Scott Lord

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When first read the analytic interpretation of the biblical drama "Christus" (Guilio Antomoro, 1916) by Chandra Han, Pelita Harpan University in the paper Jesus in Film: Representation, Misrepresentation and Denial of Jesus' Agony in Gospels, is fascinating when pointing out the nature of Jesus is depicted as divine in the film in that the dove over him in the portrayal is symbolic of the Holy Spirit, Jesus as "fully God"; this is used to distinguish the divine and human natures of Christ in both the Canonical Gospels and the Apochryphal Gospels and the contrasting agaony of the Savior in both (the human form of Christ having suffered or experienced sorrow for the love of mankind, the divine nature implied to always have existed). silent film silent film

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The 1925 Studio Tour of Metro Goldwyn Mayer, true to the extratextual discourse of its magazine advertisements that boasted of a firmament full of stars, featured a dozen of the studios directors that were then present on the backlot filming that year, inluding Victor Sjostrom, Dimitri Buchowerski, Monta Bell, Rupert Holmes, Eric von Stroheim, Fred Niblo, King Vidor, Joseph von Sternberg, Christy Cabanne, Tod Browning, William A. Wellman, Jack Conway, Edmund Goulding and Marcel de Sarno. Actors and actresses featured in the studio tour included Zazu Pitts, Roman Novarro, Aileen Pringle, Gertrude Olmstead, Norma Shearer, Mae Murray, Lew Cody, Estelle Clark, Conrad Nagel, and Lon Chaney

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William Nigh directed Lon Chaney in "Mr. Wu" costarring actresses Louise Dresser, Gertrude Olmstead and Renee Adoree. "Mr Wu" was photographed by cameraman John Arbold. The periodical Moving Picture World, during 1926, announced the film as having been adapted for the screen by Lorna Moon from a novel by Louise Jordan Miller. The periodical Moving Picture World, later, in 1927, credited the film as having been adapted from a play by Maurice Vernon and Harold Owen. The periodical introduced the film with a description of the work of Lon Chaney. "Acknowledged as the master of make up, Lon Chaney adds another to his list of unusual characterizations in Metro Goldwyn Mayer's 'Mr. Wu', a chinese drama in which he depicts two members of the household at various ages, from young manhood to decrepit old age."
To convince us that Lon Chaney brought to the screen not only characterizations but "creations, biographer Robert G. Anderson, in his volume Faces, Forms and Films writes, "The novel by Louise Jordon Miln, based on the stage play Mr. Wu, gives scant description of the character. The old mandarin is described in such scattered phrases as "eighty" and "guant, withered and pockmarked." Motion Picture Magazine during 1927 called Mr. Wu a "venerable Chinese gentleman" while giving his daughter, played by Renee Adoree, the appellation of "A Flapper in the House of Wu".
During 1927, Lon Chaney also starred in the films "The Unknown" and "London After Midnight", both directed by Tod Browning and "Mockery", directed by Benjamin Christensen. silent film silent film Lon Chaney Movie Posters

Roland West directed Lon Chaney during 1925 for Metro Goldwyn in "The Monster", costarring Gertrude Olmstead. "The Monster" was photographed by cameraman Hal Mohr.
In his biography Faces, Forms, Films, The artistry of Lon Chaney, author Robert Gordon Anderson views M.G.M, having starred Lon Chaney in films directed by the foreign directors Victor Sjostrom, as having previously made "prestige" film with the actor. "The remainder of Chaney's M.G.M. films were changes-of-pace. 'The Monster', in spite of the implications of its title, was more slapstick than horror and one could not be sure Chaney took the whole thing seriously. 'In While The City Sleeps' he played, with no make up, a detective,"
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Biographer John Drinkwater, in his volume The Life and Adventures of Carl Laemmle perfunctorily puts the career of Thomas Ince into its historical perspective, "Ince died in 1924, before his time,". Writing on the death of Thomas Ince during 1925,the periodical Exhibitor's Trade Review waxed poetic, "He loved the clean, the beautiful, the sublime. He embellished and ornamented everything he touched. But he yet held the life trend true in its course and in that relation opened wide the way for the higher and grander conception of the Screen are to obtain in the future through the work of kindred spirits who will find inspiration and encouragement in the bigger and nobler accomplishements which the devoted his useful years.
Thomas Ince as a producer had formed the Triangle Film Corporation with D.W. Griffith and Mack Sennet during 1915, with him leaving to First National by 1917, joined there by D.W. Griffith in 1919.Exhibitor's Herald during 1924 reported a new stage having been built for Ince's selection of directors, its dimensions seventy two by one hundred and eighty feet.
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Directed by D.W.Griffith and photographed by G.W. Bitzer for the Famous Players Lasky Corporation "The Girl Who Stayed at Home" (seven reels) showcased actress Carol Dempster. In their volume The films of D.W. Griffith, Edward Wagenkneckt and Anthony Slide describe the theater transpiring on screen, the theatrical element, by contrasting the loves scenes of each of the two couples; compared to the Seymour-Harron affair, the "Carol Dempster-Richard Barthelmess love affair is strangely tepid; it lacks the joyful emotion of true feeling."
D.W. Griffith and S.E.V. Taylor had adapted the photoplay from an original story Taylor had written. D. W. Griffith
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