Scott Lord

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"THe Copper Beeches" in which actor Georges Trevilles starred as the detective Sherlock Holmes, was directed by Adrian Calliard during 1912.
At the time when David Stuart Davies published his volume Holmes of the movies, the screen career of Sherlock Holmes, "The Copper Beeches" was the earliest Sherlock Holmes adaptation of which there was a surviving copy, the series itself being the first authentic representation of the Holmes character. Davies gathered that the plots were faithful adaptations of Baker Street cannon owing to their titles and the fact that "alledgedly Conan Doyle was personally involved in their production". His filmography of lost silent films includes "The Speckled Band", "The Beryl Coronet' and "Silver Blaze" from 1912 and "The Mystery of Boscome Vale", "The Stolen Papers" and finally, The Musgrave Ritual of which there is an existing copy. Silent Film Silent Film Sherlock Holmes

Notably, Mary Pickford and James Kirkwood, who would later become her director, appear under the direction of D. W. Griffith in the one reeler "The Cardinal's Conspiracy", along with Mack Sennet as well as Griffith's wife Linda Ardvidson and actress Kate Bruce. The film was photographed by G.W. Bitzer for the Biograph Film Company.
The periodical Moving Picture World reviewed the film with an early description approaching genre theory. "The picture is of the costume kind. In other words, one, when looking at it, has gone to the pages of Stanely Weyman, Henry Harland or Morris Hewitt for his inspiration. We breathe the atmosphere of court life and are taken back, as it were, into a far more romantic period than the present." The periodical continued by regretting that they had viewed the film in "cold monochrome" rather than a more vibrant spectrum of pageant. Biograph Films had advertised the film in the previous issue of Moving Picture World, sharing the full page with Selig, Independent and Kalem studios. Paired with the film "Friend of the Family", Biograph proclaimed that in the film "The Cardinal's Conspiracy", "The subject is elaborately staged, comprising some of the most beautiful exterior scenes ever shown."In her autobiography When The Movies Were Young, Griffith's wife Linda Arvidson sees the film as the first important screen characterization for actor Frank Powell, adding him to the "remarkable trio" at Biograph of actors Frank Powell, James Kirkwood and Henry B. Walthall. Tom Gunning points to the film belonging to a period when a cinema of narrative integration in fact centered on characterization and accordingly developed film technique with that in mind. To accomadate that narrative integration and its movement to a versimilar acting rather than the florid, histrionic gestures of a filmed theater, Griffith would bring the camera into the story. Gunning writes, "Pickford surpasses any other Biograph actress in the mastery of the new versimilar style...Pickford generally employs a slower pace and her guestures appear intended to reveal psychological traits through behavior."
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Swedish Sound Film Swedish Sound Film

Silent Film The Bible Biblical Drama

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OLD ENTRY- APPROXIMATELY, I WAS AT THE JASON BONHAM EXPERIENCE CONCERT.....- I moved alot of light around this week. Eyes are ok- hair's a mess still, but passable downtown in the store reflections. (Why comb it in a mirror after shaving? Just approximate when you pass the store.)
Still 48 years old and fighting every minute of it.
I would have taken a photo of a gravestone from 1750; I don't need wifi, but it was an outdoor shot and the computer is new, It was arbitrary, but the name:William Hallowell, looked interesting, untill I realized the it's been there since before the revolutionary war- or our conception of it.

Love,
Scott scott lord silent film

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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."

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Greta Garbo Victor Seastrom

"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

Bengt Forslund, in his article "Through a Glass Darkly, the silent era of Swedish Film", reminds us that Victor Sjostrom and Mauritz Stiller "made farces, comedies and melodramas, as well as medieval legends and romantic sagas, social films and realistic dramas." Interestingly enough Forslund tries to relate their affinity as having arisen not from a singleness of desire, or from a solidarity, but it having come rather from their disparity, from their having "little in common as individuals". This led to each learning the others technique of filmmaking. Peter Cowie, in his volume Scandinavian Cinema, sees the film as self-reflexive, writing "'Thomas Graal's Best Film' works primarily as a comedy of manners, but it also functions effectively as a satire on filmmaking, evene at this early stage of the industry's development. The implication is that cinema stands beyond reality, and as a medium attracts only the 'hammy' situation and the exagerrated personality." Peter Cowie notes that onscreen Victor Sjostrom and Karen Molander are the "ideal screen couple" and that Gustaf Molander, although only inevitably married to Karin Molander for eight years, wrote "scintillating" dialougue intertiles for her. Cowie points out that the film distinguishes Mauritz Stiller as one of the first directors to use a "film-within-a-film-format". Mauritz Stilleris particularly noted for having has directed Victor Sjostrom in two comedies for A.B Svenska, “Wanted A Film Actress” (“Thomas Graal’s Basta Film”, 1917) with actress Karin Molander and Jenny Tschernichin-Larsson and “Marriage ala mode” [“Thomas Graal’s First Child/ Thomas Graal’s Basta Barn”, 1918) also starring Karin Molander and Jenny Tschernichin-Larsson. The running time to the former, a film noted by Forsyth Hardy as one of the first comedies about filmmaking, was ninety minutes, the latter eighty nine minutes. Rune Carlsten and Henrik Jaenzon both appeared on screen in the film Thomas Graal’s Best Film, which was written under a pseudonym by Gustaf Molander. Molander continued as writer and director of “Thomas Graal’s Ward/ Thomas Graal’s mindling”, photographed by Adrian Bjurnman.

Louise Wallenberg, in her article Woman on Screen I, 1910's-1960's, feautured in the volume Now About All Those Women in the Swedish Film Industry, alludes to the director as spectator while evaluating Mauritz Stiller's view of his characters with his estimation of the while an invisible observer, his early comedies to "depict modern women who try to put an end to their as ribed position as wife and mother only to end up going ack to being docile and loving partners, they clearly express a desire to break free from conventional marital relations and gender roles. In this manner Stiller's comedies are indeed profeminist as they engage with public discourses and notions about women's societal positioning and personal subjecthood, and freedom in a society that is (still) strongly formed by patriarchal values."

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Victor Sjostrom

Victor Sjostrom

Mauritz Stiller

Directed D W Griffith during 1919 for ArtcraftPictures Corporation, "True Heart Susie" (six reels) was photographed by G.W. Bitzer and paired Lillian Gish in the titular role with Robert Harron with actresses Kate Bruce and Carol Dempster. In their volume The Films of D.W. Griffith, authors Edward Wagenkneckt and Anthony Slide, divide Griffith's films into two genres, much like author Vachel Lindsay would - the epic and the lyric, the latter being "less ambitious, more intimate" the "stylistic directness" of "True Heart Susie" falling into the latter.
Author Anthony Slide perpiscaciously introduces D. W. Griffith actress Seymour by noting that both Seymour and actor Robert Harron, who had appeared together in both "The Girl Who Stayed Home" and "True Heart Susie" during 1919, had died early during 1920.
After directing “True Heart Susie” in 1919, to end the year, D.W. Griffith directed Lillian Gish in the film “The Greatest Question” (six reels), photographed by G.W. Bitzer.

The films "A Romance of Happy Valley", starring Lillian Gish, and "Scarlet Days", both directed by D.W. Griffith, were thought to be lost and donated to the Modern Museum of Art by Russia when rediscovered. Silent Film D.W. Griffith

During 1916, George af Klercker wrote and directed the films "Calle's New Clothes" (Calles Nya Klader), starring Mary Johnson and Teckla Sjoblom, and "Calle as a Millionaire" (Calle som Miljonar), starring Maja Cassel and actress Helge Kihlberg in the first film in which she was to appear.Both films were photographed by Gustaf A. Gustafsson and Carl Gustaf Florin. Silent Film Swedish Silent Film Georg af Klercker

Einar Froberg

Einar Froberg acted at the Svenska Teatern during 1903. Froberg co-starred with Victor Sjostrom in the 1913 film "Barnet", directed by Mauritz Stiller. He returned to the screen in front of the camera in 1924 in a photoplay which he had scripted for Swedish Silent Film director Sigurd Wallen in the film "Grevarna pa Svenska".

Erik Petschler

Erik Petschler acted at the Djurgardsteatern during 1912.

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"A Revolution Marriage" pairing actress Betty Nansen and Valdemar Psilander was directed for the Nordisk Films Kompagni and Fotorama by August Blom and photographed by Johan Ankerstjerne.
Danish Silent Film August Blom

The 1921 Photoplay review of "The Sheik", starring Rudolph Valentino and Agnes Ayers may or may not infact seem cryptic to modern readers, "For the glamor and beauty of the desert, the colorful costumes, the real love story lend themselves to shadows...The whole is more or less a tangible version of 'Pale hands I love, beside the Shalimar, where are you now, who lies beneath thy spell.' But we wonder what the censors will do to to it."
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Rudolph Valentino

"I have always made pictures with a message and a moral. True, I have dressed up these in elaborate trappings, principally because I wanted people to see my pictures. Messages without an audience aren't worth very much." Photoplay Magazine during 1927 featured an interview with silent film director Cecil B. De Mille titled "How Christ Came to Pictures" in which he briefly explained his father had been a lay reader who preached in an Episcopal church in Pompton, New Jersey before quickly continuing to his earlier marriage comedy films made before 1920. De Mille ended the interview with "'The King of Kings' has the ring of sincerity. We did it with complete sincerity." Photoplay Magazine during Sil1927 reviwed "King of Kings" as being an authentic depiction of the events in the Holy Bible, "De Mille has followed the New Testament literally and with fidelity. He has taken no liberties. Frequently, in his groupings, he has followed famous Biblical paintings...Mr. Warner meets the accepted ideas of Christ and gives a very well sustained performance."
Harvard Buisness Reports, describing "The King of Kings" as a film about the life, death and resurrection of Jesus Christ, reported in 1930 that the film cost $ 2,000,000 to produce. silent film Noah's Arc Jesus

"The Flight into Egypt" appears in The New Testament in the scriptural passage Matthew 2:13-23.
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Noah's Arc
Shadow of Nazareth

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