, this webpage in fact subtitled "Lost Films, Found Magazines", (please excuse the trendy contemporary use of subtitles during peer review) but also to the the cutting continuity script, his finding a specific sequence where Sjostrom uses "a combination between iris and dissolve", one which, as an iris down, fulfills the "classic Sjostrom function of an analogy". There are two other dissolves in the same sequence that are used as transitions, spatial transitions, yet both are taken from different camera distances. Again, no footage from r the scene or the reel it is from survives. One can ask if double exposures were only infrquently published in magazines or advertisements as publicity stills, or even as lobby cards or posters and if modern audiences have ever seen photographs from the scene.
Victor Sjostrom and Greta Garbo Greta Garbo in The Temptress
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03 May 03:56
Scott Loord Mystery: The Invisible Man Returns, theatrical trailer
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03 May 03:56
Scott Lord Mystery from Monogram Studios: The Thirteenth Guest (Albert Ray)
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03 May 03:56
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03 May 03:56
Scott Lord Silent Film: Greta Garbo in The Temptress (Fred Niblo, 1926)
by Scott Lord on Silent Film, Scott Lord on Mystery Film
The periodical Motion Picture News during 1926 the filming of "Temptress" with a review entitled "Greta Garbo in the Title Role of 'The Temptress'. It read,"Greta Garbo, Swedish actress, will have the title role in Cosmopolitan's production of 'The Temptress, which will be a Metro Goldwyn Mayer release directed by Mauritz Stiller. She is now working in 'Ibanez' The Torrent'." Greta Garbo had in fact signed to do the film on the condition that Stiller was to direct.
The periodical Motion Picture News during 1925 announced that Mauritz Stiller had been slated to direct "The Temptress" by imparting that he had been brought to the United States by Louis B. Mayer. "Stiller won wide reputation in Europe for his productions." Exhibitors Herald listed the filming of "The Torrent" as being in progress with Monta Bell directing Greta Garbo, Mauritz Stiller "to direct the Temptress".
Biographer Norman J. Zeirold, in his volume Garbo, describes Mauritz Stiller's idea behind filming Greta Garbo, "Only swift disaster lay shead. Stiller wanted to turn the standard story of a make-enslaving vamp into a richly embroidered spectacle. And he wanted to film it in his own manner. He ordered MGM's vast eschelons of production assistants off the film. He began shooting, not in sequence, but as the spirit moved him as he had done in Europe. Thalberg looked at the rushes and could make no sense of the jumbled images."
Author Forsyth Hardy, in his volume Scandinavian Film, curtly, only briefly mentions that Mauritz Stiller was removed as director of the film after a disagreement with Metro Goldwyn Mayer. Biographer William Stewart, in The True Life Story of Greta Garbo gives an account purporting that Mauritz Stiller "had not yet mastered the American method of making pictures. Handling crowds gave him trouble and his lack of English made every move difficult." Hollywood writer Bosley Crowther, in his biography of Louis B. Mayer entitled The Hollywood Rajah writes that Mauritz Stiller "proved to be too finicky and slow" and "difficult", a type of director that "were now being got out of the studio", but adds that before the filming of "The Temptress" was completed, Greta Garbo had met and fallen in love with Jack Gilbert. Although Garbo and Gilbert met during 1926, it seems that Crowther is approximating and according to Clarence Brown, her director, Garbo and Gilbert met on the set of the third film Greta Garbo had made in the United States.
Ruth Biery, who writes "I have seldom met anyone more timid than Garbo' became known to readers of fan magazines as the first biographer to introduce Greta Garbo with an interview from New Year's Eve 1927 that resulted in her appearing in three issues during 1928, Garbo the May Photoplay cover. Ruth Biery returned to the subject of Garbo and Stillerfour years later. "They cast her in 'The Temptress' because Mauritz Stiller insisted upon it. He was to direct it. He directed the production in a way that would work to the advantage of his protoge. Garbo was tall. Antonio Moreno, the actor, was not so tall. The directed insisted that he wear his hair pompador fashion to make him look taller. He put him into boots- undoubtedly to make Garbo's feet look smaller. Moreno resented his favoritism. There was a battle and Stiller lost. He was removed from the picture. This was Garbo' first experience with studio politics. Because of her, Stiller lost his job. Yet it was her friend Stiller who insisted on her being in the picture. She was bewildered, crushed." Biery continued, "She may have loved Stiller. I do not know. I do know she enshrined him. When she talked to me of Stiller her eyes filled with tears, her entire body trembled with emotion."
The first instance of Greta Garbo granting an interview to journalist Rilla Page Palmborg, author of The Private Life of Greta Garbo, was on the set of "The Temptress". " 'I was frantic when Mr. Stiller was taken from the picture,' she said. 'It is difficult for me to understand direction through an interpreter. Everything over here is strange and different. And this studio is so large it confuses me.' "
The True Life Story of Greta Garbo by William Stewart continues, "The second disaster to occur during the filming of 'The Temptress' was the death of Greta's sister."
In The Private Life of Greta Garbo, journalist Rilla Page Palmborg wrote, "Garbo made even a greater sensation in The Temptress than in The Torrent....But Greta declared she knew nothing of the technique of acting. That for the time being she 'was' the person in the picture. She did not know how she got certain effects. She did not know why she did things the way she did them."
Silent Film
Greta Garbo Victor Seastrom
The periodical Motion Picture News during 1925 announced that Mauritz Stiller had been slated to direct "The Temptress" by imparting that he had been brought to the United States by Louis B. Mayer. "Stiller won wide reputation in Europe for his productions." Exhibitors Herald listed the filming of "The Torrent" as being in progress with Monta Bell directing Greta Garbo, Mauritz Stiller "to direct the Temptress".
Biographer Norman J. Zeirold, in his volume Garbo, describes Mauritz Stiller's idea behind filming Greta Garbo, "Only swift disaster lay shead. Stiller wanted to turn the standard story of a make-enslaving vamp into a richly embroidered spectacle. And he wanted to film it in his own manner. He ordered MGM's vast eschelons of production assistants off the film. He began shooting, not in sequence, but as the spirit moved him as he had done in Europe. Thalberg looked at the rushes and could make no sense of the jumbled images."
Author Forsyth Hardy, in his volume Scandinavian Film, curtly, only briefly mentions that Mauritz Stiller was removed as director of the film after a disagreement with Metro Goldwyn Mayer. Biographer William Stewart, in The True Life Story of Greta Garbo gives an account purporting that Mauritz Stiller "had not yet mastered the American method of making pictures. Handling crowds gave him trouble and his lack of English made every move difficult." Hollywood writer Bosley Crowther, in his biography of Louis B. Mayer entitled The Hollywood Rajah writes that Mauritz Stiller "proved to be too finicky and slow" and "difficult", a type of director that "were now being got out of the studio", but adds that before the filming of "The Temptress" was completed, Greta Garbo had met and fallen in love with Jack Gilbert. Although Garbo and Gilbert met during 1926, it seems that Crowther is approximating and according to Clarence Brown, her director, Garbo and Gilbert met on the set of the third film Greta Garbo had made in the United States.
Ruth Biery, who writes "I have seldom met anyone more timid than Garbo' became known to readers of fan magazines as the first biographer to introduce Greta Garbo with an interview from New Year's Eve 1927 that resulted in her appearing in three issues during 1928, Garbo the May Photoplay cover. Ruth Biery returned to the subject of Garbo and Stillerfour years later. "They cast her in 'The Temptress' because Mauritz Stiller insisted upon it. He was to direct it. He directed the production in a way that would work to the advantage of his protoge. Garbo was tall. Antonio Moreno, the actor, was not so tall. The directed insisted that he wear his hair pompador fashion to make him look taller. He put him into boots- undoubtedly to make Garbo's feet look smaller. Moreno resented his favoritism. There was a battle and Stiller lost. He was removed from the picture. This was Garbo' first experience with studio politics. Because of her, Stiller lost his job. Yet it was her friend Stiller who insisted on her being in the picture. She was bewildered, crushed." Biery continued, "She may have loved Stiller. I do not know. I do know she enshrined him. When she talked to me of Stiller her eyes filled with tears, her entire body trembled with emotion."
The first instance of Greta Garbo granting an interview to journalist Rilla Page Palmborg, author of The Private Life of Greta Garbo, was on the set of "The Temptress". " 'I was frantic when Mr. Stiller was taken from the picture,' she said. 'It is difficult for me to understand direction through an interpreter. Everything over here is strange and different. And this studio is so large it confuses me.' "
The True Life Story of Greta Garbo by William Stewart continues, "The second disaster to occur during the filming of 'The Temptress' was the death of Greta's sister."
In The Private Life of Greta Garbo, journalist Rilla Page Palmborg wrote, "Garbo made even a greater sensation in The Temptress than in The Torrent....But Greta declared she knew nothing of the technique of acting. That for the time being she 'was' the person in the picture. She did not know how she got certain effects. She did not know why she did things the way she did them."
Silent Film
Greta Garbo Victor Seastrom
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03 May 03:56
Scott Lord on Silent Film Hollywood, Lost Silent Film, Swedish Silent Film, Danish Silent Film: Scott Lord Silent Film: Greta Garbo in The Temptress (Fred Niblo)
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03 May 03:55
Scott Lord Silent Film: Greta Garbo in The Temptress (Fred Niblo)
by Scott Lord Mystery
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03 May 03:55
Swedish Silent Film: The Outlaw and His Wife (Victor Sjostrom...
by Scott Lord on Silent Film, Scott Lord on Mystery Film
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03 May 03:55
Mystery- Phantom Fiend (Maurice Elvey,Paul Rotha)
by Scott Lord
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26 Apr 04:13
Swedish Silent Film - YouTube
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