Victor Seastrom
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03 May 04:08
Swedish Silent Film: Victor Sjostrom, Victor Seastrom, Greta Garbo, Mauritz Stiller, Lon Chaney: Scott Lord: Greta Garbo in The Divine Woman (1928, Victor Sjostrom)
Scott Lord, Scott Lord and one other like this
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)
Scott Lord, Scott Lord and 2 others like this
03 May 04:07
Scott Lord: Greta Garbo in The Divine Woman (1928, Victor Sjostrom)
by Scott Lord on Silent Film, Scott Lord on Mystery Film
"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. It is a contonuity cutting script from which author Bo Florin has found fifty four dissolves that were used in the film. Again, no footage from the scene or the reel it is from survives. One can ask if double exposures were only infrequently 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- Screen Secrets Magazine during 1928, in their Tipping off the Screen's Secrets, provided a photograph of Victor Sjostrom filming "Lars Hanson and some French soldiers from the hurricane deck of a bus".
Greta Garbo biographer Norman Zierold writes, "Garbo asked for, and got, Victor Seastrom as her director in 'The Divine Woman'." Journalist Rilla Page Palmborg, in The Private Life of Greta Garbo fulfills the search for Lost Film, Found Magazines when giving an account of being on the set of 'The Divine Woman' for a rare interview with Greta Garbo, giving a description of what what on film in a film we at presenent no longer have. "There came a shy little French girl and a young officer walking slowly down the street. They paused in a doorway. The officer asked a frowsy inkeeper for lodgings. The girl looked up shyly at the officer. She hesitated a moment, raised up on her toes and kissed him on the cheek. Then she hurried past him up the stairs. 'Cut' shouted the director." The director was in fact Swedish Silent Film director Victor Sjostrom, Greta Garbo leaving the set in a high collared cape to bring journalist Rilla Page Palmborg to her dressing room. The commodity Garbo at that time? The journalist had obtained the interview not to ask about Lars Hanson, Victor Sjostrom or the upcoming film "The Divine Woman", but was admittedly there to ask Garbo about her tabloid romance with actor John Gilbert. The dressing room was small and on wheels and Garbo politely expressed concern if they both would fit into it. Greta Garbo answered the question regarding her intentions of marriage with "it is only a friendship. I will never marry. My work absorbs me. I have time for nothing else. But I think Jack Gilbert is one of the finest men I have ever known." There would seem a contradiction between the onscreen Garbo who 'nearly invented the torrid love scene' and the extratextural discourse of pursuing the reclusive hermit Garbo everywhere- oddly enough Palmborg claims that the relationship between Garbo and Lars Hanson and his wife Karin Molander was more professional than social although Hanson and Garbo arrived from Sweden at the same time with Victor Sjostrom and Mauritz Stiller. Swedish Silent Film actress Karen Molander explained, " 'Garbo never had any friends with whom she chummed around in Stockholm.' said Mrs. Hanson. 'When we knew her she was devoted to Mauritz Stiller. He seemed to be the only person with whom she would associate.' "
Paul Rotha, in his volume The Film Till Now, commented on the topic that would be taken up by Bo Florin during this century, the artistic differences between the films made by Victor Sjostrom for Svensk Filmindustri, Stockholm and for Metro Goldwyn Mayer, Hollywood. "But Sjostrom has ceased to develop. He remains stationary in his outlook thinking in terms of his early Swedish imagery. He has recently made little use of the progress of cinema itslef. 'The Divine Woman', although it had the Greta Garbo of 'The Atonement of Gosta Berling' had none of the lyricism, the poetic imagery of the earlier film."
In regard to Lost Films, Found Magazines- gleaning conceptions about what appeared on the screen in the silent films that have been lost by finding magazine articles, pressbooks, lobby cards, movie posters and other extratextural discourse documenting the film's first run, Gary Cary, Museum of Modern Art, in his volume Lost Film views the photoplay of "The Divine Woman" as being less autobiographical than it was presented. "The play upon which the film was based on was reportedly inspired by the life of Sarah Bernhardt. The movie, however, departs radically from both play and Madame Bernhardt's life. The leading role of Marianne was played on stage by Doris Keane, a popular favorite of the period."
Photoplay Magazine during 1928, in its The Shadow Stage pages, offered a review of the film, "A Story based on the life of Sarah Bernhardt and played by Greta Garbo as the Divine Sarah Herself" while adding the provision, "The interest centers in the acting of Miss Garbo and Lars Hanson, her soldier lover, rather than the story itself." Perhaps after the audience reception of Garbo and Gilbert having had been being a phenomenon both onscreen and off, using romance as a genre commodity commercially suggested using the life of the French theatre actress as primarily a backdrop for the dynamic. Victor Sjostrom and Greta Garbo
Greta Garbo in The Temptress
Greta Garbo in The Torrent Silent Greta Garbo
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. It is a contonuity cutting script from which author Bo Florin has found fifty four dissolves that were used in the film. Again, no footage from the scene or the reel it is from survives. One can ask if double exposures were only infrequently 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- Screen Secrets Magazine during 1928, in their Tipping off the Screen's Secrets, provided a photograph of Victor Sjostrom filming "Lars Hanson and some French soldiers from the hurricane deck of a bus".
Greta Garbo biographer Norman Zierold writes, "Garbo asked for, and got, Victor Seastrom as her director in 'The Divine Woman'." Journalist Rilla Page Palmborg, in The Private Life of Greta Garbo fulfills the search for Lost Film, Found Magazines when giving an account of being on the set of 'The Divine Woman' for a rare interview with Greta Garbo, giving a description of what what on film in a film we at presenent no longer have. "There came a shy little French girl and a young officer walking slowly down the street. They paused in a doorway. The officer asked a frowsy inkeeper for lodgings. The girl looked up shyly at the officer. She hesitated a moment, raised up on her toes and kissed him on the cheek. Then she hurried past him up the stairs. 'Cut' shouted the director." The director was in fact Swedish Silent Film director Victor Sjostrom, Greta Garbo leaving the set in a high collared cape to bring journalist Rilla Page Palmborg to her dressing room. The commodity Garbo at that time? The journalist had obtained the interview not to ask about Lars Hanson, Victor Sjostrom or the upcoming film "The Divine Woman", but was admittedly there to ask Garbo about her tabloid romance with actor John Gilbert. The dressing room was small and on wheels and Garbo politely expressed concern if they both would fit into it. Greta Garbo answered the question regarding her intentions of marriage with "it is only a friendship. I will never marry. My work absorbs me. I have time for nothing else. But I think Jack Gilbert is one of the finest men I have ever known." There would seem a contradiction between the onscreen Garbo who 'nearly invented the torrid love scene' and the extratextural discourse of pursuing the reclusive hermit Garbo everywhere- oddly enough Palmborg claims that the relationship between Garbo and Lars Hanson and his wife Karin Molander was more professional than social although Hanson and Garbo arrived from Sweden at the same time with Victor Sjostrom and Mauritz Stiller. Swedish Silent Film actress Karen Molander explained, " 'Garbo never had any friends with whom she chummed around in Stockholm.' said Mrs. Hanson. 'When we knew her she was devoted to Mauritz Stiller. He seemed to be the only person with whom she would associate.' "
Paul Rotha, in his volume The Film Till Now, commented on the topic that would be taken up by Bo Florin during this century, the artistic differences between the films made by Victor Sjostrom for Svensk Filmindustri, Stockholm and for Metro Goldwyn Mayer, Hollywood. "But Sjostrom has ceased to develop. He remains stationary in his outlook thinking in terms of his early Swedish imagery. He has recently made little use of the progress of cinema itslef. 'The Divine Woman', although it had the Greta Garbo of 'The Atonement of Gosta Berling' had none of the lyricism, the poetic imagery of the earlier film."
In regard to Lost Films, Found Magazines- gleaning conceptions about what appeared on the screen in the silent films that have been lost by finding magazine articles, pressbooks, lobby cards, movie posters and other extratextural discourse documenting the film's first run, Gary Cary, Museum of Modern Art, in his volume Lost Film views the photoplay of "The Divine Woman" as being less autobiographical than it was presented. "The play upon which the film was based on was reportedly inspired by the life of Sarah Bernhardt. The movie, however, departs radically from both play and Madame Bernhardt's life. The leading role of Marianne was played on stage by Doris Keane, a popular favorite of the period."
Photoplay Magazine during 1928, in its The Shadow Stage pages, offered a review of the film, "A Story based on the life of Sarah Bernhardt and played by Greta Garbo as the Divine Sarah Herself" while adding the provision, "The interest centers in the acting of Miss Garbo and Lars Hanson, her soldier lover, rather than the story itself." Perhaps after the audience reception of Garbo and Gilbert having had been being a phenomenon both onscreen and off, using romance as a genre commodity commercially suggested using the life of the French theatre actress as primarily a backdrop for the dynamic. Victor Sjostrom and Greta Garbo
Greta Garbo in The Temptress
Greta Garbo in The Torrent Silent Greta Garbo
Silent Film
Scott Lord, Scott Lord and 2 others like this
03 May 04:07
Scott Lord Mystery: Warner Oland in The Mysterious Dr. Fu Man Chu (1929)
by Scott Lord on Silent Film, Scott Lord on Mystery Film
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03 May 04:04
Scott Lord Mystery: Warner Oland as Dr. Fu Man Chu in Daughter of the Dr...
by Scott Lord on Silent Film, Scott Lord on Mystery Film
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03 May 04:04
Victor Seastrom - YouTube
Victor Seastrom
Tags: 'Victor Sjostrom'
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03 May 04:01
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
Tags: greta garbo Victor Sjostrom
Scott Lord, Scott Lord and one other like this
03 May 04:00
Mr Wong in Chinatown
by noreply@blogger.com (Scott Lord on Silent Film, Scott Lord on Mystery Film)
Scott Lord, Scott Lord and one other like this
03 May 04:00
Swedish Silent Film: Love and Jornalism (Karleck Och Journalistik, Mauritz Stille...
by noreply@blogger.com (Scott Lord on Silent Film, Scott Lord on Mystery Film)
Mauritz Stiller directed "Karleck och Journalistick", 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 Karen Molander and Anna Diedrich is a Lost Silent Film with no surviving copies or fragments. Also directed that year by Stiller and also lost is the Swedish Silent Film "The Lucky Brooch" (The Lucky Pin/Lyckonalen), photographed by Hugo Edlund and satrring Greta Almroth and Stina Berg.
In regard to Lost Film, 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.
Of "Love and Journalism" Peter Cowie, in his volume Swedish Cinema, writes, "Only about a half hour in legnth, it remains sparkling fresh and worldly-wise."
Harriet Bloch, who wrote the screenplay to Stiller's film "Love and Journalism" also during 1916 wrote the photoplay to the film "Old Age and Folly" (Alderdom och darskap) directed by Swedish Silent Film director Edmond Hansen, the cinematographer to the film Carl Gustaf Florin. Starring in the film, a lost silent film with no surviving copies, were Edith Erastoff and Greta Almroth. During the following year Harriet Bloch wrote the photoplay to "The Millionaire Inheritance" (Miljonarvet) directed by Konrad Tollroth and starring Jenny Tschernichin-Larsson, Greta Almroth, Stina Berg and Hedvig Nenzen. The film is also a lost silent film.
Norman J. Zierold, in his biography entitled Garbo, explains that some of the noteriety that Mauritz Stiller did have, complemented by his "dashing" public image of fur coats and jewlery, may have been well deserved. "In his major efforts, Stiller was an authentic innovator, not unlike D.W Griffith. He was the first European director to use closeups, to employ the shifting camera, to develop new and striking canera angles."
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 Karen Molander and Anna Diedrich is a Lost Silent Film with no surviving copies or fragments. Also directed that year by Stiller and also lost is the Swedish Silent Film "The Lucky Brooch" (The Lucky Pin/Lyckonalen), photographed by Hugo Edlund and satrring Greta Almroth and Stina Berg.
In regard to Lost Film, 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.
Of "Love and Journalism" Peter Cowie, in his volume Swedish Cinema, writes, "Only about a half hour in legnth, it remains sparkling fresh and worldly-wise."
Harriet Bloch, who wrote the screenplay to Stiller's film "Love and Journalism" also during 1916 wrote the photoplay to the film "Old Age and Folly" (Alderdom och darskap) directed by Swedish Silent Film director Edmond Hansen, the cinematographer to the film Carl Gustaf Florin. Starring in the film, a lost silent film with no surviving copies, were Edith Erastoff and Greta Almroth. During the following year Harriet Bloch wrote the photoplay to "The Millionaire Inheritance" (Miljonarvet) directed by Konrad Tollroth and starring Jenny Tschernichin-Larsson, Greta Almroth, Stina Berg and Hedvig Nenzen. The film is also a lost silent film.
Norman J. Zierold, in his biography entitled Garbo, explains that some of the noteriety that Mauritz Stiller did have, complemented by his "dashing" public image of fur coats and jewlery, may have been well deserved. "In his major efforts, Stiller was an authentic innovator, not unlike D.W Griffith. He was the first European director to use closeups, to employ the shifting camera, to develop new and striking canera angles."
Mauritz Stiller and Victor Sjostrom Silent Film
Scott Lord, Scott Lord and one other like this
26 Apr 04:12
Swedish Silent Film Stars
Swedish Silent Film Stars
Swedish Silent Film: John Brunius
Swedish Silent Film John Brunius
Swedish Silent Film Stars on the Theater Stage
by Scott Lord on Silent Film, Scott Lord on Mystery Film
Pauline Brunius
During 1911, Pauline Brunius acted on stage at the Svenska Teatern. After directing and acting in film, Pauline Brunius, wife of Swedish Silent Film director John Brunius, went on to become manager of the Royal Dramatic Theater, Stockholm.
John Brunius
During 1912 John Brunius acted on stage at the Svenska Teatern.
Scott Lord, Scott Lord and one other like this
26 Apr 04:01
Greta Garbo Victor Sjostrom
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Tags: 'Victor Sjostrom'
Scott Lord likes this
26 Apr 04:01
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. It is a contonuity cutting script from which author Bo Florin has found fifty four dissolves that were used in the film. Again, no footage from the scene or the reel it is from survives. One can ask if double exposures were only infrequently 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.
Journalist Rilla Page Palmborg, in The Private Life of Greta Garbo fulfills the search for Lost Film, Found Magazines when giving an account of being on the set of 'The Divine Woman' for a rare interview with Greta Garbo, giving a description of what what on film in a film we at presenent no longer have. "There came a shy little French girl and a young officer wlaking slowly down the street. They paused in a doorway. The officer asked a frowsy inkeeper for lodgings. The girl looked up shyly at the officer. She hesitated a moment, raised up on her toes and kissed him on the cheek. Then she hurried past him up the stairs. 'Cut' shouted the director." The director was in fact Swedish Silent Film director Victor Sjostrom, Greta Garbo leaving the set in a high collared cape to bring journalist Rilla Page Palmborg to her dressing room. The commodity Garbo at that time? The journalist had obtained the interview not to ask about Lars Hanson, Victor Sjostrom or the upcoming film "The Divine Woman", but was admittedly there to ask Garbo about her tabloid romance with actor John Gilbert. The dressing room was small and on wheels and Garbo politely expressed concern if they both would fit into it. Greta Garbo answered the question regarding her intentions of marriage with "it is only a friendship. I will never marry. My work absorbs me. I have time for nothing else. But I think Jack Gilbert is one of the finest men I have ever known." There would seem a contradiction between the onscreen Garbo who 'nearly invented the torrid love scene' and the extratextural discourse of pursuing the reclusive hermit Garbo everywhere- oddly enough Palmborg claims that the relationship between Garbo and Lars Hanson and his wife Karin Molander was more professional than social although Hanson and Garbo arrived from Sweden at the same time with Victor Sjostrom and Mauritz Stiller. Swedish Silent Film actress Karin Molander explained, " 'Garbo never had any friends with whom she chummed around in Stockholm.' said Mrs. Hanson. 'When we knew her she was devoted to Mauritz Stiller. He seemed to be the only person with whom she would associate.' "
Paul Rotha, in his volume The Film Till Now, commented on the topic that would be taken up by Bo Florin during this century, the artistic differences between the films made by Victor Sjostrom for Svensk Filmindustri, Stockholm and for Metro Goldwyn Mayer, Hollywood. "But Sjostrom has ceased to develop. He remains stationary in his outlook thinking in terms of his early Swedish imagery. He has recently made little use of the progress of cinema itslef. 'The Divine Woman', although it had the Greta Garbo of 'The Atonement of Gosta Berling' had none of the lyricism, the poetic imagery of the earlier film."
Victor Sjostrom and Greta Garbo
Greta Garbo in The Temptress
Greta Garbo in The Torrent
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. It is a contonuity cutting script from which author Bo Florin has found fifty four dissolves that were used in the film. Again, no footage from the scene or the reel it is from survives. One can ask if double exposures were only infrequently 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.
Journalist Rilla Page Palmborg, in The Private Life of Greta Garbo fulfills the search for Lost Film, Found Magazines when giving an account of being on the set of 'The Divine Woman' for a rare interview with Greta Garbo, giving a description of what what on film in a film we at presenent no longer have. "There came a shy little French girl and a young officer wlaking slowly down the street. They paused in a doorway. The officer asked a frowsy inkeeper for lodgings. The girl looked up shyly at the officer. She hesitated a moment, raised up on her toes and kissed him on the cheek. Then she hurried past him up the stairs. 'Cut' shouted the director." The director was in fact Swedish Silent Film director Victor Sjostrom, Greta Garbo leaving the set in a high collared cape to bring journalist Rilla Page Palmborg to her dressing room. The commodity Garbo at that time? The journalist had obtained the interview not to ask about Lars Hanson, Victor Sjostrom or the upcoming film "The Divine Woman", but was admittedly there to ask Garbo about her tabloid romance with actor John Gilbert. The dressing room was small and on wheels and Garbo politely expressed concern if they both would fit into it. Greta Garbo answered the question regarding her intentions of marriage with "it is only a friendship. I will never marry. My work absorbs me. I have time for nothing else. But I think Jack Gilbert is one of the finest men I have ever known." There would seem a contradiction between the onscreen Garbo who 'nearly invented the torrid love scene' and the extratextural discourse of pursuing the reclusive hermit Garbo everywhere- oddly enough Palmborg claims that the relationship between Garbo and Lars Hanson and his wife Karin Molander was more professional than social although Hanson and Garbo arrived from Sweden at the same time with Victor Sjostrom and Mauritz Stiller. Swedish Silent Film actress Karin Molander explained, " 'Garbo never had any friends with whom she chummed around in Stockholm.' said Mrs. Hanson. 'When we knew her she was devoted to Mauritz Stiller. He seemed to be the only person with whom she would associate.' "
Paul Rotha, in his volume The Film Till Now, commented on the topic that would be taken up by Bo Florin during this century, the artistic differences between the films made by Victor Sjostrom for Svensk Filmindustri, Stockholm and for Metro Goldwyn Mayer, Hollywood. "But Sjostrom has ceased to develop. He remains stationary in his outlook thinking in terms of his early Swedish imagery. He has recently made little use of the progress of cinema itslef. 'The Divine Woman', although it had the Greta Garbo of 'The Atonement of Gosta Berling' had none of the lyricism, the poetic imagery of the earlier film."
Victor Sjostrom and Greta Garbo
Greta Garbo in The Temptress
Greta Garbo in The Torrent
Scott Lord likes this
26 Apr 04:01
Silent Film mystery mystery mystery
Scott Lord: Sherlock Holmes- A Study In Scarlet
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Silent Film mystery mystery mystery
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26 Apr 04:01
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)
Scott Lord likes this
26 Apr 04:01
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
Tags: greta garbo Victor Sjostrom
Scott Lord likes this
26 Apr 03:59
Swedish Silent Film Stars
Swedish Silent Film Stars
Swedish Silent Film Stars on the Theater Stage
Pauline Brunius
During 1911, Pauline Brunius acted on stage at the Svenska Teatern. After directing and acting in film, Pauline Brunius, wife of Swedish Silent Film director John Brunius, went on to become manager of the Royal Dramatic Theater, Stockholm.John Brunius
During 1912 John Brunius acted on stage at the Svenska Teatern.
Scott Lord likes this
26 Apr 03:59
Scott Lord Mystery: Warner Oland in The Mysterious Dr. Fu Man Chu (1929)
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26 Apr 03:59
Scott Lord Mystery: Warner Oland as Dr. Fu Man Chu in Daughter of the Dr...
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26 Apr 03:59
Scott Lord Silent Film: Lon Chaney in The Unholy Three (Tod Browning, 1925)
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26 Apr 03:59
Scott Loord Mystery: The Invisible Man Returns, theatrical trailer
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26 Apr 03:58
Swedish Silent Film: Thomas Graal's Best Film (Mauritz Stille...
by Scott Lord Mystery
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26 Apr 03:58
Scott Lord Silent Film: Greta Garbo in The Torrent (Monta Bell, 1926)
by Scott Lord Mystery
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26 Apr 03:57
Scott Lord Silent Film: Lon Chaney in The Unholy Three (Tod Browning, 1925)
by Scott Lord on Silent Film, Scott Lord on Mystery Film
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26 Apr 03:57
Scott Lord Swedish Silent Film: Gyurkoricsarna (John Brunius, 1920)
by Scott Lord on Silent Film, Scott Lord on Mystery Film
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