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Sherlock Holmes The Man WithTheTwisted Lip
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Garbo
| The 100th birthday of Greta Garbo was a perfect time to recognize the efforts of Ase Kleveland, if only to introduce her as a proponent of classic film and the viewing of film with an interest in film history; she during September 2005 at the Cinemateket Filmhuset not only introduced Greta Garbo to Swedish audiences, but marked the love for the actress throughout Scandanavia. In an e-mailed correspondence to the present author, she wrote, "Many thanks for your greetings. I can assure that the Garbo celebrations was a great success indeed." Both Stockholm and Goteborg screened the Greta Garbo film Camille (Kameliadamen, George Cukor, 1937) on September 16, 2005, the former at the Biografen Sture, the latter at the Biografen Svea. The film co-stars Robert Taylor and Henry Daniell. Just as the films of Victor Sjostrom have toured the United States, the Greta Garbo Centenary is marked by screenings of films representative of the body of work the actress appeared in on screen before her retiring. Among the films being shown near her birthday, and into early December of 2005, are a four minute print of Greta Louise Gustafson in Luffar-Petter and a two minute print of her crossing the Atlantic from Stockholm to the United States in an unidentified film that would seen to more than a number of dedicated Garbo viewers to be footage from the film En decemberdag pa Atlanten, directed by Ragnar Ring and photographed by Gustav Berg, there being an account of Garbo and Ring having spoken to each other while crossing the Atlantic. Greta Garbo Moviefone Photo Gallery. |
| In the United States, during the summer of 2005 the Niles Essany Silent Film Museum added a film to its June schedule in which Greta Garbo is at her most beautiful because it is one of her most melodramatic, the silent film The Kiss (Kyssen, Feyder, 1929, seven reels) with Conrad Nagel. An emailed thankyou-newsletter from the San Fransisco Silent Film Festival not only announced the opening of the Edison Theater of the Silent Film Museum in Niles and its series of films for the summer in its listings of upcoming events, but added among its listings a week long screening of films of Greta Garbo at the Stanford Theatre in Palo Alto, during which the Silent Greta Garbo filmA Woman of Affairs (Grona hatten, Clarence Brown, 1928, nine reels), starring Lewis Stone and John Gilbert and including Johnny Mack Brown and Douglas Fairbanks Jr. was screened on September 21, 2005. A Woman of Affairs flickered across the silverscreens of the Filmhuset in Stockholm, Sweden to begin the month of October, 2005 and inside the screening rooms of the Garbo Society in Hogsby, Sweden on November 14, 2004. Accompanied by the Hogsby exhibition, the film later was introduced by Kevin Brownlow during a January, 2006 screening in Erlangen, Germany. |
| The silent film of Greta Garbo is featured in the Kevin Brownlow documentary Trick of the Light narrated by James Mason and is presently offered online in Windows media, divided into two parts and including the silent film documentary Hollywood Trick of the Light pt. 2, by dograt.com/hollywood.html. Greta Garbo visited James Mason in 1949 while they were planning to film La Duchesse de Langeais, an adaptation of Balzac's novel The Thirteen. Kevin Brownlow is the director of the biographical documentary Garbo (2005), a film which quickly after having been aired was mentioned in the e-mailed posts of members that correspond using several different Yahoo mailing list groups in the United States and which was also screened at the Filmhuset as part of the Swedish Film Institute's marking Garbo's 100th birthday. Not all of the posts having had been being on mailing lists specificlly dedicated to the actress Greta Garbo in an e-mailed correspondence to the present author, John Gilbert biographer Leatrice Gilbert Fountain, wrote, "I hoped you watched the Garbo documentary on Sept 6 on TCM. I run through a lot of it and am very pleased the way they handled my father. Perhaps you can watch for a rerun." In the documentary she introduces Flesh and the Devil, describing the actor and actress during a sequence that is spliced with a segment of film of the director Clarence Brown; while describing Greta Garbo as having been independent of other people. Brown in the film praises Greta Garbo for her work in from of the camePra and her work during retakes by noting that behind the camera he was at a distance from her and that her acting translated into movement what he wanted to appear on the screen. Interviewed in the documentary are Greta Garbo author Karen Swenson, Greta Garbo, who is more Garbo like in her providing an emotional rather than detailed account of the actress, and author Mark Vieira, who introduces cameraman William Daniels and The Torrent. In that the documentary begins to address the extratextural discourse that accompanied the characters that were to be portrayed on screen by Greta Garbo it begins with footage of the city Stockholm and the two visits Greta Garbo made to the city, as well as brief footage of Sjostrom and Stiller bookended by footage of Swedish actress Mimi Pollack. Near to the 100th birthday of Greta Garbo Mark Vieira emailed members of a Yahoo group announcing that his forthcoming book will be about Irving Thalberg and that it will include many photographs of Norma Shearer and Jean Harlow. The daughter of Norma Shearer, bookstore owner Katherine Thalberg, died in the beginning of January, 2006. Two of the brief scenes introducing Sunday Silent Nights on Turner Classic Movies are from the silent films of Greta Garbo. A scene from the film Flesh and the Devil with Greta Garbo and John Gilbert dancing together is used in the introductory sequence, and later in the sequence a scene from The Kiss with Greta Garbo in close up is used. The scene with Lillian Gish peering out at the storm is from The Wind, directed by Victor Sjostrom. The other silent films in the Turner Classic Movies introductory sequence, all of which were filmed in the United States, include two scenes from Our Dancing Daughter (1928, Beuamont), one which is a room full of balloons and the other an actress in front of a mirror, The Big Parade (Vidor), with John Gilbert kissing a leading lady, The Four Horseman of the Apocalypse with a brief scene of Rudolf Valentino smoking, two scenes from Greed (von Stroheim), one with actress Zazu Pitts in a hat and the other to conclude the sequence with Gibson Gowland, Noah's Ark with Goerge O'Bien looking into the rain, The Crowd with actor James Murray smiling, Show People with Marion Davies using a handkerchief as a prop and a brief clip from Keaton's The Cameraman that shows his eyes. |
| GarboThe Associated Press marked the 100th birthday with Jan-Erik Billinger having announced the opening of a new library at the Swedish Film Institute, one that includes film magazines from the United States from the early silent film period. Jan-Erik Billinger, who remarked the it was mostly coincidental that the library was ready in time for Garbo's centenarry, is the Head of the Information Department at the Swedish Film Institute. Soon there will be a display at the Swedish Film Institute; when Pictures of Greta (Bilder av Greta), a collection of photographs, is finished being viewed at the Stura Cinema in Stockholm, it will be transferred to the Film House. Along with it will be shown costumes the actress wore while filming The Saga of Gosta Berling with director Mauritz Stiller, her private correspondence as well as her personal belongings from childhood. Of the film that first paired Greta Garbo and Lars Hanson, one webpage author on the internet, Hazel, in her latest update reviews the onscreen performance of Greta Garbo, "Already in her first movie, Garbo gave a nuanced and mature performance." An e-mailed newsletter during April of 2006 from Kino Video announced the release on DVD of the first movie in which Greta Garbo appeared, The Saga of Gosta Berling, along with the release two other films directed by her first director, Mauritz Stiller. |
| In The Perfect Murder (Det Perfekte Mord),directed by Eva Isaksen, Anna-Lena Hemstrom believes herself to be Garbo,or rather the characters portrayed by Greta Garbo. During the making of a film, she enacts particular scenes from Garbo's films, in her bedroom before making love, the actress on the screen becoming the spectator within the film through an identification with the action of the film actress, the idealized appropriated into the dramaturgy of the erotic;her movements are those of Greta Garbo in character- the only way to become authentic is to be the absolute object of her look, and only then by being her paramour. Intringuingly, the fabula of the film, the events of each particular scene, and its syhuzet, the presentation of its plotline, merge as its characters encounter each other, as she entices each lover toward fantasy, toward the sensual. Visually, the film represents the act of love as being both abstract and concrete: it only depicts the actress during sex in as much as each instance, and the accompanying dialouge, is particularly connected to the narrative, there being a specificality within each of the scenes upon which the plotline is dependent, one in which the actress is convinced that she knows each of her lovers from a specific Greta Garbo film and that she has to make love to them according to the juncture of events that comprise the scene in the film. She is an actress entertaining the fantasies of the actress Greta Garbo and yet, although there are no abstract shots during the film, their being shown in the bedroom uninterruped by cut in shots that would add meaning to the scene, sex acquires something that is metaphoric in that she is Garbo and for each of her lovers it can only be fantasy, it becoming intangible at the very moment of sexual climax to where their very corporeality is unknowable, that in fact quite possibly known only by Garbo as well- there is an objectification of the actress as Garbo and it is her tragic beauty that has validity, her making love as the Garbo she has portrayed on the screen that carries her to the next lover from a different, later film of Greta Garbo sex a metaphor for Garbo's elusiveness and her star quality. Early in the film Anna-Lena Hemstrom is in the role of an actress in the audience of the on-screen Greta Garbo "How can one surrender oneself so completely." From there ,in a white bedroom and white nightgown symbolic of post-coital solitude, she introduces an eroticism of both reclusiveness and of sphinx-like mystery, of Garbo in character and only in character and of Anna-Lena Hemstrom as Greta, in character and only in character whispering, "Not now.""Not now." Mai Zetterling has said, "I don't have Garbo's austere tragic beauty." Just as the film establishes the narrative on two levels, that of the actress that can play a character on screen other than herself and invites the director of the film she is making to her apartment and that of the actress as Garbo in front of the camera, only known through the fulfillment of their being conjugal, Garbo herself was described by Nils Asther, who starred with her in Wild Orchids (Vilda orkideer, Sidney Franklin, 1929, eleven reels) and The Single Standard (En kvinnas moral, 1929, eight reels), as being shy, while Lon Chaney is quoted as having said, "I told Garbo that mystery served me well and it would do as much for her." Norma Shearer had said, "She was very cordial with me- and then, after clasping my hand, she was suddenly gone." In his Film Essays and Criticism, a valuable introduction to film theory, Rudolf Arnheim gives Greta Garbo only a two page "portait", but it is from 1928 and may be more than what is a cursory glance, his writing, "On cat's feet, her coat pulled tightly about her and her hands folded in her lap, Greta Garbo passes censorship." Arnheim sees Greta Garbo as erotic, as an erotic object. The Perfect Murder has been aired in the United States on The International Channel. Eva Isaksen newest film is currently being unspooled in Norway. Kerstin, a Swedish writer from Stockholm, was among the first of several Swedish bloggers to notice that Greta Garbo, the actress and the mystery, will be portrayed by Anna-Karin Eskilsson in the film Garbo, Svenska Dagbladet having announced during September of 2008 that the film, a biography, was slated to be lensed by Budd Bregman and screened to audiences during 2010. |
| By contrast, the value of the silent film that Greta Garbo made for Metro Goldwyn Mayer is sentimental. They are romantic melodramas made after Greta Garbo had been discovered by Pabst (The Joyless Street, Die freudlosse Gasse, 1925) and Stiller, with whom Greta Garbo went to the preview of The Torrent (Virveln, 1926 nine reels), the first of her films to be photographed by William Daniels and a film in which she was directed by Silent film director Fred Niblo. Included among them are The Temptress (Fresterskan, Mauritz Stiller-Fred Niblo, 1926 seven reels), Flesh and The Devil, The Mysterious Lady, A Woman of Affairs, and The Kiss, and they can in fact be seen only for the being reminded of having first seen each of the films. Greta Garbo often went to theaters and almost invariably saw each of her movies twice, although she seldom viewed the daily rushes. Louise Brooks (Diary of a Lost Girl, Das Tagebuch Einer Verlorenen Pabst, 1929 nine reels) had written, "Garbo is all movement. First she gets the emotion, and out of the emotion, comes the dialouge." |
| And yet, not only was Greta Garbo an actress, a figure of shadow sauntering across the screen, gracefullness moving as image, but she insofar as she was sought after was also a model, particularly when photographed by Arnold Genthe, Ruth Harriet Louise, George Hurrel, Edward Steichen or Cecil Beaton- Garbo brought had with her the quality of being a model long after the last publicity photo of her in studio costume. It was the quality of being a model that is particularly shown by three photographs by Nickolas Muray, whether it is an ebullient Greta Garbo, a pensive, or longing Greta Garbo, or the ethereal Greta Garbo that brings us only to the beginning of her mystery. |
| In his book, Greta Garbo,A Cinematic Legacy, Mark A. Vieira relates his conversation with Clarence Sinclair Bull about the orginal negatives of of the portraits of Garbo taken by the photographer. Sinclair had used a code on the edge of each photo with the date of each session and from these the date of the shooting of each sequence in each particular film can be found. The author Mark Vieira was kind enough to e-mail two pages of photos scanned from these orginal negatives to the present author. Recently, Scott Reisfield has edited more than 100 photographs of Greta Garbo in the volume Garbo- Her Private Collection of Own Portraits. Riesfield is the grandson of Swedish film actor Sven Gustafson. Recently, she was interviewed on Swedish Radio fondly remembering her aunt and her interests. In Frankfurt, Germany, Scott Reisfield noted the development of Greta Garbo's technique as an actress as being attributable to her "poise in front of the camera" and her femininity. In a quote almost as fascinating as the Mysterious Lady we have become acquainted with through her film, Reisfeild addresses questions regarding the Greta Garbo known to those whom had seen her offscreen, "I knew her for years before I comprehended the importance of her career." |
The Nordic Museum (Nordiska musset) in Stockholm, on Djurgarden, recently shown an exhibition of photos of herself owned by the actress Greta Garbo, which began June 2, 2006 and ran September 3,2006. Present during the exhibition was Derek Reisfield. Included in the exhibition are portraits taken by Clarence Sinclair Bull during the filming of Romance (Romantik, 1930), Mata Hari (1931) and Som du vill ha mig (1932). The year 2007 marked the Centennial of the museum. |
| "The Truth about Garbo is in pictures." The year 2006 also marks the online publication by Ture Sjolander of Garbo, his 1971 biography of Greta Garbo It follows Garbo from her childhood and her home at Blekingatan, in Stockholm, to her third visit to Sweden in 1935, to photos taken while the actress was living as a recluse, her briefly passing the camera and allowing it only a glimpse of herself. | Ase Kleveland |
| Photos and or links may be removed or replaced due to design considerations. Please write if you have any html codes you think I should try, streaming video prints of films that can be included in the webpage, banners that you would like added to the webpage and or questions regarding fair use and or copyright. Streaming videos are for the main part thought to be public domain unless otherwise noted; real player videos and posters should be identified through their links. The top banner was designed for Scott Lord by Ulrich in Berlin, Germany. Among the many banners he has designed is the banner for the webpage of the Filmmusuem Potsdam. Greta Garbo images used with the permission of Mia, their creator at 40k Films. |
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Carl Th. Dreyer
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Scott Lord: Greta Garbo The Divine Woman (1928, Victor Sjostrom)
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My Picture. (What I look like)
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Fay Wray in The Vampire Bat
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Marion Marsh in Svengali (Mayo)
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Garbo
 To embark on 2017, I just finished a two day correspondence with biographer Eve Golden, who was kind enough to return my letter. It has been over a decade since I received a letter from Leatrice Joy Fountain, so I was excited that something came into my mailbox about photographer Ruth Harriet Loiuse. The author Golden, sadly wrote that there will be "no more books for me" and that the cost of preparing a biography exceeds how profitable it might be, and yet she has already published several fascinating volumes and I will still keep my eyes open for her work. She highly recommends the work of author Robert Dance. Recently biographers have sent it to legend that photographer Arnold Genthe had purported that his photographs were personally sent by Greta Garbo to director Victor Seastrom at the M.G.M studio to favor a view that It was Ruth Harriet Louise who was more intrumental in the career and publicity of Greta Garbo In any event the photographs that Genthe later took of director Mauritz Stiller are still available to the public. Biographer Norman Zierold has written that Garbo's plasticity made it possible for her to relect the fantasies of her screen audiences; in this sense she functioned as a recepticle for the emotions of others." In keeping with the Greta Garbo that was nearly unknown to movie audiences for her personal life offscreen and had lurked in the shadows of movie theaters as a recluse after her retirement as though she could at anytime be sitting right beside any of us during without anyone knowing during a movie house screening of one of her films while as spectators we made identifications with each interpellated nuance, I added, "These emotional structures are created within each particular film, often by subject and spectator positioning, the viewer and the film's other characters in relation to the body of the actress, as when her body within the frame creates space between two characters in front of the camera, isolating them near a specific visual motif, or when Garbo briefly moves into the emotion of solitude." It began, "By contrast, the value of the silent film that Greta Garbo made in Hollywood is sentimental. The were melodramas made after Greta Garbo was discovered in Europe," and, after giving a brief filmography of the films with the description of The Kiss (Kyssen, Feyeder, seven reels, 1929) being "one of her most beautiful films in that it is one of her most melodramatic" it added that "each film can bee seen only for the being reminded of having first seen each of the films and the darkened room where the decades from the long past can flicker into intrigues and adventures." My Silent Swedish Film webpage, which covered from the turn of century to the advent of sound, was a Geocities webpage. It was also, while in part a filmography of silent film of the Swedish directors of Svenska Bio and Svenska Filmindustri,Mauritz Stiller, Victor Sjostrom, John Brunius and Georg af Klerker, my biography of the actress Greta Garbo. On a sheet of revision tonight I added that "whether one person is watching an old Greta Garbo movie on television while the other is reading, waiting for the other to retire for the evening, with each film, and with each screening, Garbo, like Anna-Lena Hemstrom, who portrays an actress who gradually, surrendering to fantasy believes herself to be each of the characters Greta Garbo played on screen in The Perfect Murder (Det Perfekte Mord, (Eva Isaksen) reintroduces herself to us and in each different characterization is foremost a fashion model before us; Greta Garbo is in a close-up". And yet there is now something more mystical to the ghost of Garbo for any, and maybe every reviewer of of Eva Isaksen's suspense film knowing that in Stockholm, near the Calle Flygare theater, there perhaps may be a young actress named Ottiliana Rolandsson who has left a screening of the film Queen Christina with the words "I am Greta Garbo" slowly forming silently on her lips, and in her hands a copy of a play. I still have a love for silent film, which skyrocketed after having looked at The Last Tycoon and The Garden of Eden; Photoplay magazine of 1927 mentions Fitzgerald being in the process of writing an original screenplay for Constance Talmadge, it later reviewing his adapted work, "Fitzgerald's novel, with its unscrupulous hero, violates some pet screen traditions." The silent film is in fact a deepening of the novel as an art form. Harvard Film has a free series of screenings open to the public at the University; if you rebegin arbitrarily at present, in the here and now, the screenings of silent film are still ongoing and continuing; it has in the past has included The Joyless Street (Die Freudlosse Gasse (G.W. Pabst 1925); my copy of the film I no longer have (my former mentor had a yardsale or something or other). Previous screenings have included Danish film star, Asta Nielsen Tragedy of the Street (Dirnetragodre, Bruno Rahn, 1927). Evidently, The Great Train Robbery (Porter,1903) was still being shown in theaters as late as 1926, added to the feature then playing, whereas it wasn't untill Hamlet (Gade, 1920) that sex symbol Asta Nielsen was introduced to mainstream audiences in the United States. Is it possible that when Greta Garbo visited the home of Basil Rathbone in the masquerade costume of Hamlet, it was a tribute, or nod, to Danish Silent Film star Asta Nielsen? The 1922 film The Beautiful and the Damned directed by William A. Sieter/SydneyFranklin and starring Marie Prevost, if a film accurately reported as being unavailbable for screening, or or the 1926 film The Great Gatsby directed by Herbert Brenon and starring Lois Wilson- within the world of Lost Films, Found Magazines, there are no existant copies of either film, our knowledge of them and curiousity is left for stills taken during the time period; there are no vaults that exist. Both Anna Karenina (J. Gordon Edwards, 1915, five reels), starring Betty Nansen, Mabel Allen and Stella Hammerstein, and The Scarlet Letter (Carl Harbaugh, 1917) starring Mary Martin, are lost, both filmed by Fox Film. When compared to the Fox films starring Theda Bara, Anna Karenina was not particularly a widely publicized, or exploited, film at the time, but it sported a photoplay scripted by Clara S. Beranger. Movie Pictorial Magazine in 1915 in fact compared and contrasted the two actresses in the same article, much like journalists would later do with Garbo and Dietrich, the title reading, "Betty Nansen Theda Bara-The Dsitinguished Scandinavian Actress and the Chic Paraisienne Secured for Feature Films in America" . Moving Picture World reported in 1915 Betty Nansen in Montreal- Famous Danish Actress Visits City to Get Snow Scenes for Anna Karenina Film, the accompanying text to include, "According to the script, a ski meet is held in which the hero competes with a Swedish champion. As there are many followers of the sport locally, and champions to boot, Mr Edwards secured some interesting film." The entire Moving Picture World review from the Spring of 1915 is as follows, "The premier of the first Fox offering with Betty Nansen, the great Danish actress was given on March 30. The picture, Tolstoi's Anna Karenina proved worthy of this audience's closest attention, although by remarks behind this reviewer, it was plain some were losing the quality of Nansen's restrained and remarkably powerful acting. There was some laughter, strange to say, except that perhaps the picture's meaning was over the heads of a few. There were two weak places in the cast, but this did not affect the result of it as a whole. It is a story of passion, but clean and powerful, a picture eminently fit for contemplation of grown human minds." "The film was adverised as, "The story of a woman who dared. A Photoplay that stirs and thrills. Holds a grip that never relaxes." J. Gordon Edwards cast Betty Nansen i a second adaptation of the novels of Tolstoy that year with the film A Woman's Resurrection, which Nordisk Film also filmed that year under the title Opstandelese. To return to Greta Garbo and Asta Nielsen, as many as 19 films have been listed as lost and as having directed by Urban Gad, the husband of the earliest of the stars of the silver screen, including Die falsche Asta Nielsen, in which Nielsen plays both her double, Bollette, and then herself. |
| Just as lost films have left behind their accompanying movie posters, as well as full page magazine advertisements that serve very much like movie posters when deciding not if we should see the film but what the film was like when first seen, each hardcover copy of an film adaptation into novel included a dustjacket, art that gives information about missing films: within there being Lost Films, Found Magazines. It is imperative that the word film study be surplanted by the word film appreciation: it was in 1946 that author Iris Barry cautioned the readers of Hollywood Quarterly through the article "Why wait for Posterity" as to films quickly becoming lost and the need to preserve the "romantic"Greta Garbo film The Saga of Gosta Berling (Stiller, 1925) by saving the prints from deterioration. After explaining that the original two-color technicolor copies of the Black Pirate that had belonged to Douglas Fairbanks and Harvard University, respectively, were in a vault "at the point of final deterioration", and could only be duplicated in black-and-white form, she qualifies that the criteria for screening film need, as with "the early Seastrom films", only be pleasure. "What, really is the point of dragging old films back to light? First, I believe that it benefits the general esteem and standing of the motion picture industry as a whole; for if the great films of the past are not worth taking seriously and are not worth re-examination, then presumably neither are the great films of today. It would be unthinkable if the only books available to literary men and women should be no more than those published in the past year or so." To echo her by my now finding this during the centennial of the two reeler in the United States and of Victor Sjostrom and Mauritz Stiller having become contemporaries at Svenska Bio ,the biography of actress Greta Garbo penned by the present author on Geocities webpage encompassed the long waiting period before what was to be the last film to be made by Swedish film director Ingmar Bergman, which happenned to be during the centennial of the one reel narrative film, "Of the utmost importance is an appreciation of film, film as a visual literature. film as the narrative image, and while any appreciation of film would be incomplete without the films of Ingmar Bergman, every appreciation of film can begin with the films of the silent period, with the watching of the films themselves, their once belonging to a valiant new form of literautre. Silent film directors in both Sweden and the United States quickly developed film technique, including the making of films of greater length during the advent of the feature film, to where viewer interest was increased by the varying shot lengths within a scene structure, films that more than still meet the criterion of having storylines, often adventurous, often melodramatic, that bring that interest to the character when taken scene by scene by the audience."  I've also since returned to the downloading photos of Greta Garbo that were scanned from the original negative and e-mailed to me by an author who was who was an apprentice of Clarence Sinclair Bull. In that they were photos of Greta Garbo that were left over from the publication, please accept that I may have been the author to introduce those particular photos to Sweden from the vault in which they were kept. Vieira quotes Greta Garbo"As she said,'I had it all my own way and did it in my own fashion.' This is what ended her carreer and what makes her cinematic legacy the exqisite thing that it is." But it is not only that, having resumed writing I recieved a reply from Norman Zierold, whose biography of Greta Garbo was publishes decades before that of the one written by Mark. A Vieria. My question was phrased,"I need a quote from correspondence on the silent film of Greta Garbo. How do you now feel about any of the particular films,i.e. The Divine Woman?" to which he replied, "No comment I can think of. Are you related to literary agent Sterling Lord?" By the way, I took the photo used in this blog for the template background; its tiled and was a kaleidoscope shot from one of my films on You Tube- it is Lena Nyman on the dust-jacket of the hardcover of Vilgot Sjoman's diary of his filming I was Curious Yellow and I was Curious Blue. In brief, the older banner that reads All About Swedish film was sent to me from someone that designs for the Potsdam Museum, which I in turn sent to an artist in California, who added tint to it before I added flash animation. Interestingly, the tinting of photographs dates back to 1932 or before; I have since found that one of the black and white photos scanned from the original negatives taken by Clarence Sinclair Bull and sent to me by author Mark A Vieira came from a negative that was actually tinted, or colorized rather, for publication by Photoplay Magazine. After the reader has seen the portraits of Greta Garbo that are mine, previously swallowed by Yahoo and Flickr, I encourage any attempt to view "Garbo's Garbos", the photographs that belonged to the actress herself. Taken by Clarence Sinclair Bull, Ruth Harriet Louise and George Hurrell, they were scheduled for public view by the Greta Garbo Estate for Christmas 2012, the collection including one particular portrait taken by Ruth Harriet Louise during the filming of The Single Standard ostensibly taken with Greta Garbo posed in front of a Paul Gaugin. I also happened to espy a copy of Photoplay Magazine that had belonged to the actress. AdPmist the webpage of Juliens Auctions 2012 a description of Greta Garbo's first screen appearance was nestled in between a "Vintage Greta Garbo Portrait" a Valentina Ottoman Silk ovwercoat and a Grey Silk Dress, they being among 800 items. It read, "Garbo's first American film, The Torrent opened oin 1926 and her entrancing performance made an international sensation. Here was a woman unlike any previously seen on a film screen." |
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| These two actresses were found with Swedish Silent Film actor Lars Hanson- Sofia Larssen's webpage on "Sweden's leading matinee idol of the silent era", was also a Geocities webpage before it closed. We we invited to "Also take a moment to drool over the many pictures in the gallery." From a guestbook entry on from a similar geocities page she was evidently then living in Sweden. Of particular interest was the Lars Hanson webpage written by Laurel Howard, also a geocities webpage. She writes that The Saga of Gosta Berling/The Atonement of Gosta Berling was meant to be a four hour film, "Because of the editing there are a lot gaps in the plot. It really is an epic film and needs length to show the full character and plot development...I think this film needs to be on the list for some major restoration." She later writes about "Ketta" in "the horzontal love scenes" that brought The Flesh and the Devil to renown and created a continuing fame, or unique stardom, for Greta Garbo. Webpages like these were a catalyst for my page on Greta Garbo in that it part of a series of five pages on Svenska Filmhistoria, which began chronicling the history of Swedish Silent Film from the turn of the century and I was honored to include a screening of one of the most profound and powerful films directed by Victor Sjostrom before his coming to the United States. Of particular mention is Louise Lageterstrom of the Swedish Film Institute's writing on Greta Garbo are more than worth a revisit. |
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The Strange Dr. Weird
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Silent Sherlock Holmes
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: Boris Karloff in The Mystery of Mr Wong
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scottlord
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Silent Film: The Primitive Lover (Sidney Franklin, 1922)
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Sherlock Holmes Speckled Band
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Posted: 06 Jul 2011 06:48 PM PDT Donna and I spent four nights together. Tonight she bought dinner. During the four days together we went for scenic cabrides, which was nice. Scott Lord  |
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Mr Wong Detective starring Boris Karloff
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Fwd: Video response to "Scott Lord -the beautiful Virginia Bruce in Jane Eyre (Monogram)"
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ScottLordnovelist has posted a video in response to Scott Lord -the beautiful Virginia Bruce in Jane Eyre (Monogram). I just need to put these together. Part of a series, An Erotic trailer written by Scott Lord This video requires your approval. You can approve or reject it by visiting your inbox. | |
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Scott Lord
Scott Lord
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Sherlock Holmes Murder At The Baskervilles
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The Cat and the Canary (1927)
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Swedish Film, Svensk Filmindustri before the Svenska Fiminstitutet
 | An e-mailed letter to the present author ends, "Many people in Sweden says that Greta Garbo is a main collector's item but the Garbo posters didn't fetch much interest." It was sent by a collector of movie posters who had been to the movie poster auction in Gothenburg, Sweden, which was held as part of the Gothenburg Film Festival, February, 2006. Included in the auction were two posters from the film A Two Faced Woman. As there was speculation as to what script could possibly bring Greta Garbo back to the silver screen, as Eva Henning and Viveca Lindfors were being introduced to Swedish audiences and as Ingmar Bergman was laying the beginnings of a body of film that would secure him as the director that would circulate the films of the Swedish Film Institute into an international viewing, Ingrid Bergman was in the United States making the 1946 film Notorius with Alfred Hitchcock, her earlier having appearred in the film Dr. Jeckyll and Mr. Hyde (1941). It was also at this time that there would be a remake of Anna Karenina, starring Vivien Leigh and directed by Julien Duuvier. |
From a script co-written by Birgit Tengroth based on her short stories, Three Strange Loves ( Thirst, Torst 1949), directed for Svensk Filmindustri by Ingmar Bergman and photographed by Gunnar Fischer, had starred Mimi Nelson, Eva Henning and Hasse Ekman. Birgit Tengroth also appears in the film. Hugo Bolander filmed as an assistant director with Ingmar Bergman and Oscar Rosander edited the film. Bergman writes that the film is in fact about a journey and that his aim was that the "complicated camera movements" be unnoticed by the audience; "you can see the seems if you look closely" (Ingmar Bergman). Bergman, during an interview with Swedish author Jonas Sima, had remarked, "I like Eva very much. She was an extraordinarily fine actress." Before Eva Henning appeared in The Banquet (Banketten, 1948), she had also appeared in Elvira Madigan (1943) and The Royal Rabble ( Kungliga patrasket, 1945) which also starred its director, Hasse Ekman. Ekman directed her with Alf Kjellin in 1945 in the film Wish on the Moon (Vandring med mannen). In 1947 she appeared with Sonja Wigert in his film One Swallow Doesn't Make A Summer (En fluga gor ingen sommar). Hasse Ekman had begun directing with With You In My Arms (Med dej i mina armar, 1940), the first film in which Elsie Allbin was to appear, it being followed by First Division (Forsta Divisionen, 1941) in which he and Lars Hanson starred. In 1942 he directed Ingrid Tiblad in Langor i dunklet and Marguerite Viby in Luck Arrives (Lyckan kommar). While comparing Swedish actresses of the thirties, Tytti Soila writes that Royal Dramatic Theater (Kungliga Dramatiska Teatern) "actors were easy to identify thanks to their inflated and stylized acting and above all-after the introduction of sound film- by their unnatural manner of delivering lines. Actors like Lars Hanson and Inga Tiblad never succeded in liberating themselves from this formal style of acting" Apparently this was not entirely to the dismay of Swedish audiences, as their films were still popular in Sweden.  In 1943 Hasse Ekman continued with the films Unexpected Meeting, Change of Trains (Om byte ar tage), with Sonja Wigert and The Sixth Shot (Sjatte Skottet), written by G?sta Stevens and starring Edvin Adolphson, Karin Ekelund and Gunn Wallgren. In 1944 he directed Lars Hanson again in His Excellency (Excellensen), with Gunnar Sjoberg and Erik Hampe Faustman as well as having directed A Day Will Dawn (En Dag Skall gry) with Edvin Adolphson for Sandrews Productions.  In 1946 the director filmed Nightly Encounter (Meeting in the Night/Mote i nattan) starring Eva Dahlbeck and When The Door Was Closed (When The Door Was Locked, Medan portan var stangd), all of which were films in which he had starred. Writing about the premiere of A Ship Bound for India (Skepp till Indialand, 1947), a film which had been based on a play by Martin Soderhjelm that had starred Gertrude Fridh, Ingmar Bergman describes a meeting with Hasse Ekman with "an unbelievably gorgeous Eva Henning at his side." The film was produced by Terrafilm. Girl with Hyacinths (Flicka och hycintar, 1950) had again brought Eva Henning to the screen, it starring Anders Ek and directed by Ekman. The film is listed as being one of the favorites screenings of director Ingmar Bergman. Bordwell and Thompson, in a Bloglines RSS entitled Observations on film art and Film Art, blog that there are ten retrospective narrative scene-sequences in Girl with Hyacinths, but more notably relate that these retrospective narratives interlock. During the previous year Eva Henning had appeared with Hasse Ekman in his film The Girl From the Gallery/The Girl in the Third Row (Flickan fran tredje raden), which had also starred Maj-Britt Nilsson. Ekman directed the film for Terra Film. She then made The White Cat (1951) (Den vita katten) with Gunnar Bjornstrand and Alf Kjellin and Gabrielle (1954), photographed by Gunnar Fischer and also starring Karin Molander, both of which films were also directed by Ekman. In 1948, Ekman directed Each Goes His Own way (Var sin vag) with Eva Dahlbeck and Gosta Cederlund and Little Marta Returns (Lilla Marta kommer till baka), produced by Terrafilm.  Viveca Lindfors began acting on the screen with the director Ivar Johanson in the films The Spinning Family (Snurriga Familjens, 1940), scripted by Torsten Lundquist, Imagine If I Marry the Vicar (Tank, Om Jag Gifter Mig Med Prasten), a Swedish Karleksdrama based on a novel by Ester Linden and starring Gudron Brost, Arne Mattsson the assistant director to the Swedish Karleksdrama, (1941) and The Yellow Ward / The Yellow Clinic (Gula Kliniken, 1942), with Anna Lindahl, Barbro Kollberg, Karin Kavli, Gull Natorp, Ruth Stevens and Mona Martenson. She then appeared with Birgitta Valberg in In Paradise (I Paradis, 1941) directed by Per Lindgren and with Gudron Brost in The Sins of Anna Lans (Anna Lans, 1943) a Swedish Karleksdrama directed by Rune Carlsten and photographed by Ernst Westerberg, it having been the first film in which actress Toivo Pawlo was to appear. Black Roses (Svarta Rosor, 1945), directed by Rune Carlsten, a remake of the earlier film, would star Viveca Lindfors with Eva Dahlbeck and Ulf Palme. G?sta Cederlund directed Lindfors in The Brothers' Woman (Brodernas kvinna, 1943), based on a novel by Ebba Richert and starring Britta Holmgren. The film was produced by Film AB Lux. Eric Petschler, who had directed Greta Garbo in Sweden before she had travelled to the United States, appeared as an actor with Lindfors in the film Jag ar eld och luft (1944) directed by Anders Henrikson, the assistant director to the film G?sta Folke. One of the first films that Arne Mattsson was to direct, Marie in the Windmill (Maria pa Kvarngarden, 1945) had starred Viveca Lindfors, it also featuring the daughter of Victor Sj?str?m, Guje Lagerwall, as well as Edvin Adolphson, Irma Christensen, Linnea Hillberg and Rune Carlsten. In 1946, Lindfors starred with the director Hasse Ekman in his film (In the Waiting Room of Death(Interlude/I dodens vantrum) which had been based on a novel by Sven Stolpes, the assistant director to the film Bengt Ekerot. Like Greta Garbo she later came to the United States to make film. Among those in which Lindfors had appearred were The Adventures of Don Juan (1948) and The Raiders (1952). Swedish Film actress Mai Zetterling would decide upon England. Before later returning to Sweden, she appearred in several British films, the first of which, Frieda (1947), her performance having had been being under the direction of Basil Dearden. In 1948, Mai Zetterling was to appear in Terence Fischer's Potrait from Life, her then having appeared in the films The Bad Lord Byron (Macdonald), The Lost People (Knowles) and The Romantic Age (Greville). Having read the script to the adaptation and having agreed to make the film,in 1949 Garbo made a thirteen minute screentest in black and white for La Duchesse de Langeais shot by William Daniels and James Wong Howe. "I thanked him by leaving for Svensk Filmindustri, where Gustaf Molander had meaninwhile made a film out my original screenplay, Woman without a Face." Filmed under Victor Sj?str?m, the cinematographer to Kvinna utan ansikte (1947), scripted by Ingmar Bergman, was Ake Dahlqvist. The film stars Alf Kjellin, Gunn Wallgren, Anita Bj?rk and Marianne Lofgren. Photographed by Goran Strindberg and directed by Alf Sj?berg, Miss Julie (Froken Julie, 1950) begin with a series of exterior shots, often cutting in close up shots with long and full shots, almost as though to supplant the establishing shot with the use of an entire scene before it introducing two initially minor characters in a kitchen by showing the title character, potrayed by Anita Bj?rk, evesdropping on them. He uses a horse drawn carriage to connect the interior dialouge of the one-act play to the open countryside, using long shots from different camera positions. As the film continues, Sj?berg uses statues and a lake during exterior shots of a garden to connect the characters to the landscape , which can nearly seem pastoral as the film begins to depend more and more upon the dramatic acting of Bj?rk. The film then shifts to a legnthy interior dialouge scene as the two characters decide whether to leave the country and begin again together. The film concludes by Miss Julie being last seen in an exterior reestablishing shot. While writing about The Road to Heaven (Himlaspelet), Cowie attributes S?berg as being a director that "could reconcile the alfresco scope of the cinema" with the compressed acting and dialouge that comprises the playwright's articulation of the visual on the stage. Sj?berg had in fact returned to the theater after having directed Anders Henrikson The Strongest (Den Starkaste, 1929). Author Peter Cowie goes so far as to write, "But during the thirties Sjöberg was ostracized by the film industry. So keen was the appetI'm ite for frivolous domestic comedies that a director of Sjöberg's intent incongruous at the studious." Examining Sj?berg's adaptation of the Strindberg play, Tytti Soila views the subject positioning of the Anita Bj?rk character as the use of the theatrical within film to structure the look of the character, "The object of her desire is her possibility of knowing and the consequences of knowledge: more than sexual satisfaction and love, the drama is about acquiring sexual experience and knowledge about sex." Ostensibly, the feminine gaze as a desire to acquire knowledge about sexual relations is also thematic in Vilgot Sj?man two films I am Curious Yellow and I am Curious Blue. The film Home from Babylon (Hem fran Babylon, 1941), starring Gerd Hagman, marks the beginning of Alf Sjoberg's return from the theater to to film . Alf Sj?berg directed Maj-Britt Nilsson in her first film, Journey Out (Resanbort, 1945), photographed by Martin Bodin and starring Gunn Wallgern and Hjordis Petterson. In 1946 Sjöberg paired Mai Zetterling and Alf Kjellin in Iris and the Lieutenant (Iris och lojnantshjarta). Froken Julie was produced by noted author and film historian Rune Walderkranz for A B Sandrew. After filming Sonja Wigert in And All These Women (...och alla dessa kvinnor, 1944) Arne Mattsson continued directing in 1945 with the comedy Sussie, written by S?lve Cederstrand and starring Gunnar Bj?nstrand and Marguerite Viby and the films Incorrigible (1946) and Bad Eggs (Rottagg, 1946), scripted by Sven Zetterström and photographed by Sten Dahlgren and starring Marianne Lofgren, Ingrid Backlin, Harriet Philpson and Elsie Allbin. In 1946 Arne Mattsson also directed Gunnar Bjornstrand in the film Peggy pa Vift, starring Gunnel Brostrom and Marguerite Viby, and, in 1947, followed with the film Father Wanted (Pappa sokes), starring Gunnar Bj?nstrand and Sickan Carlsson. o 1946 was to mark the film Det eviga leendet being on the theater marquees in Sweden, it being the film that would introduce Eva Lombard. The film was written and directed by Lars Eric Leidholm and starred Barbro Hogstadius. Eva Dahlbeck that year appearred in Rolf Husberg's film Love Goes Up and Down/Love and Downhill Skiing (Karlek och stortlopp), starring Agneta Lagerfelt, Signe Furst, Hjordis Petterson and Karin Miller in her first on screen appearance. Agneta Lagerfelt would also that year appear in Rolf Husberg's film Evening at Djurgarden (Djurgardsikvallar), phototographed by Julius Jaenzon and starring Ingrid Bjork, Naima Wifstrand and Emy Hagman as well as the film Kvinnor i vantrum, directed by Gösta Folke, written by Solve Cederstand and photographed by Eric Blomberg. The film stars Britta Holmberg, Anna Lindahl and Solveig Lagström. Eic Blomberg that year was also the cinematographer for the film Wedding at Sun Island (Brollopet Pa Solo), directed by Ivar Johansson and starring Rut Holm, Emy Hagman and Sibrit Molin in what was to be her first appearance on the screen. Nils Poppe in 1946 would direct The Balloon (Ballongen), with Marianne Aminoff, Inga Landgre, Marianne Lögren, Ingrid Borthen and Marianne Gyllenhammar. Schamyl Bauman that year directed the film Saltwater Spray and Tough Old Boys (Saltstank och Krutgubbar) photographed by Sven Nykvist and starring Irma Christensen, Gull Natorp and Inrid Ostergren. Finnish film director Teuvo Tulio directed actress Regina Linnanheimo in two films during 1946, The Cross of Love (Rakkauden risti/Karleckens kors) and Restless Blood (Levoton veri/Orolist blod). He followed in 1947 by directing her in the film In the Grips of Passion (Intohimon vallasa/I ledelsens famn). Finnish actress Helena Karan that year appeared in the film Ruined Youth (Tuhotto nuoruus), directed by Hanu Leminen. Ake Ohberg in 1948 directed Where the Wind Blows (Dit Vindarna Bar), the first film in which Ingrid Thulin was to appear. In the film are also George Fant and Eva Strom. Elof Ahrle that year directed Livet pa Forsbyholm, photographed by Julius Jaenzon. That year Gosta Werner directed Maj-Britt Nilsson in The Street (Gatans). Arne Mattsson that year directed the film Dangerous Spring (Farlig var). Erik Hampe Faustman in 1948 directed Eva Dahlbeck in the film Lars Hard and George Fant with Illona Weiselmann in the film Foreign Port (Fremmande hamn/Strange Harbor). Anders Henrikson in 1948 directed Eva Dahlbeck in the film The Girl From the Mountain Village (Flickan fran fjallbyn). |
 Photographed by Gunnar Fischer and edited by Oscar Rosander, Port of Call (Hamnstad, 1948) starreid Nine Christine Jonsson as the central character in a script written by Olle Lansberg titled The Gold and the Walls, the film "shot on location in Gotheburg, with interiors at the SF studios in Stockholm" (Peter Cowie) where the camerawork of Bergman begins showing not only the enviornment in which the characters find the situations that emerge around them, but also what may isolate the character while involved with the development of plotline events as he or she develops as character. Also in the film are Bergit Hall, Mimi Nelson, Birgitta Valberg and Britta Billsten. Jorn Donner remarks upon Port of Call as being noteworthy for its "unsentimental tone" in regard to the narrative and its exposition of storyline, and for there being a uniformity to the style in regard to the technique used in the film. In Images, Ingmar Bergman writes that he tried to include as many exteriors as he could in order to create something new with Swedish cinema that would include the use of realism. Jorn Donner in fact attributes the film with having brought a realism to its character portrayal and goes so far as to invoke the camerawork of Stiller and Sjostrom in that Bergman uses the enviornment to bring the development of its characters to the depth that ends the film. In 1949 Arne Mattson directed Victor Sj?str?m in The Railroad Men (Rallare), based on a novel by Olle Lansberg. It was photographed by Martin Bodin who had worked with Arne Mattsson on the film A Guest Came (Det kom en gast, 1947) with Sture Lagerwall and Anita Bj?rk. Mattsson again directed Sj?str?m in Hard klang (1952) with Margit Carlqvist and Edvin Adolphson and Men in Darkness (Mannen i Morker, 1955). In 1949 he also directed Woman in White (Kvinna i vitt) with Mimi Nelson and Eva Dahlbeck. In her autobiography, All Those Tommorows, Mai Zetterling writes, "Music in the Darki was to be my first and last picture with Ingmar Bergman directing. It was in 1947...Music in the Dark was basically a sentimental love story about a man who goes blind through an accident and a young girl who falls in love with him. What Ingmar was interested in was the man's loss of identity, his lonliness and his despair." She continues candidly and with all kindness to describe her relationship with Bergman as an actress at that time as not having brought enough to her performance and that she looked to Alf Sj?berg for inspiration. Musik i Morker (Night is My Future) was photographed by Göran Strindberg and stars Hilda Borgstr?m, Gunnar Bj?rnstrand and Birger Malmsten. Jorn Donner writes, "Compared with Port of Call, Night is My Future seems to be an almost completely commercial film. In his autobiography Images, Bergman writes that he had in fact directed the film with the thought of it being enjoyable to watch Theaters in 1947 were to see the script writing of Rune Walderkranz, cowriting with Ragnar Arvedson on a film that Arvedson co-directed with Schamyl Bauman, Maj pa Malo, photographed by Sven Nykvist and starring Inga Landre. Rune Waldekranz that year produced the film Life in the Finn Woods (Livet i Flunskogarna), directed by Ivar Johansson and phtographed by Eric Blomberg. Starring are Sigbrit Molin, Barbro Ribbing, Mirjami Kuosmanen and Nine-Christine Jonsson. It was also the year that Song of Stockholm (Sangen om Stockholm) , would be shown on the theater screens of Sweden. Directed by Elof Ahrle, the film stars Hilda Borström, Alice Babs, Karin Swenson and Marianne Gyllenhammar. Audiences would also be reintroduced to actress Eva Dahlbeck, who appeared in the film The Key and the Ring (Nyckeln och Ringen), under the direction of Anders Henrikson. The film was photographed by Harald Berglund and scripted by Swedish silent film screenwriter Bertil Malberg. Also starring in the film were Aino Taube, Ulla Sallert, Hild Bögström and Maj Töblad. Henrikson would again direct Eva Dahlbeck in 1948 in the film The Girl from the Mountain Village (Flickan fran fjallbyn), photographed by Bertil Palmgren and written by Sven Gustafson. The film also stars Kerstin Holmber and Sif Ruud. Inger Juel would appear in her first film in 1947, The Most Beautiful in the World (Det Vackraste Pa Jorden), also directed by Anders Henrikson and starring Marianne Lofgren. Gosta Bernhard directed his first two films in 1947, 91:an Karlssons permis and En sommarweekend. Sture Lagerwall went from actor to director with the film Here We Are Coming (Har kommer vi) in 1947, scripted by Torsten Lundquist, Greta Garbo biographer Fritiof Billquist and Marianne Aminoff having appeared in the film. The film was co-directed with actor John Zacharias, as was the film I Love You, Karlsson (Jag Elskar Dig, Karlsson) in which he starred with Marguerite Viby, Viveca Serlachius, Solveig Lagstrom and Linnea Hillberg. The cinematographer to the film was Rudolf Frederiksen. Lagerwall appeared as an actor in Gunnar Skoglund's film How t o Love (Konsten att alska, 1947) with Wanda Rothgardt and in Bengt Palm's film The Night Watchman's Wife (Nattvaktens hustru, 1948) with Britta Holmberg, a film which was produced by AB Centrumfilm. Gosta Folke that year directed Maj-Britt Nilsson in the film Maria. Stig Jarrel in 1947 directed and appeared in the films Evil Eyes and The Sixth Commandment (Sjatte Budet), which also starred Ingrid Backlin and Gosta Cederlund. Lars-Eric Kjellin directed his first film that year, Don't Give Up (Tappan inte sugen), starring Ulla Sallert and Annalisa Erickson and photographed by Gunnar Fischer. Eva Dahlbeck that year appeared in the film Two Women (Tva kvinnor), directed by Arnold Sj?strand. Eric Hampe Faustman in 1947 directed the Viking-medieval adventure film Harald the Stalwart (Harald Handfaste), with George Ryderberg and George Fant. Anita Bj?rk that year appeared in the film No Way Back (Ingen vag till backa), written and directed by Edvin Adolphson. Ragnar Arvedson that year directed Edvin Adolphson and Karin Ekelund in the film Dinner for Two (Supe for tva), with Mimi Pollack, it having been the first film in which actress Ann-Mari Wiman was to appear. Swedish actress Monica Nielsen appeared in her first film in 1947, Kvarterets Olycksfagel directed by P. G. Holmgren with Ella Lindblom and Lillemor Appelgren.  The following year, Gustaf Molander continued directing with the film Life Starts Now (Nuborjar livet, 1948), photographed by Ake Dahlqvist, edited by Oscar Rosnader and written by Rune Lindstrom and starring Wanda Rothgardt and Mai Zetterling. The Trumpet Player and the Lord (Trumpetar och Var Henne), a film written by Ingmar Bergman was became an opportunity for he and Gustaf Molander to script the film Eva (1948), directed by Molander and photographed by Ake Dahlqvist, with Eva Stiberg in the title role supported by Swedish actresses Hilda Borgström Wanda Rothgardt and Inga Landgre. Erland Josephson and Stig Olin play to Birger Malmsten in the film. In 1949 Molander directed Love Will Conquer (Karleken Segrar), scripted by G?sta Stevens, with Ingrid Thulin. Egil Molmsen in 1948 would direct Ingrid Thulin and Gerda Landgren in the film Kann dej som hemma. The very beautiful Else Fisher was introduced to Swedish movie goers in 1948 in tI'm he film Stanna en stund, directed by Alex. Jute and photographed by Sten Dahlgren. In 1952, she appeared with Yvonne Lombard in the film Bom the Flyer (Flyg-Bom). Gunnar Hogland directed the film Vi bygger framtiden with Ingrid Thulin in 1949. Both Eva Dahlbeck and Max von Sydow that year appeared in the film Only a Mother (Bara en mor), adapted from a novel by Lo-Johansson, photographed by Martin Bodin and directed by Alf Sj?berg. The film was the first film in which actresses Sonja Rolen and Margaretha Krook were to appear. Mimi Pollack also appears in the film. Bara en mor is listed by the Ingmar Bergman Foundation as being among one of the most liked by the director. The Woman Who Disappeared (Kvinnan som f'rsvann), directed by Anders Angström and photographed by Bertil Palmgren in 1949, starred Inger Juel and Cecile Ossbahr. Arthur Spjuth that year wrote and directed his first film in 1949, Bohus Bataljon, codirected by S?lve Cederstrand, it starring Greta Garbo biographer Fritiof Billquist. After having directed his royal majesty Gustaf V. Kung av Sverige in the film Directorn ar upptagen (1945), Per Gunvall directed the film Pippi Longstocking (Pippi Langstrump, 1949) with Viveca Serlachius and Benkt-Ake Benktsson. Lars-Eric Kjellin in 1949 directed the films The Lord from the Lane (Greven fran granden) with Mimi Nelson and Annalisa Ericson and Father Bom (Pappa Bom). In a film scripted by Rune Lindström, Ake Ohberg that year brought Sonja Wigert, Inger Juel and Margareta Fahlen to the screen in Destination Rio (Vi flyger pa Rio). Schamyl Bauman in 1949 brought Harriet Andersson to the screen in the film Playing Truant (Skolka Skolan). Maj-Britt Nilsson in 1949 appeared in the film Spring at Sjosala (Sjosalavar), produced by Rune Waldekranz and directed by Per Gunvall. Ivar Johansson in 1949 wrote and directed the film Lasky-Lasse goes to Delbo (Lang-Lasse i Delsbo), photographed by Sven Nykvist and starring Anna Lindal and Ulla Andreasson. The Swedish Horseman (Svenske Ryttaren) was directed by Gustaf Edgren in 1949 and starred Elisabeth Söström, Gunnel Brostrom, Gull Natorp and Barbro Nordin.  In 1950, Ivar Johansson directed When Lilacs Bloom (Nar Syrenerna blomma), photographed by Sven Nykvist and Land of Rye (Ragen Rike), photographed by Sven Nykvist and starring Nine-Christine Jonsson and Linnea Hillberg. Hasse Ekman that year directed Ingrid Thulin, Irma Christenson, Gertrud Fridh and Eva Dahlbeck in the film Jack of Hearts (Hjarter knekt), the first film in which Barbro Larsson would appear. The Newer, a novel by Albert Olsson published in 1947, was quickly adapted for Arne Mattsson, who directed Ingrid Thulin , Ruth Kasdan, Sigge Furst and Irma Christenson in the film When Love Arrived in the Village (Nar karleken till byn, 1950). Mattsson also that year directed Cruise Romance (Kyssen pa kryssen), starring Annalisa Ericson, Gunnar Bjornstrand and Ake Gronberg as well as Saucepans-journey (Kastrull-resan), starring Eva Dahlbeck and Sigge Furst. Scripted by G?sta Stevens and photographed by Ake Dahlquist, Gustaf Molander directed Eva Dahlbeck, along with Elsa Carlsson, Olaf Winnerstrand, Viveca Serlachius and Karl-Arne Homsten in the film Fastmo uthyres, 1950, the first film in which actress Birgitta Olzon was to appear. Ake Ohberg that year directed Ulla Sallert and Mimi Nelson in the film Young and in Love (Ung och kar). Kungs Film in 1950 produced Gosta Werner's film Across the Yard and Two Flights Up (Tva trappor over garden), photographed by Sten Dahlgren and starring Gertrud Fridh, Irma Christensen, Ilse-Nore Tromm, Sif Ruud, Lisskulla Jobs, Ann Bornholm, Ingrid Lothigius, and Else Fischer. Schamyl Bauman in 1950 paired Edvin Adolphson and Sickan Carlsson in Frokens forsta barn, a film that would include an early screen appearance of Swedish film actress Harriet Andersson. Froken forsta barn was photographed by Hilding Bladh. During 1950, both Birger Malmsten and Haide Göransson appeared on the same movie set together with the film Regementets ros, directed by Begnt Jarrel and photographed by Olof Ekman. Also in the film are Margareta Fahlen and Siv Thulin. Swedish film actress and acquaintance of Greta Garbo Mimi Pollack directed her first film, Mama gor Revolution, photographed by Elner Akesson and scripted by Elsa Appelquist, in 1950. Peter Cowie looks to the film Summer Interlude (Sommarlek, 1950), starring Maj-Britt Nilsson, Alf Kjellin and Annalisa Ericsson, as being the film where Ingmar Bergman began to develop unique uses of film technique and a more extensive use of the close-up to dramaticly develop character. In his autobiography Images, Ingmar Bergman writes, "A touch of tenderness is achieved through Maj-Britt Nillsson's performance. The camera catches her with an affection that is easy to comprehend." In his autobiography Images, Bergman gives an account of his writing the script, "I wrote several versions, but nothing fell into place. Then Herbert Grevenius came to me aid. He chiseled away all the superfluous episodes and pulled out an original story." To continue the tradition established by Sjöström and Stiller of using the enviornment to convey theme in Swedish film, a tradition that would show Bergman's technique in Cries and Whispers as being that of a director that had filmed after Gustav Molander, Bergman discusses the lighting used in the film and his filming at twilight, "The landscape had a special mixture of a tempered countryside and wilderness, which played and important part in the different time schemes." Immediately after filming Summer Interlude, Ingmar Bergman went into the production of the film This Can't Happen Here (Sant Hander Inte Har). He writes, "I was not at all adverse to making a detective story or a thiller; that was not the reason for my discomfort. Neither was Signe Hasso the reason. She had been hailed as an international star who Svensk Filmindustri, with incredible naivete, had hoped would make the film a raging success." Again Herbert Grevenius was to be the scriptwriter with Bergman, his adapting for the screen a novel written by Peter Valentin. The cinematographer to the film was Gunnar Fischer, its editor Lennart Wallen. Alf Kjellin also appears on screen in the film as does actress Yngve Nordwall. In 1951 Arne Mattson directed the film Rolling Sea/Carrying Sea (Barande Hav) with Eva Dahlbeck and Ulla Jacobsson. Eva Dahlbeck that year also appeared in the film Daisywheel Helena (Skona Helena), cowritten by Rune Walderkranz with its director, Gustaf Edgren and photographed by Hilding Bladh. That year Gosta Bernhard directed Kenne Fant in the film Poker, which also starred Ingrid Backlin and Margetha Löwler. Swedish poet Folke Isaksson in 1951 published the volume Vinterresa, his following it in 1954 with the volume Det grona aret. 1953 saw the publication of Isaksson's novel Irrarder. In 1952 G?sta Werner directed Ingrid Thulin in the film Mote med livet. The Long Search (Memory of Love, Han glomde henne aldrig, 1952), a film that had featured the daughter of Victor Sj?str?m, Guje Lagerwall, and Anita Bj?rk, had also starred Sven Lindberg, who co-directed the film with Robert B. Spafford. Lars Eric Kjellgren was again to be the director of Mimi Nelson, his teaming her with Annalisa Ericson that year for the 1952 film Say it with Flowers (Sag det med blommar), scripted by GöI'm sta Stevens. Noregian film director Arne Skouen in 1952 wrote and directed the film Forced Landing (Nordlanding), photographed byPer G. Jonson and starring Randi Kolstad. |
| Secrets of Women (Waiting Women, Kvinnors vantan, 1952) is of an episodic narrative structure, it being a film where "its narrative method gives us more variety than depth" (Birgitta Steene); each of the female characters narrates a retrospective account from their marriage, Bergman dividing the film not only between scenes but between characters as well. In the film are Anita Bj?rk, Maj-Britt Nilsson and Eva Dahlbeck. Anita Bj?rk and Jarl Kulle are filmed in close-up, Maj-Britt Nilsson and Birger Malmsten are shown on location in exterior shots and Eva Dahlbeck and Gunnar Bj?rnstrand are filmed by Gunnar Fischer in an elevator sequence during a dialouge scene involving mirrors which are "used to suggest the inanity of the repartee" (Peter Cowie) as the conversation is drawn out by the couple being filmed in a continuous take. Ingmar Bergman had based the scene on one of his own experiences. He writes, "There was something fateful about the meeting between the three of us: me, Eva and Gunnar. Both of them were talented and creative actors. They felt immediately that although I had perhaps not yet written a spectacular text, the collaboration offered them great oppourtunities. |  |
| Bergman writes that it was because he was so pleased with the acting performances of Eva Dahlbeck and Gunnar Bj?nstrand in Secrets of Women that he wrote A Lesson in Love (En lektion i karlek, 1953) for them in order to develop the theme of the elevator sequence more elaborately. Birgitta Steene also compares the two films thematicly, their both being concerned with the acceptance on the part of the female character of a husband within an erotic relationship. As in Secrets of Women, Bergman uses retrospective narrative to present the characters and storyline. Photographed by Martin Bodin, A Lesson in Love quickly introduces itself as a comedy with a voice over and a musical box. Gunnar Bjornstrand and Eva Dahlbeck meet each other on a train after a series of dialougue scenes that cutback and forth establishing the films interwoven narrative structure. The camera then holds Bjornstrand and Harriet Andersson in conversation during a series of scenes in which she falls alseep in his arms. Bergman uses the train compartment to keep Eva Dahlbeck and Bjornstrand in close up and in tight close up. The prolonged dialouge scenes that are contrasted with the complicated narrative framework then shift to the retrospective of Eva Dahlbeck as she is framed by a camera that pans only minimally. The storyline, after reintroducing Harriet Andersson into the film, concludes in Denmark. |  |
| In 1953 Erik Hampe Faustman directed Inga Tiblad, Annalisa Ericsson, Birgitta Valberg, Eva Dahlbeck and Ulla Sjoblom in the film House of Women (Kvinnohuset). Notably, Eva Dahlbeck also that year starred in Alf Sjöberg's film Barabbas, with Yvonne Lombard and Jarl Kulle. Rolf Husberg that year wrote and directed the film All the World's Delights (All jordens frojd), starring Ulla Jacobsson, Kenne Fant and Birger Malmsten. Gustaf Molander in 1953 directed Unmarried (Glasberget) starring Hasse Ekman and Gunn Wallgren. |  |
| Hidden in the Fog (I dimma dold) was directed in 1953 by Lars-Eric Kjellgren and starred Eva Henning, Sture Lagerwall and Sonja Wigert, its cinematographer, Gunnar Fischer. That year Lars Eric Kjellgren also directed Max von Sydow, Anne-Marie Gyllenspatz and Ingerid Vardund, Lissi Alandh in the film No Mans Woman (Ingen mans kvinna). The film also marks the first Swedish screen on screen appearance of Norwegian actress Ella Hval. Hasse Ekman in 1953 directed the film We three are making our debut (Vi tre debutera), starring Gunnar Bjornstrand and Maj-Britt Nilsson, the cinematographer to the film Gunnar Fischer. That year Eva Dahlbeck appeared in The Shadow (Skuggan), the first film directed by Kenne Fant. It was photographed by Kalle Bergholm and also starred George Rydeberg and Pia Arnell. That year Fant also directed Edvin Adolphson and Pia Skoglund in Wingbeats in the Night (Ving slag i nattan). Bror min och jag, directed in 1953 by Ragnar Frisk and starring Anna-Lise Baude included Birgitta Andersson in a small role, it being the first film in which she was to appear. Eva Dahlbeck appeared under the direction of Ake Ohberg in the 1953 film The Chief from Goingehovingden (Goingehovingden). Martin S?derhjelm in 1953 directed Fritiof Billquist in the film Dance with my Doll (Dansa min docka). Rolf Husberg in 1953 directed Swedish silent film actress Hilda Borgstrom in the film Each Heart has its Own Story (Vart hjarta har sin saga). Egil Holmsen that year directed Margit Carlqvist in the film Marianne. Carlqvist also during 1953 appeared in the film Path to Klockrike (Vagen till Klockrike), directed by Gunnar Skoglund and starring also starring Edvin Adolphson. The first two films directed by Stig Olin were released in 1953, both starring Alice Babs and Sigge Furst and both written by the director, I dur och skur, photographed by Hilding Bladh and also starring Yvonne Lombard, and Resan till dej, co-written by Hasse Ekman and photographed by Göran Strindberg, Anders Henrikson and Ulla Sjöblom having also starred in the film. Storm over Tjuro (1953), starring Gunnel Brostr?m and Margaretha Krook and Salka Valka (1954), starring Gunnel Brostr?m and Folke Sundquist, both directed by Arne Mattsson, were photographed by Sven Nykvist. Mattson in 1954 also directed the film Enchanted Journey (Fortroll ad vandrig). During an interview, Ingmar Bergman told Stig Bjorkman, "Bibi has one or two lines in Smiles of a Summer Night, but she had already been in lone of my Bris films. Even at the time she had been in a lot of films: The Ghost at Glimmingehus and Dumbom. Bibi had started when she was sixteen."The Ghost at Glimmingehus (En Natt pa Glimmingehus, 1954), directed by Torgny Wickman, had also starred Begnt Logart, Gunnilla Akerrehn, Ingeborg Nyberg and Britta Ulfberg. The Bris Soap commericial, Reklamfilm Bris, in which Bibi Andersson had appeared was one of the last of nine entitled The Princess and the Swineherd (Prinsessan och svinaherden, 1953). The commercials were filmed over a three year period and photographed by cinematographer Gunnar Fischer. In Images, Ingmar Bergman writes, "Later, during the time when movie production was shut down, I put together a series of commercials for the soap Bris (Breeze), and I had alot of fun challenging stereotypes of the commercial genre by playing around with the genre itself and making miniature films in the spirit of George Melies."The Magic Show (Trollenet), starring Lennart Lindberg had appeared in 1952. Lindberg also that year appeared in the commercial The Film Shooting, with Torsten Lilliecrona. Commercials filmed in 1951 had included Bris Soap (Tvalen Bris) with Barbro Larsson and King Gustavus III (Gustavianskt). Barbro Larsson in 1952 appeared in The Inventor (Uppfinnaren) and The Rebus (Rebusen). The Film Shooting (Tredimensionellt), with actress Marion Sundh, was filmed in 1953. Kenne Fant in 1954 directed the film Young Summer (Ung sommar), photographed by Kalle Bergholm and starring Lennart Lindberg, Birgit Lundin and Edvin Adolphson and based on a novel by Per Olof Ekstr?m. Kenne Fant again directed Birgit Lundin in 1956 in the film I takt med tiden, written by Volodja Semitjov and photographed by Olof Ekman. That year Fant also directed The Taming of Love (Sa tukas karleken), starring Karin Ekelund and Jane Friedmann. The film was produced by Nordisk Tonefilm. Eric Hampe Faustman in 1954 directed Gull Natorp, Ulla Sjoblöm, and Marta Dorff in God the Father and the Gypsy (Gud Fader och tattaren) photographed by Swedish cinematographer Curt Jonsson and Annalisa Ericson in the film The Lunchbreak Cafe (Cafe Lunchrasten). Stig Olin in 1954 directed Hasse Ekman in his film The Yellow Squadron (Gula Divisionen) starring Meg Westergren. Dance on Roses (Dans pa rosor, 1954), starring Sickan Carlsson, was written and directed by Schamyl Bauman. Victory in the Dark (Seger i morker), directed by Gösta Folke appeared in Swedish theaters in 1954. Torgny Wickman in 1954 directed Astrid Bodin and Berit Frodi in their first appearances on screen in the film Girl Without a Name (Flicka Utan Namn), photographed by Rune Ericson and written by Volodja Semitjov. The film was produced by Sandrew-Bauman and also stars Karin Miller, Alf Kjellin and Els a-Ebben Thornblad. Swedish silent film director Alf Sjöberg in 1954 wrote and directed the film Karin Mansdotter, in which Ulla Jacobsson, Birgitta Valberg and Ulla Sjöblom appeared. In addition to filming Smiles of a Summer Night (Sommarnattens Leende), in 1955 Ingmar Bergman directed Journey into Autmun (Dreams, Kvinnodrom). Peter Cowie writes that it was Anders Hendrikson that was to appear in the film, the role being written for him untill forfieted and taken by Gunnar Bjöstrand. Scripted by Bergman and photographed by Hilding Bladh, the film stars Eva Dahlbeck, Harriet Andersson, Inga Landre, Niama Wifstrand, Git Gay and Renee Björling. Alf Sj?berg in 1955 wrote and directed the film Wild Birds (Vildfaglar), starring Maj-Britt Nilsson, the cinematographer to the film Martin Bodin. The film is based on the novel Nisse Bortom written by Bengt Anderberg. Anders Henrikson in 1955 directed the film Married (Giftas) in which he starred with Gösta Cederlund, Anita Björk and Mai Zetterling. The film was produced by AB Europafilm. Stig Olin that year directed Ingrid Thulin in the film Hoppsan, Borje Larsson that year directing her in the film The Dance Hall (Danssalongen) with Sonja Wigert. Stig Olin in 1955 also wrote and directed the film Mord, lilla van, photographed by Hilding Bladh and starring Inga Landre and G?sta Cederlund. The first film in which Gio Petre was to appear ,(The Merry Boys of the Fleet (Flottans muntergokar), was in theaters during 1955. Directed by Ragnar Frisk, the film starred Marianne Löfgren, Rut Holm and Rene Bjorling. Ragnar Frisk that year also directed Annalisa Ericson in the film Merry Go Round in the Mountains (Karusellen i fjallen). Gustaf Molander in 1955 directed the film The Unicorn (Enhorningen), starring Sture Lagerwall, Inga Tiblad, Edvin Adolphson and Briger Malmsten, the film's cinematographer Martin Bodin. Schamyl Bauman that year directed Darling at Sea (Alskling pa Vagen), scripted by Solve Cederstrand and Sjuth and starring Sickan Carlsson and Sigge Furst. The Last Form (Sista ringen), directed in 1955 by Gunnar Skoglund, brought George Rydeberg, Marianne Aminoff and Marta Arbin to the screen along with Margareta Henning in what would be her first film appearance. Swedish film director Torgny Wickman in 1955 directed Catherine Berg in her first film, Blocked Tracks (Blockerat spar) with Alf Kjellin and Torsten Ulliecrona. The following year, Bengt Blomgren directed and starred with Gunnel Lindblom in the film Gunpowder and Love (Krut och Karlek, 1956). He followed it with the film Linje sex, starring Margit Carlqvist and Ake Gronberg. Georege Arlin directed his first film that year Bla himmel starring Ingeborg Nyberg, Barbro Larsson, Mim Ekelund and Monica Nielsen. |
 Finnish film actress Tuija Halonen was bginning to become known to film audiences in 1955 with the film Near to Sin (Lahella Syntia, Nara Synden) directed by Hannu Leminen. The previos year she had starred in the film Enchanted Night (Taikayo), directed by Willaim Markus and based on the 1946 novel by Martti Larni. She would later, in 1959, appear on the screen in Fate Makes its Move (Kohotalo Tekee Siiron) directed by Armand Lohikoski. |
| Hasse Ekman in 1956 directed the film Private Entrance (Engang ingang), photographed by Gunnar Fischer and starring Maj Britt Nilsson and Bibi Andersson. Rolf Husberg that year directed Anita Bj?k and Brita Oberg in the film Moon over Hellesta (Moln Over Hellesta) Its script is based by the novel Moln over Hellesta, published by Swedish author Margit Soderholm a year earlier. The previous year Soderholm had published the novel Jul pa Hellesta. Photgraphed by Goran Strindberg and starring Maj-Britt Nilsson and Karlheinz Bohm, A Girl for the Summer (Sommarflickan, 1956) was brought to the screen by the directors Thomas Engel and Hakan Bergstrom. Kenne Fant in 1956 directed Eva Dahlbeck in the film Tarps Elin, the film also starring Ulf Palme, Marta Arbin and Fritiof Billquist. Mimi Pollack, who had studied at the Royal Dramatic pAcademy with Greta Garbo. in 1956 directed, The Right to Love (Rattaen att alska), starring Max von Sydow. Gunnar Hellström that year brought Harriet Andersson to the screen in Children of the Night (Nattbarn), starring Birgitta Olzon. Scriptwriter Barbro Boman that year directed the film It's Never Too Late (Det ar aldrig for sent). Gunnar Skoglund in 1956 brought Kristina Adolphson and Catrin Westerlund to the screen in the film Blanande hav. Arne Mattsson that year directed the film Girl in a Dressing Gown (Girl in Tails/Flickan i frack), produced by Rune Waldkranz and scripted by Herbert Grevenius. The films stars Maj-Britt Nilsson, Sigge Furst, Kerstin Duner and Elsa Prawitz. Mattsson also that year directed the film A Little Nest (Litet bo). Bergman writes that the screenplay to The Last Couple Out (Sista Paret Ut, 1956) "had been floating around Svensk Filmindustrustri for a long time in synopsis form." He continues by writing, "Working rapidly, Sj?berg and I started churning out the screenplay for The Last Couple Out, from which Sj?berg later wrote his own version." The earlier title for the script written by Ingmar bergman had been For the Children's Sake. The film, photographed by Martin Bodin and edited by Oscar Rosander, is written around a character portrayed by Bjorn Bjelvenstam, his becoming involved romantically with characters played by Harriet Andersson, who was closing out an affair with Bergman, and Bibi Andersson, who was begining an affair with the director. Added to the plotline is the dialouge between Bjelvenstam and the character portrayed by Eva Dahlbeck. Cowie quotes Alf Sjöberg as having said,"It was an old script and marked an unhappy stage in our collaboration."Last Couple out was the first film in which Mona Andersson was to appear.  Having starred in a number of films, including Playing on the Rainbow (Lek pa regnbagen, Lars-Eric Kjellin 1957), a film written by Vigot Sjöman and photographed by Gunnar Fischer in which he co-starred with Mai Zetterling, Alf Kjellin wrote and directed A Girl in the Rain (Flickan i regnet) with Gunnel Lindblom, Pia Skoglund, Bibi Andersson and Marianne Bengtsson in the first film in which she was to appear as well as directing Twilight Meetings (Encounters at Dusk/Moten i skymningen (1957), based on a novel by Pers Anders Folgelstrom, with Eva Dahlbeck , Birger Malmsten and Ake Gronberg, the scriptgirl to the film having had been being Katherina (Katinka) Farago and the cinematographer again having had been being Gunnar Fischer. Arne Mattson that year directed Spring of Life (Livets Var) and No Tommorow. The following year he directed There Came Two Men, The Lady in Black (Damen i svart), with Anita Bj?rk, a film shot mostly in interior scenes with the use of low-key lighting, and Mannequin in Red (Mannekang i rott), with Rune Carlsten and Anita Bj?rk. Hasse Ekman in 1957 directed Eva Dahlbeck, Bibi Andersson and Gunnar Bj?nstrand in A Summer Place is Wanted (Summer Cottage, Sommarnoje sokes). He also that year directed With a Halo Askew (Med gloria pa sned) with and Sture Lagerwall. Arne Ragneborn in 1957 directed Ingrid Thulin in the film Aldrig i livet. Stig Olin that year directed Guest at One's Own Home (Gast i eget hus) with Monica Nielsen and Anita Bj?rk. Lars-Magnus Lindgren in 1957 directed the film A Dreamer's Walk (En drommares vandrig, photographed by Sven Nykvist and starring Margit Carlqvist, Jarl Kulle, Keve Helm, Inga Landre, Linnea Hillberg and Brita Oberg. Also appearing in the film is Eric Hell. Hans Lagerkvist in 1957 directed the film The Rusk (Skorpan), photographed by Martin Bodin and starring Marianne Bengtsson, Anna-Lisa Baude and Fritiof Billquist. Marianne Bengtsson that year also appeared in the film Night Light (Nattens ljus), directed by Lars-Eric Kjellgren and photographed by Ake Dahlqvist. Gunnar Bjornstrand and Birger Malmsten star with Bengtsson. Written and directed by Goran Gentele, Varmlanningarna (1957), was photographed by Karl-Erik Alberts. Not only does the film star Busk Margit Jonsson, Marta Dorff and Marta Arbin, but Greta Garbo biographer Fritiof Billquist also appears in the film. Swedish film director Ingmar Bergman and the present author feel very much the same about the film The Brink of Life (Nara livet 1957). In his autobiography, Images, Bergman writes, "I sat watching the same film years later in the darkness, alone and influenced by no one....When the movie ended, I sat there, suprised at myself and a little annoyed- I suddenly liked the old film." While explaining Bergman introduces the film as a story written around three characters, these being portrayed in the film by Eva Dahlbeck, Bibi Andersson and Ingrid Thulin. He describes it as "warm, honest and intelligently done, with first-class performances." He also gives a nod to Max Willen, the film's cameraman, who during the filming was "an adequate craftsman without any sensitivity". Peter Cowie writes, "Brink of Life is the first of those Bergman movies in which dialog and characterization take precedence over scenery and locations." Norwegian Film director Arne Skouen in returned to directing in 1957 with the film Nine Lives (We Die Alone/ Ni liv) produced by by Fotorama and photographed by Ragnar Sorensen. The film stars Lydia Opoien, Henny Moan and Grete Norda. He continued the following year by directing A God and His Servants (Herren og hans tjener, 1958) based on the 1955 play by Axel Kielland. The film, photographed by Finn Bergan, stars Urda Arneberg, Anna-Lise Tangstad and Wenche Foss. In 1958 G?sta Stevens and Hasse Ekman co-scripted two films that were directed by Ekman, The Great Amateur (Den Store amatoren), with Marianne Bengtsson, and Jazz Boy (Jazzgossen), in which he starred with Maj-Britt Nilsson and Alice Babs. Goran Gentele in 1958 brought Lena S?derblom to the screen in the film Miss April (Froken April), in which she starred with Gunnar Bj?rnstrand. Froken April was the film that would introduce Swedish actress Gunilla Ponten. In 1958, Jan Molander directed Harriet Andersson in Woman in Leopardskin (Kvinna i leopard), which, adapted from his own screenplay, was his debutorial film as a director. The film also stars Ulf Palme, Renee Bjorling, Siv Ericks, Mona Malm. Stig Olin that year directed Andersson in Commander of the Navy (Flottans overman). Stig Olin that year Obrought the film You are My Adventure (Du ar mitt aventyr) to the screen. Greta Garbo biographer Fritiof Billquist appeared on screen with Astrid Bodin, Ann-Marie Gyllenspetz, Git Gay and Ulla-Bella Fridh in the film Travel to Sun and Spring (Far Till Sol och Var), directed by Lars-Eric Kjellgren and photographed by Martin Bodin In 1959 Hasse Ekman directed the films Good Heavens (Goodnes Gracious/Himmel och pannaka) and Miss Chic (Froken Chic), both starring Sickan Carlsson and co-scripted by G?sta Stevens. Both films were photographed by Martin Bodin. Alf Kjellin that year returned Alice Babs to the screen in the film Swinging at the Castle (Det svanger pa slottet, which also starred Yvonne Lombard and Lena Granhagen. Goran Gentele in 1959 brought Jar Kulle and Lena Söderblom to the screen in the film The Theif in the Bedroom (Sangkammartjuven. In 1959 Arne Mattsson directed Rider in Blue (Ryttare i blatt), the first film in which the actress Solveig Ternstr?m was to appear, and Lend me your Wife (Far jag lana din fru?), with Annalisa Ericson. In 1960, Mattsson directed When Darkness Falls (Na morkret faller) with Nils Asther and Birgitta Pettersson and Summer and Sinners (Sommar och sydare) with Gio Petre, Yvge Gamlin and Elsa Prawitz. In 1961, he followed with The Summer Night is Sweet (Lovely is the Summer Night, Ljuvlig ar sommarnatten), photographed by Tony Forsberg and starring Marta Albin, Elsa Prawitz, Tekla Sjoblom and Christina Carlwind in her first appearance on the screen. Kenne Fant in 1959 directed the film The Love Game (Den kara leken) with Bibi Andersson, Sven Lindberg and Lars Ekborg, his following it in 1960 with The Wedding Day (Brollopsdagen), in which Bibi Andersson stars with Elsa Carlsson. Both films were photographed by Swedish cinematographer Max Wilen. Alf Sj?berg in 1960 directed Ingrid Thulin and Mona Andersson in the film The Judge (Domaren), the film's cinematographer Sven Nykvist. That year Rolf Husberg directed the films Av hjartans lust and Tarningen ar karstad starring Anita Bj?rk and Gio Petre. Hasse Ekman in 1960 wrote and directed both The Decimals of Love (Karleckens decimaler), based on a novel by G?sta Gustaf-Jansons and starring Eva Henning and Eva Dahlbeck and On the Beach in the Park (Pa en bank i park), in which he starred with Lena Granhagen and Sigge Furst. Helena Brodin appeared in her first film in 1960, Three Wishes (Three Desire/Tre Onskningar). Directed by Goran Gentele, the film also starred Eva Dahlbeck and Mimi Nelson. After having directed the film The Pleasuregarden (Lustgarden, 1961), a film scripted by Ingmar Bergman and Erland Josephson, photographed by Gunnar Fischer and starring the "polished performances" (Robert Emmet Long) of Bibi Andersson, Gunnar Bj?nstrand, G?sta Cederlund and Sickan Carlsson, Alf Kjellin directed Harriet Andersson in his film Siska-en kvinnobild, in 1962. The film was photographed by Gunnar Fischer. Ragnar Frisk directed Anita Lindblom in We Fix Everything (Vi fixar allt) in 1961, in Tre dar i buren in 1963 and again in Three Days A Vagabond (Tre dar pa luffen) in 1964. Vi fI'm ixar allt was the first film in which the actress Anna Sundqvist was to appear. Also in the film is Swedish actress Sangrid Nerf. Hasse Ekman in 1961 directed the film The Job/Braces (Stoten) with Gunnar Hellstrom, Tor Isedal, Maude Adelson and Ann-Mari Wiman. That year the first film directed by Lars Magnus Lindgren, There are no Angles (Anglar, finns dom) was to star Christine Schollin and Margit Carlqvist. During 1962, Sandrew Film produced the film One Zeroe Too Many (En Nolla For Mycket) directed by Bjorje Nyberg and photographed by Hilding Bladh. The film stars Birgitta Andersson, Toivo Pawlo, Mona Malm and Lill-Babs. |
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Mr Wong Detective starring Boris Karloff
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Op and Modern Art 1972; Video-optical art
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Screen acting- Mae Marsh on Silent Film and Douglas Fairbanks
Screen acting:
'via Blog this'
I was skimming this and found an interesting paragraph by Mae Marsh on the romantic acting of Douglas Fairbanks. Silent FilmD. W. Griffith
'via Blog this'
I was skimming this and found an interesting paragraph by Mae Marsh on the romantic acting of Douglas Fairbanks. Silent FilmD. W. Griffith
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Article 6
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Silent Film: A Romance of Happy Valley (D. W. Griffith, 1919)
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Swedish Silent Film: The Outlaw and His Wife (Victor Sjostrom...
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The Primitive Lover (Sidney Franklin, 1922)
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The Outlaw and His Wife (Victor Sjostrom, 1918)
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Silent Film 1918
| Swedish Film 1909-1917 In part one of the Swedish Silent FilmThe Outlaw and His Wife (Berg Ejvind och hans hustru, 1918) Victor Sjostrom on screen portays a character that is introduced with an iris out, the previous scene which included secondary characters having concluded with an iris in; he is drinking from an Icelandic stream in medium close shot, the camera then cutting to a wider angle, it photographing him from the waist up to show more of the stream in the background. After a cut in, Sjöström cuts back to the shot, but only briefly, to show that his character is to the right of the screen, in profile, looking at what is offscreen to the left of the screen. Almost on action, he then abruptly cuts to a full shot in which the character has reversed the relation of his look to the side of the frame, his then cutting to a longshot as his character leaves the frame. He cuts to a vignette shot of his character facing the opposite direction that he does in the scene, and then to another accompanying a dialouge intertitle so that it is as though the line of dialouge has been delivered in close shot. Throughout the rest of part one Victor Sjostrom carries the story forward, it introducing the woman he will marry in a sidelighted, near over the shoulder, near quarter shot, it being that she hires him for a month and then later makes him steward. While part two begins with establishing shots of the exterior, the horizon line often parallel to the top of the frame line ( a wall is later used to show a vertical division of frame as two lovers meet behind it), there is no interruption of continuity between it and part three, the two not linked by any camera device, but the scene is quickly moved to an interior. In part three she asks him to marry her and he tries to decline while declaring his love for her (Sjöström cuts back and forth between their dialouge and a retrospective scene during which he uses iris in and iris out to show ellipsis). The rest of the film is of their journey together. In part four he cuts from a three quarter full shot of his character facing the right of the screen going towards her to embrace her to a shot of both of them in medium shot, her in his arms while he is facing the left of the screen. Rather than using suture between shot reverse shots, he holds the camera on them during the dialouge and concludes it by cutting to a closer angle of his character having lowered his body and putting his head on her stomach. During the dialouge which beings part seven an expository intertitle accompanies his interpolating a shot which would have been included in a previous scene and the shot from part four of his being near to her is repeated, their dialouge during while snowbound then continuing. Par Lagerkvist published the essay Modern Theater (Teater) in 1918, it purporting, and possibly rightly so, that the theater of Ibsen lacked what was needed for then modern audiences. 1919 saw the publication of Par Lagerkvist's play The Secret of Heaven (Himlens hemlighet). Agnes von Krusenstjerna that year published the volume Helenas fösta karlek. Bille August has recently filmed an adaptation of Lagerlof's Jerusalem- for Victor Sjostrom and AB Svenska Biograteatern it became The Sons of Ingmar (Ingmarssonera,1918) starring Harriet Bosse and Tore Svennberg with the director and Karin, Daughter of Ingmar (Karin Ingmarsdotter 1920, six reels), starring Tora Teje, Harriet Bosse and Bertil Malmstedt with the director, thier having been filmed by cinematographer Julius Jaenzon and the screenplays to both film's having had been being Sjöström's. -------Writing about The Sons of Ingmar, Bengt Forslund notes, "The most striking change that Sjöström introduces in his screenplay is to treat, daringly, the Kingdom of Heaven as a realistic setting...The scenery provides comic relief without seeming ridiculous. " Shooting the film mostly on location, "Sjöström developed dramatic moments that do not have the same intensity in the book" (Forslund). Forslund concludes by writing, "Otherwise, I still find The Sons of Ingmar less cinematic than The Outlaw and His Wife, less personal in its narrative technique." Of the actors in the film, he remarks, "Harriet Bosse seems a little mI'm iscast in the role of Brita, which certainly should have been played by an actress ten years younger." Mary Johnson during 1918 appeared in the Swedish silent film Storstadsfaror, directed by Manne Göthson and photographed by Gustav A Gustafson. Appearing with her in the film were Agda Helin, Tekla Sjoblom and Lilly Cronwin. In 1918, the first films to be directed by Sidney Franklin, who would later direct Greta Garbo in the silent filmWild Orchids, appeared in theaters, among them being Bride of Fear (five reels), The Safety Curtain (five reels) with Norma Talmadge, The Forbidden City (five reels) and Her Only Way (six reels), both films also starring Norma Talmadge. That year Fred Niblo, who would later direct Greta Garbo in the silent film The Mysterious Lady as well as Norma Talmadge in Camille (1927, nine reels), also began directing, his films having been The Marriage Ring, Fuss and Feathers (five reels), Happy Though Married (five reels) and When Do We Eat?. Director Paul Powell during 1918 teamed Rudolph Valentino and Marry Warren for the film All Night (five reels). Also in 1919, the Swedish director Ivan Hedqvist directed The Downy Girl. Einar Bruun in 1919 directed the film Surrogatet, with Karin Molander for Filmindustri Scandia, Stockholm. Directed by Carl Barcklind was the film En un mans vag Danish Film director Robert Dinesen in 1919 filmed the first of two films in Sweden, Jefthas dottar, with Signe Kolthoff, the second having been Odets redskap with Astri Torsell and Clara Schonfeld filmed in 1922. Sidney Franklin in 1919 would again direct Norma Talmadge, her starring in the six reel film The Heart Of Wetona. Conrad Nagel appeared in his first films, The Lion and the Mouse (Tom Terriss, five reels), Redhead and Little Women (H. Knoles, six reels), with Dorothy Bernard, Isabel Lamon and Lillian Hall. Theda Bara was to appear in A Woman There Was, directed by J. Gordon Edwards. She wrote "How I became a Vampire" for the June 1919 issue of Forum magazine and was interviewed by Olga Petrova for Shadowland Magazine in 1920 and for Motion Picture Magazine in 1922, both instances of one actor interviewing another. The selcted poems of Carl Gustaf Verner von Heidenstam were published in 1919. The Swedish poet had published the volume Nya Dikterin in 1915. He is the author of historical novel Karolinerna. Ingmar Bergman has said, "I think Stiller with his Erotikon and Herr Arne's Treasure is alot of fun. And his Atonement of Gosta Berling, too, is a fresh, powerful, vital film." Where Selma Lagerlof and Mauritz Stiller had differred was on adaptation; Stiller perhaps seeing film as more visual, or theatrical, Gösta Werner having written that "Stiller later regretted preserving the long winded intertitles copied from the novel" (Tytti Soila) while filming Sir Arne's Treasure, or it may have having had been being that Stiller, as a compliment to Lagerlöf, had begun searching for a connection to the theater that both he and Gustav Molander had studied in Helsinki and similarities within Scandanavian literature. Of the film, Robert Payne writes, "he employed every trick known to cinema: close ups, dissolves, masks, superimposed images, sudden changes of tempo- a slow dreamy pace for the visionary scenes and an unbelieveably fast pace for the scenes of fighting...The film was tinted, thus giving it a heightened sense of reality." Wanda Rothgardt also appears in the film. |
| The Song of the Scarlet Flower (Sangen om den eldroda blomman, 1919), was to star Lars Hanson and Edith Erastoff. The Song of the Scarlet Flower (1956) with Gunnel Lindblom and Anita Björk was directed by Gustaf Molander. The tinting of the first film provides a contrast between its individual scenes, moods and uses of nature as a background, its narrative following a structure of seperate chapters. Particularly interested in the interrelated components of each film being part of the film in its entirety, David Bordwell writing with Kristin Thompson, also regards the emotion of the spectator during any sequence of a film as being related to the viewing of the film in its entirety; seperate scenes that are tinted belong to the film in its entirety- the film after it has been edited. Narrative and stylistic elements in film form are often interrelated. Long before Bordwell, Raymond Spttiswoode had written, "The film director is continually analysing his material into sections, which, in a great variety of ways, can be altePred to suit his purpose. At the same time he is synthesizing these sections into larger units which represent his attitude toward the world, and reveal the design he finds displayed in it. The analysis is an analysis of structure; of the filmic components which the director discerns in the natural world." Lucy Fischer in fact remarks upon the narrative unity with Jacques Feyder's The Kiss, noting that to view the film as an entirety, the spectator must combine different events from seperate sequences, connecting the plot events centered around Garbo's character. Oddly, she later discusses the background to narrative as conveying the thematic, not in as much as man's relationship to nature can depict the emotion inherent within storyline, as often in the films of Stiller and Sjöström, but in that the mise en scene of the silent films of Greta Garbo, in its being dramatic, provides an embellishment of the narrative through its spatial composition of the image- it being Garbo that is crossing the set and sitting into the shot, it being a melodrama taking place within a world in which she can be otherworldly. Raymond Spottiswoode, writing in 1933, as well saw film as being comprised of its component parts. The sequence is seen as a series of shots that taken as part of the film as a whole add to its untiy. Spottiswoode describes there being implicational montage, where the sequences are seen in their entirety, their then containing within them content that has a relation to the film as a whole through implication, a series of shots producing its effect, creating its significance, in combination with other sequences in the film. |
| Greta Garbo photographer William Daniels continued his early career as second camerman under the direction of Eric von Strohiem, one film having had been being Blind Husbands (eight reels, 1919), starring Fay Holderness and Francellia Billington, another having been the film The Devil's Passkey (1920, seven reels), starring Una Tevelyan, Mae Busch and Maud George. Although one of the best films of the decade, the silentBlind Husbands, was concerned with marriage and the marital, one actress that had made several marriage dramas had been Katherine MacDonald. Of those she had appeared in were The Beauty Market (Campbell, 1919, nine reels), The Woman Thou Gavest Me, The Notorious Miss Lisle (1920) and Passion's Playground (1920). To add to any new look at marriage that was taking place as Hollywood peered through the keyhole into a modernity of what was being shown of the bedroom, DeMille in 1919 directed Why Change Your Husband (six reels), Male and Female (nine reels) with Lila Lee and For Better or Worse (seven reels), his having begun a series of films on marital relations in 1918 with Old Wives for New (six reels), each film scripted by Jeanie Macpherson. Macpherson, who had begun writing screenplays fmor DeMille with the 1915 film The Captive, starring Blanche Sweet, in 1920 continued with the director by scripting the film Something to Think About (seven reels), starring Gloria Swanson. Fred Niblo directed the film The Marriage Ring (five reels) in 1918. It has been offered that the films of DeMille are not only erotic comedies but reflect the becoming a commodity of matrimony and the reification of married life through the exchange values employed within suture and the syntax of shot reverse shot, the commodification of female sexuality within gendered spectatorship; within a model of the new woman a female subjectivity is constructed that is a result of consumerism. Whether or not the influence is direct, Einar Lauritzen has attributed the success of Mauritz Stiller's film Erotikon (When We Are Married, 1920), starring Lars Hanson, Tora Teje , Guken Cederborg and Karin Molander, to the films of DeMille. Added to that, in that there is a connection between the marriage dramas of De Mille and von Stroheim and the early film of Ernst Lubitsch, author Kenneth Macgowan having written that "in a wittier way" than the earlie two directors, Lubitsch had, "contributed to the delinquency of the screen", in particular with the silent filmThe Marriage Circle, in regard to the influence Mauritz Stiller may have had, Birgitta Steene writes, "They have often reminded foriegn critics of the comedies of Ernst Lubitsch, but actually the elegant eroticism characteristic of both Lubitsch and Bergman finds its source in the works of the Swedish motion picture director Mauritz Stiller." The film was photographed by Henrik Jaenzon. Greta Garbo had seen the film Erotikon before her having met StilPler. Erotic comedy was later explored by the Finnish director Teuvo Tulio in his film You Want Me Like This (Sellaisena kuin sina minut balusit, 1944). The Phantom Carriage (The Phantom Chariot,Korkarlen, 1920, also listed as 1921) adapted from a novel by Selma Lagerlöf, directed by Victor Sjostromfrom his screenplay, has often been compared to the opening symbolic sequence to Bergman's Wild Strawberries. In part, what may account for Bergman's feeling that the film had become more of a contribution that Sjöström had made rather than one of his own is the structure of the film's narrative, its use of a protagonist as narrative address. Victor Sjostrom stars in both films. Photographed by Jaenzon, the film also stars Hilda Borgström, Mona Geifer-  The Phantom Carriage(Korkarlen) was filmed by Arne Mattsson in 1958. Danish film director Lau Lauritzen directed five films in Sweden in 1920, En hustru till lans with Karen Winther, Flickorna i Are, with Kate Fabian, Karleck och bjornjakt with Si Holmquist, Vil de vare min kone-i morgen and Damernes ven. Although The President (Praesidenten, 1919), starring Elith Pio and Olga Raphael-Linden, is not distinguished as being remarkable, it is one of the only two that Carl Th Dreyer made in Denmark before his going abroad, his later establishing a small body of work that would be indelible upon filmmaking. His films are disparate stylisticly, differing in their use of technique; Dreyer has been quoted as having remarked upon his having tried to find a style that would have value for only a single film. In 1920, Greta Garbo would begin watching the silent films of Clara Kimball Young, Charles Ray and Thomas Meighan- it was also that year that she would espy the actor, later to become director, Sigurd Wallen at a performance of his, there also being an account of her having had a brief conversation with the actor Joseph Fischer. The films of Clara Kimball Young were the springboard for scriptwriter Lenore Coffee, whose first films as a screenwriter, The Better Wife (William Earle, 1919,five reels) and The Forbidden Woman (1920) had starred the actress. Finnish silent film director Erkki Karu directed two films for Suomen Biografi in 1920, both photographed by Finnish cinematographer Frans Ekebom, War Profiteer Kaikus Disrupted Summer Vacation (Sotagubishi Kaiun Hairitty Kesaloma) and Student Pollovaara's Betrothal (Ylioppilas Pollovaaran kihlaus). |
| Mary Pickford was portrayed by Swedish actress Agneta Ekmanner in the 1974 teleplay Bakom masker, directed by Lars Amble and based on the play by Hjalmer Bergman. |
| Clarence Brown directed his first film, The Great Redeemer (five reels) with Marjorie Daw and John Gilbert in 1920. Lowell Shermann, who appeared with Greta Garbo in the film The Divine Woman began in film in 1920 with Yes and No (Roy W. Neill, six reels) with Norma Talmadge and in 1921 with The Gilded Lady, (seven reels) Molly O (eight reels) and What No man Knows (six reels). Covergirl for Photoplay Magazine, Norma Talmadge was also that year directed by Roy W. Neill in the film A Woman Gives (six reels). A Daughter of Two World (James Young, six reels) and She Loves and Lies were also to star Norma Talmadge that year. Norma Shearer appeared in films in the year 1920, among them being The Sign On the Door ( Herbert Brenon, seven reels), The Flapper (Alan Crosland, five reels), The Restless Sex (six reels) written by Frances Marion and The Stealers (seven reels, William Christy Cabanne). Griffith also directed the films The Idol Dancer (1920, seven reels), with Richard Barthelmess, Clarine Seymour and Kate Bruce. In 1920 Dorothy Gish not only starred in the film Little Miss Rebellion (five reels), directed by George Fawcett, but also had begun filming with the director F. Richard Jones, under whose direction she starred in Flying Pat (1920, five reels), with Kate Bruce, The Ghost in the Garret (1921) and The County Flapper (1922) with Glenn Hunter and Mildred Marsh. Lillian Gish writes about Garbo's later asking her to introduce her to Griffith, which she did, and of Garbo's asking her how she should dress. Garbo had said to her, "It would be nice to have dinner at your house." Scripted by Hjalmar Bergman, was the 1921 film Fru Mariannes friare, directed by Gunnar Klintberg and starring Astri Torsell, Inga Ellis and Aslaug Lie-Eide, the cinematographer to the film having been Robert Olsson. Gunnar Klintberg would continue by directing Astri Torsell in two other Swedish Silent films, The Love Child, with Julia Hakansson, and Lord Saviles brott. The Fishing Villiage (Chains, Fiskebyn) was filmed in 1920 by Stiller and Henrik Jaenzon, it starring Lars Hanson. Appearing in the film was Hildur Carlburg, who that year also appearred in the film The Witch Woman (Prastankan), shot in Sweden by Danish film director Carl Dreyer. Sölve Cederstrand directed his first film, Ett odesdigert inkognito, starring Tage Alquist and Signe Selid, in 1920.  A Fortune Hunter (En Lyckoriddarre, 1921 six reels) starring Gösta Ekman, Mary Johnson, Hilda Forsslund and Greta Garbo, her appearing with her sister Alva Gustafsson in a scene that takes place in a tavern. In 1922 he directed Iron Wills (Harda viljor). Danish silent film director A. W. Sandberg in 1920 wrote and directed two films for the Nordisk Films Kompagni in which the actress Clara Wieth starred, House of Fatal Love (Kaerlighedsvalen) and A Romance of Riches (Stodderprinsessen), in which she starred with Gunnar Tolnaes. Sandberg also that year directed the film Adrift (Det dode Skib), with Valedmar Psilander, Stella Lind and Else Frolich. Ivan Hedqvist in 1921 directed the film Pilgrimage to Kevlar (Vallfarten till Kevlaar) starring Jessie Wessel, which he followed in 1924 with Life in the Country (Livet pa landet), photographed by Julius Jaenzon. Klaus Albrecht that year directed Lili Ziedner in the film The Bimbini Circus (Cirkus Bimbini). Tyra Ryman was introduced to her later costar Greta Garbo in 1922 at PUB by Eric Petschler, who directed both in Luffar-Peter. Writing about another film directed that year by Mauritz Stiller, Tom Milne sees the film Johan as having contributed to the technique and to the look of the film The Bride of Gromdal directed by Carl Th. Dreyer. Carl Th. Dreyer in 1921 directed the silent film Leaves from Satan's Book (Blade af Satans Bog). In the United States during 1921, Mary Pickford continued acting with the silent filmLittle Lord Fauntleroy. That year Sjöström also directed The Surrounded House (Det omringade huset), starring Wanda Rothgardt and Hilda Forsslund. The Swedish director Gustaf Edgren contributed The Young Lady of Bjorneborg (Froken pa Bjorneborg, 1922), photographed by Adrian Bjurman and starring Rosa Tilman, Elsa Wallin and the actress Edit Ernholm in her first film. Sigurd Wallen that year directed his first film Andessonskans Kalle with Stina Berg and Anna Diedrich, his following it with Andessonskans Kalle pa nya upptag with Edvin Adolphson, the debut film of Mona Martenson. That year Ragnar Ring wrote and directed En Vikingafilm, with Harald Wehlnor and Sigrid Ahlstrom. Karin Boye, the Swedish poet began publishing in 1922 with the volume Clouds. She continued in 1924 with Hidden Lands and in 1927 with The Hearths. Swedish poet Birger Sjoberg in 1922 published Frida's Songs. Writing about the 1922 Finnish Silent Film, Tytta Soila notes, "Perhaps one might say that the fortune of Suomi-Filmi, and thus the future of Finnish cinema, was established by portraying the lives of two strong female characters: Anna-Liisa and Hannah. Subsequently, many Finnish films were to have a strong female character at the center of the action." |
| In 1922 Rudolf Valentinowas in an early role, starring with Gloria Swanson in the film Beyond the Rocks (Sam Wood); the only existant copy of the film was found recently and the film, readying for distribution in United States during 2005, had its premiere in Amsterdam at the Filmuseum's Biennale festival. In her autobiography Swanson on Swanson, the actress gives an account of making of the film. "Everyone wanted Beyond the Rocks to be every luscious thing Hollywood could serve up in a single picture: the sultry glamour of Gloria Swanson, the steamy Latin magic of Rudolph Valentino, a rapturous love story byb Elinor Glyn, and the tango as it was meant to be danced, by the master himself. In the story I played a poor but aristocratic English girl who is married off to an elderly millionaire, only to meet the lover of her life on her honeymoon." After describing the fun she had off the set with Valentino, with whom she often had dinner, she concludes, "Several months later he married Natacha Rambova, and from then on he and I saw each other seldom." Valentino had in 1921 starred in the silent filmCamille (Ray C. Smallwood, six reels) with Patsy Ruth Miller and Consuelo Flowerton. |
| It is only with sincere appreciation for for the Silent Film series aired on Turner Classic Movies on Sunday Nights that the best of luck should be wished to Robert Osborne and Charles Tabesh at their appearing at the screening of silent films- Robert Osborne was present at the San Francisco Silent Film Festival for the July 14, 2007 showing of Camille. The film was included in the Greta Garbo Signature released in 2005 near to the 100th birthday of the actress Greta Garbo along with a section entitled TCM archive: Greta Garbo Silents. |
| Lon Chaney in 1922 starred in the film Flesh and Blood (five reels). Norma Shearer first appeared in a starring role in 1922 in the film The Man Who Paid (five reels), directed by Oscar Apfel. Rudolf Valentino in 1922 would appear with Wanda Hawley in the film The Young Rajah (Phil Rosen), the screenplay to the film written by June Mathis, who adapted the script from a novel by ames Ames Mitchell. Valentino would also that year appear with Dorothy Dalton in Moran of the Lady Letty (George Melford). |
| Filmed in Sweden by Danish silent film director Benjamin Christensen, 1922 saw the release of the long awaited film Haxan (Witchcraft Through the Ages). The film, recently included in the films of Janus Films and in the silent film from Criterion, in the United States, was photographed by Johan Ankerstjerne and written by Christensen, who appears in the film with Ella la Cour, Emmy Schonfeld, Kate Fabian, Elisabeth Christensen, Astrid Holm and Elith Pio. Notably Alice O Fredricks and Tora Teje also appear in the film. In a film that to Sweden was to be its Intolerance, Christensen numerously uses the iris in to punctuate the end of a particular scene and the iris out in the subsequent shot to begin the adjacent scene; he goes so far as to use both during the same shot. Raymond Sptossiwoode remarked upon the fade in and fade out, along with the dissolve and wipe, as being something that was to "produce a softening effect, an indeterminate space between successive shots", his delegating it to being "the mark of the termination of an incident or of a defined period of time". German director Paul Wegener, two years earlier than Christensen's film, released a remake of his film The Golem (Der Golem), which he had first filmed in 1915. |
Gustaf Molander. Continuing the filming of the novels of Lagerlöf, he directed Birgit Sergelius and Pauline Brunius in Charlotte Lowenskold (1930). Charlotte Lowenskold is the second in a trilogy of short stories written by Selma Lagerlöf, each of them having the Scandinavian landscape of Varmland as their background. The beginning volume, Lowenskolska Ringen was published in 1925, the third volume, Anna Svard having appeared in 1928. Victor Sjostrom had starred with Wanda Rothgart and Gunn Wallgren in the first filming of The Word (Ordet, 1943) under the direction of Molander, the actor Rune Lindstrom having written the screenplay. Victor Sjostrom also acted under Molander's direction in the films The Fight Goes On (Striden gar Vidare, 1941),in which Sjostrom appeared with Renee Bjorling and Ann-Margret Bjorlin, it having had been being the debut of the actress in film, Det Brinner en Eld (1943), in which Sjöström appeared with Lars Hanson and Inga Tiblad and Kvartetten som Sprangdes (1950). If as though to either to complement or to counter the use of mise en scene and Victor Sjöström's use of landscape in early Swedish cinema, Molander is a director of the interior scene. Tytti Soila writes, "Particularly in the melodramas, Molander used the composition of the image with the purpose of showing something essential about the existential situation of the characters. The pictures are 'tight' and on the verge of being claustrophobic, as props and other details of the set fill the frame, competing for room with the characters." Gustaf Edgren in 1923 wrote and directed the film People of Narke (Narkingarna) photographed by Adrian Bjurman and starring Anna Carlsten, Gerda Bjorne and Maja Jerlström in her first appearence on screen, the director following it in 1924 with The King of Trollebo (Trollebokungen), an adaptation of the 1917 novel scripted by Sölve Cederstrand and photographed by C.A. Söström, the film having starred Ivar Kalling, Weyeler Hildebrand and Signe Ekloff. Per Lindberg directed his first film in 1923, Norrtullsligan written by Hjalmar Bergman and starring Tora Teje, Egil Eide, Stina Berg, Linnea Hillberg and Nils Asther, as did William Larsson, who directed Jenny Tschernichin, Jessie Wessel and Frida Sporrong in the film Halsingar and Karin Swanström, who directed and starred with Karin Gardtman and Ann Mari Kjellgren in the film Boman at the Exhibition (Boman pa utstallningen) for Scandias Filmbyra and Svensk Filmindustri. Halsingar was also to be the first of many films photgraphed by Swedish cinematographer Henning Ohlson. Per Lindgren that year directed a second film scripted by Hjalmar Bergman, Anna Klara and her Brothers (Anna Clara och hennes broder), it starring Anna-Britt Ohlsson, Hilda Borgström, Karin Swanström, Linnea Hillberg, Hilda Borgström and Margit Manstad in what would be her first appearance on the siler screen. The film was photographed by Ragnar Westfelt. Bror Abelli in 1923 directed his first two films, including the film Janne Modig. Froken Fob (1923) was directed by Elis Ellis and photographed by Adrian Bjurman. Sven Bardach photographed his first film in 1923, Andersson, Petterson och Lundstrom, under the direction of Carl Barklind. The film stars Vera Schmiterlow and Mimi Pollock, both of whom were aquaintances of Greta Garbo, Inga Tiblad, Gucken Cederborg and Edvin Adolphson. Fredrik Anderson in 1923 directed En rackarunge, with Elsa Wallin and Mia Grunder. Gustaf V, King of Sweden is listed as being in the film. The film was photographed by Swedish cinematographer Sven Bardach. Danish actress Olga d'Org starred in three films for Nordisk Films Kompagni, all of which were directed by A.W. Sandberg, including the 1923 film The Hill Park Mystery (Nedbrudte nerver). Finnish film director Karl Fager in 1923 brought the film The Old Baron of Rautakyla (Rautakylan Vanha Parooni) to the screen. Theodor Berthels in 1924, wrote and directed the film People of the Simlanga Valley (Folket i Simlangsdalen) with Mathias Taube and Greta Almroth and directed the film The Girl from Paradise (Flickan fran Paradiset). Both films were photographed by Swedish cinematographer Adrian Bjurman. Ragnar Ring that year directed Bjorn Mork and Nar millionera rulla. Ivar Kage in 1924 directed Gosta Hillberg and Edvin Adolphson in the film Where the Lighthouse Flashed (Dar fryen blinkar) for Svensk Ornfilm. Rune Carlsten in 1924 wrote and directed The Young Nobleman (Unga greven tar flickan och priset). Hellwig Rimmen that year directed and photgraphed the film Hogsta vinsten. Silent FilmSILENT FilmSILENT FilmSILENT FILMDanish Silent Film |
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Swedish Silent Film to be revised, miscellaneous filmography to be revised,
If filmic address during a cinema of attractions had begun with the act of display, it had begun to incorporate the actor as seen in close shot, which could be edited into a grammar of film - the shot had become "the unit of editing" and the "basis for the construction of the scene" (Jacobs), whereas before it had been the scene that would allow the placement of shots, it now being that there could be an assemblage of shots. Terry Ramsaye writes," Griffith began to work at a syntax for the screen narration...While Griffith may not have originated the closeup and like elements of technique, he did establish for them their function."; which silent film author Nicholas A. Vardac reiterates by writing that it was from the films of Edwin S. Porter that D.W. Griffith acquired the technique of viewing the shot within its context as "a syntax for the melodrama". |
And yet, if the present author has anything to add to what has been written in appreciation of Scandinavian film and its use of landscape to add depth to the development of character by creating relationships between the background and the protagonist of any given film's plotline, within that is that within classical cinema and its chronological ordering of events, it is still often spatio-temporal relationships that are developed. The viewer often acknowledging the effect that an object within the film might have upon the character, an object that is either stationary or in movement, poeticly in movement as a waterfall would be, the structuring of space within the film not only clarifies plot action, but, within the framed image, included in the spatial continuity within the visual structure of the film, establishes a relation of objects that appear onscreen to the space that is offscreen. Spatial relations became narrative. Character movement, camera movement and shot structure create a scenographic space which within the gaze of the actress is observed through an ideal of femininity, a unity of space constructed that links shots, often by forming spaces that are contiguous within the scene and creating images that are poeticly presented as being contiguous; subjectivity is structured within the discourse of the film and these subjectivities are presented to the viewer as being within a larger context within early Silent Scandinavian films.
In Kristianstad, Sweden the director Carl Engdahl pioneered with the film The People of Varmland (Varmanningarna) in 1909. Robert Olsson photographed The Wedding at Ulfasa for two directors, the second having had been being Gustaf Linden. The film starred the Swedish silent film actresses Ellen Appelberg, Lilly Wasmuth and Anna Lisa Hellstrom. In 1910, Olsson wrote, directed and photographed the film Emigranten, starring Oscar Soderholm and Valborg Ljungberg, and photographed the films Emigrant starring Torre Cederborg and Gucken Cederborg in her first appearance on screen, and Regina von Emmeritz och Kongung Gustaf II Adolf, starring Emile Stiebel and Gerda Andre, both directed by Gustaf Linden. Twelve years later, Gucken Cederborg was introduced to another actress who would soon be introduced to Swedish audiences, Barry Paris having written that when when she and actress Tyra Ryman walked into Pub with actor-director Eric Petschler, Greta Garbo, who worked there as a clerk, recognized them immediately.
Film historians have noted that Kristianstad, Sweden was home to another film, The Man Who Takes Care of the Villian (Han som clara boven), filmed in 1907. Produced by Franz G. Wiberg, the film has never been released theatrically.
Svensk Kinematograf was the production company that under N. E. Sterner had filmed six of the earliest films photographed in Scandinavia- Robert Olsson had photographed Pictures of Laplanders (Lappbilder), Herring Fishing in Bohuslan (Sillfiske i Bohuslan), Lika mot lika starring Tollie Zellman and Kung Oscars mottagning i Kristianstad in 1906 before working with Carl Engdahl. Also shown in Stockholm and Goteborg during 1906 was the film Kriget i Ostergotland. In 1911, Gustaf Linden, directed the film The Iron Carrier (Jarnbararen), photographed by Robert Olsson and starring Anna-lisa Hellstrom and Ivan Hedqvist. Similar to the early cinematography of Robert Olsson were the films shot by Ernest Florman, who wrote and directed the film Skona Helena (1903), which had starred Swedish actress Anna Norrie.
n Another of Sweden's earliest photographers was Walfrid Bergström, who was behind the camera between 1907-1911 in Stockholm for Apollo productions. In 1907 Bergström filmed Den glada ankan, one of the three films produced by Albin Roosval starring Carl Barklind and Emma Meissner and Konung Oscar II's likbegangelse. Between 1907 and 1911, Bergstrrom would photographed Skilda tiders danser with Emma Meissner and Rosa Grunberg in 1909 and Ryska sallskapsdanser in 1911. During 1908, Svenska Biografteatern produced two short films with the actress Inga Berentz, Sjomansdansen, photographed by Walfrid Bergstrom, and I kladloge och pascen, photographed by Otto Bokman.
Charles Magnusson, who came to the United States, directed and wrote The Pirate and Memories from the Boston Sports Club in 1909 and Orpheus in the Underworld (Urfeus i underjorden) in 1910. Magnusson in 1909 had become the managing director of Svenska Biografteatern, which Julius Jaenzon become part of in 1910. Notably, while under N. E. Sterner of Svensk Kinematograf, Charles Magnusson had photographed Konung Haakons mottagning i Kristiania (1905), a short film of the King of Norway's visit to Kristiania almost as though to presage that it would be there, rather than Rasunda that he would begin the Swedish Film industry, his also having directed the films Gosta Berlings land(Bilder fran Frysdalen, 1907), Gota elf-katastrofen (1908) and Resa Stockholm-Goteborg genom Gota och Trollhatte kanaler (1908). Konstantin Axelsson, in 1911, directed Hon fick platsen eller Exkong Manuel i Stockholm. Starring Ellen Landquist, the film was produced in Stockholm by Apollo and was photographed by Walfrid Bergstrom.
Like Charles Magnusson, Frans Lundberg produced short silent films in Sweden, the first two filmed in 1910. Stora Biografteatern, in Malmo, Sweden, photographed To Save a Son (Massosens offer), directed by Alfred Lind and starring Agnes Nyrup-Christensen, and The People of Varmland (Varmlandingarna), directed by Ebba Lindkvist, photographed by Ernst Dittmer and starring Agda Malmberg, Astrid Nilsson and Ester Selander. The following year Ernesr Dittmer would write and direct the film Rannsakningsdomaren, starring Gerda Malmberg and Ebba Bergman.
In Malmo Sweden, for Stora Biografteatern, Otto Hoy during 1911 wrote and directed the film The Spy (Spionen), starring Paul Welander and Agnes Nyrop-Christensen, the manager of Stora Biografteatern, Frans Lundberg. Paul Welander wrote and directed his first film in 1911, Champagneruset.
Carl Engdahl later appeared in the 1926 film Mordbrannerskan, directed by John Lindlof.
Forsyth Hardy notes that the early Swedish films of 1911 were films in which "the camera remained static and the action was artificially concentrated into a small area in front of it." Not quite apart from this and very much like the silent film included in Vardac's account of the use of the proscenium arch in early cinema in Stage to Screen,the films directed by Anna Hofman Uddgren in 1911 were transpositions of Miss Julie and The Father (Fadren) ,the intimate theater of Swedish playwright August Strindberg. Cameraman Otto Bokman used two exterior shots during The Father, the film having starred Karin Alexandersson and Renee Bjorling. Miss Julie, a film that had had its Stockholm premiere at the Orientaliska Teatern, starred Karin Alexandersson and Manda Bjorling. Both plays were later to be filmed by Alf Sjöberg. Stiller had, in fact, been the manager of the Lilla Teaten and a contemporary of August Falk and Manda Bjorling had acted with him and Anna Flygare at the Intima Theatern. Uddgren also in 1911 directed Single a Dream (Blott in drom), starring Edith Wallen Sisters (Systarna), starring Edith Wallen and Sigurd Wallen and Stockholmsdamernas alskling, starring Carl Barcklind, Erika Tornberg and Anna-Lisa Hellström. Balif vid Molle (1911) was photographed by John Bergqvist. Also in Stockholm, the Kungliga Dramatiska Teatern, later managed by both Ingmar Bergman and Erland Josephson, was headed by Gustaf Fredriksson between 1904-1907 and then by Knut Michaelson between 1908-1910. Victor Sjöström had had his own theater with Einar Froberg before his directing under Magnusson, it having been Froberg that had spoken to Magnusson before he and Sjöström had met.
The Blue Tower, where August Strindberg lived in Stockholm between 1908-1912 and where he wrote the play The Great Highway, is now part of The Strindberg Museum.
Thanhouser was also producing adaptations of literature for the screen and in 1911 filmed three plays by Norwegian playwright Henrik Ibsen: Pillars of Society (Samfundets stotter), Lady from the Sea (Fruen fra havet, Theodore Marston
) and A Doll's House (Et dukkehjem). Lubin that year filmed a version of Ibsen's Sins of the Father (Gengangere).
Although a theory of a cinema of attractions depends less upon the use of the proscenium arch written about by Nicholas A. Vardac or the camera's photographic reproduction of drama that had previously been enacted upon the stage and more upon the act of display having preceded the use of cinematic and editorial devices to propel narrative, the grammar of film would be used both to transpose the theatricality of the stage play and to adapt novels to the screen in ways which they could not be performed in front of a theater audience not only in regard to the modes of address which would position the spectator but also in regard to the public sphere of reception. Within the reception of each film there soon was a heterogeneity of filmgoers and that films were visual soon transversed language barriers between audiences that would otherwise have been seperate. Characteristic of early films that were adaptions of novels was the use of a linear narrative similar to that of the "well made novel" novel of the nineteenth century, the camera following the character into each subsequent scene. There soon would be films in which there would be a contemporaneity of narrative and attraction. Raymond Spottiswoode distinguishes between the photoplay, the adaptation of the stage play to the screen with little or no editing, and the screenplay, where camera movement and technique is used to convey narrative- the photoplay can be likened to a cinema of attractions where the scene is filmed from a fixed camera position, whereas the screenplay includes the cut from a medium shot to a close shot in order to build the scene.
In regard to the camera being authorial, Raymond Spottiswoode writes, "The spatial closeup is the usual means of revealing significant detail and motion. Small movements which must necessarily have escaped the audiences of a play sitting removed some distance from its actors can thus be selected from their surroundings and magnified to any extent." While writing that how the camera is authorial includes its having only one position, that of the viewer, which, differing from that of the theater audience can vary with each shot change, depending upon the action within the scene, Spottiswoode cautions that the well written stage play is not suited for the camera's mobility. He also indirectly addresses the use of nature as a way to connect characters to their enviornment while they are being developed that is quite often significant in Scandinavian films when writing about the possibility there being a "difference film", by that his referring to a film which uses relational cutting. "To constitute such a 'difference film' is not sufficiently merely to photograph mountains and streams which are inaccessible to theater producers; the film must also choose a method of carrying on its purposive themes or meaning from moment to moment." He continues, "the public can be trained to appreciate that the differences between nature seen and nature filmed constitute the chief value of the cinema."
At first the films of Melies were shot in a single scene, as though filmed theater; in order to film narrative he then put seperate shots in order to become connected scenes, or "artificially arranged scenes". It would later become "a constant shifting of scenes" (Lewis Jacobs). Although the article discusses the lack of narrative closure and unicity of frame in early cinema, the subject of a recent e-mailed book review was the writing of one author that has offered the idea that there is less of a demarcation between early cinema and the films that provide transition to the two-reel film -writing about the editing of Melies, Ezra gives an account of his films being comprised of combinations of photographic reproduction, spectacle and narrative. Quite certainly, the images of film are moving images and can advance the narrative and more of the film that was to come later would be dramatic narrative. The Great Train Robbery, produced by Edwin S. Porter, was made by the Edison Manufacturing Co. and is included in the 275 silent films of the Paper Print Collection. Also included in the collection is the early silent filmThe Little Train Robbery filmed by the Edison Manufacturing Co. in 1905. The Library of Congress also holds a collection of early animation, in which two films produced by silent film pioneer Thomas A. Edison are included, as well as Dinosaur and the missing link, produced by Edison in 1917. Charles Musser writes that more than four fifths of the films made by Edison between 1904 and 1907 were narrative or stage fiction; among these was the 1906 film Kathleen Mavourneen
Heath sees early cinema as space articulated in tableau, filmed frontally, storyline achieved by the linking of scenes, as when they are linked by characters and their having entered the frame, to the viewer, spectacle being horizontal, scenographic space. Mary Ann Doanne equates the cinema of attractions with "an early form of cinema organized around single events" looking to the one-shot films as their often being "the spectacular deployment of the female body", as in the Biograph film, Pull Down the Curtains, Suzie (1904). That intertitles were at first often explanatory shows the beginnings of a narrative within cinema.
Certainly by 1917 films made in the United States, and the films made by Sjöström and Stiller in Sweden had acquired a narrative transitivity, a chronological plot outline, more often than not their being characterized by their having a causal motivation of scene and its structure. In regard to film preservation and the intertitle,
Certainly by 1917 films made in the United States, and the films made by Sjöström and Stiller in Sweden had acquired a narrative transitivity, a chronological plot outline, more often than not their being characterized by their having a causal motivation of scene and its structure. In regard to film preservation and the intertitle,
It is not suprising that Kenneth Macgowan writing as early as 1965 in Behind the Screen divides early silent film into three periods: 1896-1905; 1906-1915; 1916-1925. Form and content in film technique seem to have developed together.
---------------insert and revise below into new revison-------- Among the films produced by Nordisk Films Kompagni in 1906 was Bonden i Kobenhavn (Hunting of a Polar Bear), directed by its manager, Ole Olsen. Having established the Biografteatret, Copenhagen's first movie theater, Ole Olsen established its first production company in 1906, Ole Olsen's Film Industry, which that year filmed Pigeons and Seagulls (Duer og Maager). ------------------------------ Ole Olsen also produced the 1906 films The Funeral of King Christian IX (King Christian IX's Bisaettelse) and The Proclamation of King Fredderick VIII (King Frederick VIII's Proklamtion). There were thirty one silent films produced by Ole Olsen that were given to the Royal Library during the year 1913.
Vitriolic Drama (Vitrioldrama), Violinist's Romance (Violinistens Roman), Rivalinder (A Woman's Duel/The Rivals), Gelejslaven, Tandpine, Knuste Haaband and Kortspillere were also filmed by Nordisk Films Kompagni during 1906. In 1906 Louis Halberstadt for Nordisk Films Kompagni directed the film Konfirmation, photographed by Rasmus Bjerregaard, it having been the first Danish silent film in which Greta Garbo co-star Jean Hersholt (The Rise and Fall of Susan Lennox) was to appear.
The Danish photographer Axel Sorensen began filming for Larsen in 1906 and continued solely with Larsen untill 1911, when he began photographing first for Danish director August Blom and then for Danish director Urban Gad under the name of Axel Graatkjae. One film photographed by Axel Sorensen that Viggo Larsen is particularly noted for directing is The Lion Hunt (Lovejaten, 1907).
The Danish photographer Axel Sorensen began filming for Larsen in 1906 and continued solely with Larsen untill 1911, when he began photographing first for Danish director August Blom and then for Danish director Urban Gad under the name of Axel Graatkjae. One film photographed by Axel Sorensen that Viggo Larsen is particularly noted for directing is The Lion Hunt (Lovejaten, 1907).
In the year 1906, the actress Margrethe Jespersen had starred in the films Anarkistens svigermor (Larsen), Knuste hab, Caros dod, Haevnet (Larsen) and Fiskerliv i Norden (Larsen).
Among the films directed by Larsen in 1907 were A Modern Naval Hero (En Moderne Sohelt) and Once Upon a Time (Der var engang) with Clara Nebelong, Gerda Jensen and Agnes Porlund Seemann, both of which he appeared in as an actor.
Emmanuel Tvede directed only one film in Denmark, Faldgruben, and yet in it was future star Emilie Sannom in one of her first screen appearances, Danish actress Kate Fabian also having appeared in the film.
In addition to Nordisk Films, during 1910 the Regina Kunst Kompagni briefly produced films in Denmark, notably the first three films in which actress Clara Weith Pontoppidan had, as Clara Weith, starred, Elskovsleg, Djaevelsonaten, and Ett Gensyn, in which she starred with actresses Annegrette Antonsen and Ellen Aggerholm. Director Axel Strom directed Clara Weith in the film Dorian Grays Portraet, in which she starred with Valdemar Psilander as well as his having directed Johanne Dinesen in the film Den doe Rotte. Danish silent film actress Emilie Sannon also starred on screen for the Regina Kunst Kompagni, her having starred in the film Doden.
In addition to Nordisk Films, during 1910 the Regina Kunst Kompagni briefly produced films in Denmark, notably the first three films in which actress Clara Weith Pontoppidan had, as Clara Weith, starred, Elskovsleg, Djaevelsonaten, and Ett Gensyn, in which she starred with actresses Annegrette Antonsen and Ellen Aggerholm. Director Axel Strom directed Clara Weith in the film Dorian Grays Portraet, in which she starred with Valdemar Psilander as well as his having directed Johanne Dinesen in the film Den doe Rotte. Danish silent film actress Emilie Sannon also starred on screen for the Regina Kunst Kompagni, her having starred in the film Doden.
The versatility of Asta Nielsen, directed by her husband Urban Gad, was especially shown from film to film. The Abyss begins with a shot of the actress Asta Nielsen as Magda and her boarding a train as though it were a whistle stop. It continues with exterior longshots, untill the two characters are seen at an outdoor coffee table. There is a cut to an interior where she is seen in full shot opening a letter, the camera distance well behing the Vitagraph nine foot line, particularly for an interior filmed in 1910. Seated, the next shot shows her at a closer angle, filmed higher than her as she is reading the letter. It then cuts to a train station and then a series exterior full shots of her arriving in the country. The scene then shifts to an outdoor circus and an exterior full shot during which she dances. The storyline becomes dramatic, or sensational in its being melodramatic, where she flees with the circus, much like in the Greta Garbo film The Rise and Fall of Susan Lennox. There is in the film a near panning shot following characters as a horse drawn carriage parks near the exterior of a building, the camera then cutting to the interior where she is recieving guests.
 
Peter Cowie notes that Karu's The Logroller's Bride (Koskenlaskijan morsian, 1923) has an exterior landscape scene that had been filmed by using six different cameras; the director later remade the film as the first Finnish film to include sound. The film Tukijoella (Log River) continued the influence of the Scandinavian film directors upon the silent cinema of Finland in their being a relation shown between the characters of the film and its background landscape, it having appeared in theaters in 1928. Also directing in Finland in 1913 was playwright Kaarle Halme who brought the films (The Bloodless Ones/Verettomat) and The Young Pilot (Nuori luotsi) to silent film audiences who had previously looked to the theater; the photplay, although quickly a new form of literature to convey the dramtic, and melodramtic, was still in Finland before 1919 contained within static camera angles without the frequent use of editing to complicate plotlines and character relationships, characters often shown in full figure, at the same camera distance, as at Vitagraph studios in the United States.
Peter Lykke-Seest, who had founded the first Norwegian film studio, the Christiana Film Company, was a screenwriter for Victor Sjöström (and Mauritz Stiller) before his directing The Story of a Boy (Historien om en gut) in 1919.
Aside from this was the consideration that once films had been begun to have been made that were two reels or more, dialouge,through the use of intertitles, and expository descriptions could be added to the way the causality of plotline was developed during a film and how character was delineated, intertitles that would not only lend continuity to the linear progression of storyline but also bring unity to it. Victor Sjöström later would in fact use intertitles to act as retrospective first person, voice over narrative.
That Sjöström the actor would later be shown in both long shot and close shot in the same sequence shows the relation between the character on the screen and the space within the frame; in that the camera had been becoming increasingly authorial, it often seemed to provide an embodied viewpoint from which an idealized spectator could view onscreen space, and by its being authorial, could seem to reposition the spectator during the film through the use of a second central character. While discussing film technique as something that is a reproduction of the images before the spectator, Raymond Spottiswoode claims that "it can never attain to art", and yethe adds that there must be a freedom available to the director "if he is to infuse his purpose and character into the beings of nature, to change them that their life becomes more living, their meaning more significant, their vlaue more sure and true." He continues that while it can be put forth that there is only one camera angle that any scene can be photographed from, one relation to the camera that any object can be aquire within the varying spatial relations that it takes while arranged with the other objects in front of the camera, "there is no reason to suppose that the choice of a camera angle is not perfectly free." The attention of the spectator could be directed spatially. It is by being authorial that the camera can impart meaning, technique not only to have brought an objectification of what was in front of the camera but also of the camera itself as it observed the actors within the scene, as it photographed the object, the structure of the image deigned by the placement of the camera, the pleasure of the spectator derived in part from the parallel between the spectator and the camera. In regard to the camera being authorial, a group member of an e-mailed silent film mailing list recently in a post quoted a postulate of the theory of there being a cinema of attractions, "The narrator inthe early films is sporadic; an occaisional specter rather than a unified presence."
Stiller directed in 1912 with Mother and Daughter (Mor och Dotter), in which he acted with Anna Norrie and Lily Jacobsson In 1912 Stiller directed film The Tyrannical Fiancee (Den Tyranniske Fastmannen), in which he starred with Agda Helin.
Marina Dahlquist chronicles, "In the spring of 1912, Charles Magnusson, the head of Swedish Biograph, Siegmund Popert and Victor Sjostrom went to Paris to visit the Pathe studio, perhaps to discuss the distribution of Swedish films in the international market." In addition to securing co-production and Sweden's entrance into an international market, it brought director Paul Garbagni to the Lidingo studio, where he showcased Victor Sjostrom, George af Klerker and Anna Norrie.
Victor Sjöström that year wrote and directed The Marriage Bureau (Aktenskapsbryan) with Victor Lundberg and directed A Secret Marriage (Ett hemlight giftermal) with Hilda Borgström, Smiles and Tears (Lojen och tarar) with Mia Hagman, a film written by Charles Magnusson and photographed by Julius Jaenzon, A Summer's Tale (En Sommar Saga) and Lady Marion's Summer Flirtation (Lady Marion's sommarflirt, photographed by Julius Jaenzon and starring Hilda Borgström.
That year Paul Garbagni directed both Victor Sjostrom and Mauritz Stiller with actress Astrid Endgelbrecht in the film Springtime of Life (In the Spring of Life, I livets var), almost as soon as the golden age Swedish cinema had begun, it had begun adapting the novel to film; the significance of the cinema of attractions would now be in the shot, the placement of the shot within the scene, display relegated to frame compositions.
Eric Malmberg that year directed the films Oceanbreakers and Stolen Happiness (Branningar eller Stulen lycka) with Lily Jacobsson, Tollie Zellman and Victor Arfvidson, Det grona halsbandet with Lilly Jacobsson and Agda Helin and Samhallets dom, with Lily Jacobsson, Agda Helin, Tollie Zellman and actress Lisa Holm in the first film in which she was to appear, as well as Agaton and Fina (Agaton och Fina), and Two Swedish Emigrants in America (Tva svenska emigranters afventyr i Amerika), both photographed by Julius Jaenzon, also with Lily Jacobsson. Algot Sandberg that year directed the film Farbror Johannes ankomst till Stockholm.
Paul Welander in 1912 contributed the films The Pace That Kills (Broder och syster) and The Circus Queen (Circusluft). Welander also that year having starred with Ida Nielsen in The Bonds of Marriage (Karleksdrommar) a film made by Frans Lundberg. During 1912 Charles Magnusson would direct The Green Necklace (Det grona halsbandet) and The Vagabond's Galoshes (Kolingens galosher), both photographed by Julius Jaenzon. The direction of "Det halsbandet grona", which starred actress Lilly Jacobsson has been credited to Eric Malmberg, who also appears on screen as an actor in the film. Juilius Jaenzon that year was the photographer and director of the film Condemned by Society.
1912 was also the year that Hjalmar Söderberg, often considered the nearest contemporary to Strindberg, published the novel The Most Serious Game (Den allvarsamm leken) and the one act play Aftonstjarnan. The first publication to appear written by Par Lagerkvist, People (Manniskor), a collection of short stories was also printed that year as well.
The Mary Pickford film A New York Hat, {1912) was the first photoplay written by Anita Loos. Within the short scenes of the film, Mary Pickford is shown in to the right of the screen in medium close shot trying on a hat, her hands and bended elbows in 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 two scenes, then brings the ensuing action back to the right of the screen frame. As an early reversal of screen direction, or screen positioning, there is the use of scene editing in between the complementary positions of showing her in the same interior. During the film, the actress is, almost referentially, often kept in right profile, facing the right of the screen's frame.
If this was later remarked upon as being part of a comparision and contrast, Mary Pickford was to write, "As I recall, D. W. Griffith never adhered to a script. Improvisation was frequently the order of the day. Sometimes the camera registered an impromputu piece of off-story action and that too stayed in the film." Lillian Gish in no way contradicts her by writing about how Griffith used the editing room to develop storyline, particularly by adding close ups and shots of objects, "Later, he would make sense of the assorted shots in the cutting room, giving them drama and continuity." These cut-in shots were inserted into the scene to add "depth and dimension to the moment".
During 1912 the first film that would star Mary Miles Minter would appear on the marquee, the one reel The Nurse and Anna Q. Nilsson would make her first film, the one reel Molly Pitcher. Oddly enough, Nilsson's studio, Kalem, had given the title role of The Vampire to Alice Hollister, the two later united on the screen in A Sister's Burden (1915). In addition to the films of Louise Glaum,whom Fred Niblo directed in Sex (1920, seven reels), and Valeska Suratt, another film of that title had starred Olga Petrova, it seeming that quickly "'vamp' became an all too common noun and in less than a year it was a highly active verb, transitive and intransitive" (Ramsaye). Anna Q. Nilsson would appear in War's Havoc, Under a Flag of Truce and The Soldier Brothers of Suzanna in 1912. Lillian Gish would later play a vamp in Diane of the Follies (1916). Birgitta Steene writes that in the films of Ingmar Bergman, "the vamp is portrayed as the social victim rather than the embodiment of sin."
That year Paul Garbagni directed both Victor Sjostrom and Mauritz Stiller with actress Astrid Endgelbrecht in the film Springtime of Life (In the Spring of Life, I livets var), almost as soon as the golden age Swedish cinema had begun, it had begun adapting the novel to film; the significance of the cinema of attractions would now be in the shot, the placement of the shot within the scene, display relegated to frame compositions.
Eric Malmberg that year directed the films Oceanbreakers and Stolen Happiness (Branningar eller Stulen lycka) with Lily Jacobsson, Tollie Zellman and Victor Arfvidson, Det grona halsbandet with Lilly Jacobsson and Agda Helin and Samhallets dom, with Lily Jacobsson, Agda Helin, Tollie Zellman and actress Lisa Holm in the first film in which she was to appear, as well as Agaton and Fina (Agaton och Fina), and Two Swedish Emigrants in America (Tva svenska emigranters afventyr i Amerika), both photographed by Julius Jaenzon, also with Lily Jacobsson. Algot Sandberg that year directed the film Farbror Johannes ankomst till Stockholm.
Paul Welander in 1912 contributed the films The Pace That Kills (Broder och syster) and The Circus Queen (Circusluft). Welander also that year having starred with Ida Nielsen in The Bonds of Marriage (Karleksdrommar) a film made by Frans Lundberg. During 1912 Charles Magnusson would direct The Green Necklace (Det grona halsbandet) and The Vagabond's Galoshes (Kolingens galosher), both photographed by Julius Jaenzon. The direction of "Det halsbandet grona", which starred actress Lilly Jacobsson has been credited to Eric Malmberg, who also appears on screen as an actor in the film. Juilius Jaenzon that year was the photographer and director of the film Condemned by Society.
1912 was also the year that Hjalmar Söderberg, often considered the nearest contemporary to Strindberg, published the novel The Most Serious Game (Den allvarsamm leken) and the one act play Aftonstjarnan. The first publication to appear written by Par Lagerkvist, People (Manniskor), a collection of short stories was also printed that year as well.
The Mary Pickford film A New York Hat, {1912) was the first photoplay written by Anita Loos. Within the short scenes of the film, Mary Pickford is shown in to the right of the screen in medium close shot trying on a hat, her hands and bended elbows in 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 two scenes, then brings the ensuing action back to the right of the screen frame. As an early reversal of screen direction, or screen positioning, there is the use of scene editing in between the complementary positions of showing her in the same interior. During the film, the actress is, almost referentially, often kept in right profile, facing the right of the screen's frame.
If this was later remarked upon as being part of a comparision and contrast, Mary Pickford was to write, "As I recall, D. W. Griffith never adhered to a script. Improvisation was frequently the order of the day. Sometimes the camera registered an impromputu piece of off-story action and that too stayed in the film." Lillian Gish in no way contradicts her by writing about how Griffith used the editing room to develop storyline, particularly by adding close ups and shots of objects, "Later, he would make sense of the assorted shots in the cutting room, giving them drama and continuity." These cut-in shots were inserted into the scene to add "depth and dimension to the moment".
During 1912 the first film that would star Mary Miles Minter would appear on the marquee, the one reel The Nurse and Anna Q. Nilsson would make her first film, the one reel Molly Pitcher. Oddly enough, Nilsson's studio, Kalem, had given the title role of The Vampire to Alice Hollister, the two later united on the screen in A Sister's Burden (1915). In addition to the films of Louise Glaum,whom Fred Niblo directed in Sex (1920, seven reels), and Valeska Suratt, another film of that title had starred Olga Petrova, it seeming that quickly "'vamp' became an all too common noun and in less than a year it was a highly active verb, transitive and intransitive" (Ramsaye). Anna Q. Nilsson would appear in War's Havoc, Under a Flag of Truce and The Soldier Brothers of Suzanna in 1912. Lillian Gish would later play a vamp in Diane of the Follies (1916). Birgitta Steene writes that in the films of Ingmar Bergman, "the vamp is portrayed as the social victim rather than the embodiment of sin."
Danish silent film direct Wilhelm Gluckstadt began directing in 1912 with the film The Blue Blood (Det blaa Blod), scripted by Stellan Rye and starring Elina Jorgen Jensen, Grethe Ditlevsen and Gudrun Houlberg. That year Wilhelm Gluckstadt also directed the exceptionally beautiful Danish film actress Eimilie Sannom in the films Konfetti, De to brodre and Zigeunerorkestret.
Danish film director Aage Brandt during 1912 would direct Vera Brechling in A Death Warning (Dodsvarlet)
Danish silent film director August Blom in 1912 filmed with the photographer Johanne Ankerstjerne for Nordisk Film, notably with the actress Clara Weith Pontoppidan, whom he directed in the film Faithful Unto Death (Et Hjerte af Guld) and had directed a year earlier in the film In the Prime of Life (Ekspedtricen), photographed by Axel Sorensen. Blom that year also for Nordisk Film directed Robert Dinesen in the films Stolen Treaty (Secret Treaty/ Den Magt Trede
and The Black Chancellor (Den Sorte Kansler) with Valdemar Psilander, Ebba Thomsen and Jenny Roelsgaard, The Black Chancellor having been a film in which Danish silent film scriptwriter Christian Schroder appeared on screen as an actor. That year August Blom also directed A High Stake (Hjaerternes Kamp.
Danish film director Benjamin Christensen gave the screen the film Blind Justice (Haevnansnat, 1915) starred the actress Karen Caspersen. The two films by Christensen were of the only three produced by the Dansk Biograf Compagni. Benjamin Christensen had starred as an actor with actress Karen Caspersen and Ellen Malmberg during 1913 in Skaebnebaeltet, directed by Danish silent film director Sven Rindom, his also that year having starred in the films Children of the Stage (Scenens Born, Bjorn Bjornson), starring Bodil Ipsen and Aud Egede-Nissen and Lille Klaus Og Store Klaus (Elith Reumert). Children of the Stage was produced by Dania Biofilm Kompagni.
For Ingmar Bergman,the first notable Swedish film is Ingeborg Holm from 1913. In an interview with Jonas Sima, he describes the directing of Victor Sjöström, "It is one of the most remarkable films ever made...Often he works on two planes, something being played out in the foreground,but then,through a doorway for instance,one sees something quite different is going on in the background.". Produced by AB Svenska Biograteatern and five reels in legnth, it is also his screenplay from a play by Nils Krook which Sjöström had adapted for the stage in 1907. Like Sarah Bernhardt, Hilda Borgström had came to film. Also in the film are Aron Lindgren and George Gronroos. William Larsson and Carl Barcklind both appear in the film as well. It is almost astounding that under the title Give Us This Day the legnth of the film is listed as having reached seven reels. Einar Lauritzen wrote, "The primitive tableau of the time cannot destroy the genuine feeling for both character and enviornment which Sjöström brought to almost every scene."
Much like it being that the films of Bergman "concern interior journeys: journeys into the soul of the character, or into the souls of two related characters" (John Simon), that Ingeborg Holm was a contemporary drama is particularly a matter for aesthetics, as was the observation that there may have been the photoplay of intimacy, the photoplay of action or the photoplay of splendor. As a side note from the present author, the caption on the cover to the filmed version of The Painted Veil, starring Naomi Watts reads, "Sometimes the greatest journey is the distance between two people." What is beautiful is not only that the images of film consist of our being in a position to them spectatorially, or the look that is entailed within suture, but that behind the close ups of faces there is a character, quite often one in the midst of drama- if the cinema of attractions was followed by a cinema of narrative integration, what concerns aesthetics is that no matter how maudlin or whether or not plot was translated into fantasy, the cinema had begun to develop character more fully, more deeply. Bengt Forslund writes, "I am fairly convinced that it was always the fate of the individual that intrigued Sjöström- not the circumstances that led to it."
Interestingly enough, one of the best explanations of classical narrative construction, narrative form which is often based on there being a casual relationship between events that are connected spatially during the film brought about by its characters, comes from the Swedish director Ingmar Bergman. In his autobiography Images, Ingmar Bergman relates that it was Stina Bergman, then head of the script department, who had asked for him at Svensk Filmindustri. She and her husband Hjalmar Bergman had in fact met with Victor Sjöström while in the United States, where Stina Bergman had acquired the technique of scriptwriting. "This technique was extremely obvious, almost rigid; the audience must never have the slightest doubt where they were in the story. Nor could there be any doubt about who was who, and the transitions between various points of the story were to be treated with care. High points should be allotted and placed at specific places in the script and culmination had to be saved for the end. Dialougue had to be kept short." Author David Bordwell often approximates this description of continuity in the feature film. Bergman continues in the autobiography to write that many of the remarks that Stina Bergman made at that time were treasured by him and that Hjalmar Bergman was his idol.
| Later films, including The White Rose (1923), with Mae Marsh, more elaborately presented theme as being intertwined with the drama in which the characters were situated. Sweden, in 1953, made The Bread of Love (Karlekens brod). Writing about the films of Victor Sjöstrom, Bengt Forslund notes, "Guilt Redeemed, shot in the early summer of 1914, may perhaps be seen as an attempt to repeat the success of Ingeborg Holm. Guilt Redeemed (Skana Skuld) starred actress Lili Bech. |
| The films that Victor Sjöström had made in 1913 were scheduled to be shot within one or two weeks. Among them were Half-Breed (Halvblod) with Karin Molander, its screenwriter Peter Lykke-Seest, The Voice of Blood (Blodets rost) with Greta Almroth and Ragna Wettergreen, The Conflicts of Life (Livets konflikter) starring Gösta Ekman, A Good Girl Should Solve Her Own Problems (Bra flicka reder sig sjalv) with Clara Pontoppidan and Jenny Tschernichin and The Clergyman (Prasten), starring Clara Pontoppidan and Egil Eide. Alongside Sjöström, that year Maurtiz Stiller would film Nar larmklockan ljunder, with Lilly Jacobsson, en pojke I livets strid, The Modern Suffragette (Den moderna suffragetten), Brother Against Brother (People of the Border, Gransfolken), which was the film debut of Edith Erastoff and in which Anders Henrikson had appeared, The Girl From Abroad (The Unknown Woman, Den okanda), with Jenny Tschernichin-Larsson and Grete Wiesenthal and The Fateful Roads of Life (Pa livets odesvagar), with Clara Pontoppidan. No less than four Swedish silent film actresses would make their first appearance on the screen in Mauritz Stiller's film The Fashion Model (Mannekangen) : Ida Otterström, Anna Diedrich, Lili Ziedner and Mary Johnson. Of Svenska Bio in 1913, Begnt Förslund notes, "Sjöström was not always permitted to choose his material." Scripts were submitted to Victor Sjöström much in the same way they would be to directors the United States. Carl Barklind directed his first film that year, The Suicide Club (De lefvande dodas klubb), photographed by Julius Jaenzon and starring Hilma Barcklind and Nils Arehn. Barcklind had appeared as an actor in the film Den glada ankan in 1907. Paul Welander directed and Axel Briedahl scripted the 1913 film Black Heart and White (Karleken rar) starring Ida Nielsen, Martha Helsengreen and Ellen Hygolm. John Bergqvist that year directed the films Amors pilar eller Karlek i Hoga Norden and Lappens brud eller Dramat i vildmarken, both with Birger Lundstedt and Hildi Waernmark as well as the film Truls som mobiliserar, with Otto Sandgren. Paul Welander in 1913 directed A Fallen Star (Hjaltetenoren). Arthur Donaldson that year directed Lilly Jacobsson in the film En skargardsflickas roman, which he wrote and in which also appeared as an actor. ------------ While in the United States, Danish silent film actress Betty Nansen appeared in the films of producer William Fox. Among them, four were directed by J. Gordon Edwards in 1915: A Woman's Resurrection, The Song of Hate, scripted by Rex Ingram, Should a Mother Tell, also written by Rex Ingram, and Anna Karenina (five reels), scripted by Clara Beranger. ------------------ There were two film adapations of A Study in Scarlet photographed in 1914, one in the United States, in which the director Francis Ford also starred as the detective Sherlock Holmes, the other in England, produced by British film director George Pearson with James Braginton in the role. The latter film was followed by a version of The Valley of Fear, with H. A. Saintsbury, in 1916. Mauritz Stiller and Victor Sjöström both had continued to direct in 1914 and 1915, the former with His Wife's Past (Hans hustrus forflutuna), The Avenger (Hamnaren) ,which, starring Karin Molander, was the first film in which the actress Tyra Dorum had appeared on the screen, Playmates (Lekkamraterna), Stormy Petrel (Stormfageln), starring Lilly Jacobsson The Master Thief (Matsertjuven) with Wanda Rothgardt, Gentleman of the Room (Kammarjunkaren) with Clara Pontoppidan, Madame de Thebes, starring Karin Molander and The Dagger (Dolken) starring Lars Hanson. The latter, Victor Sjöström, continued directing with The Miracle (Miraklet) with Clara Pontoppidan and Jenny Tschernichin-Larsson, photographed by Henrik Jaenzon. In regard to the film, based on a story by Zola, Bengt Forslund views as the foreground to the film Monastery of Sendomir and Love's Crucible with the caution that Sjöström may not truly have had an affinity with making "cloistered romances" much in the way his making The Divine Woman may have been pedestrian, significantly the author adds, "It is clearly the first time that Sjöström consciously made use of a particular stretch of natural landscape as a background to the drama." Victor Sjöström also that year continued with Landshovdingens dottar, a film adapted by Sjöström from the novels of Marika Stiernstedt, Do Not Judge (Domen icke) starring Hilda Borgström, Children of the Streets (Gatans Barn), photographed by Henrik Jaenzon and starring Stina Berg, Love Stronger than Hate (Karlek Starkare an Hat), starring Emmy Elffors and John Ekman, Daughter of the High Mountain (Hogfjalletts dotter), in which Sjöström starred with Greta Almroth and Lili Bech, Hearts that Meet (Hjartan som motas), photographed by Henrik Jaenzon and starring Karin Molander and Greta Almroth, The Strike (Strejken), in which Sjöström starred with Lilly Jacobsson, It Was in May (Det var i Maj), written by Algot Sandberg and photographed by Henrik Jaenzon, The Price of Betrayal (Judaspengar), starring Stina Berg, Stick to your last, Shoemaker (Skomakare, bliv vid din last), starring Stina Berg and In the Hour of Trial (I provingens stund), in which he starred with Greta Pfeil and Kotti Chave. Recently, the theater in the city of Uppsala where the Swedish silent filmsDomen icke and Bra flicka reder sig sjalv, directed by Victor Sjöström, and the film Stromfagelin directed by Mauritz Stiller, were first shown has been renovated, restoring it to how it first looked when built in 1914. After his having starred in the films of Victor Sjostrom Gunnar Tolnaes, who in 1915 appeared in the films One Out of the Many (En av de manga) with Greta Almroth, Lilly Jacobsson and Lili Bech, and When Artists Love (Nar konstnarer alska), returned to Denmark from Sweden to film Doktor X under the direction of Robert Dinesen. At Svenska Biograteatern in 1914 Axel Breidahl directed King Solomon's Judgement (Salomos drom) with Lili Zeidner and Stina Berg and the films The Birthday Present (Fodelsedagspresenten) starring Karin Alexandersson, Stina Berg and Lili Ziedner and The Way to A Man's Heart (Vagen till mannens hjarta) starring Lili Ziedner, Stina Berg and Hilda Borgström, both photographed by Henrik Jaenzon. Danish Silent film director Holger-Madsen often filmed with the cinematographer Marius Clausen. Betty Nansen in 1914 starred in his film For the Sake of A Man (Under Skaebnens Hjul), which, also starring Maja Bjerre-Lind, Christel Holch and Ingeborg Jensen, was among those films he photographed with Clausen. In 1914, Danish silent film director Vilhelm Gluckstadt directed the film Youthful Sin (Ungdomssynd), starring Sigrid Neiiendam. Swedish Film director Edmond Hansen in 1915 directed the film Revenge (Hamnden ar ljuv), his also having that year directed Edith Erastoff in two films for Svenska Biografteatern, A Hero in Spite of Himself (Hjalte mot sin vilja), which was not only the first film photographed by Swedish cameraman Carl Gustaf Florin but also the first film scripted by Swedish screenwriter Oscar Hemberg, and The First Prize (Hosta vinsten), photographed by Julius Jaenzon. Arvid Endglin wrote and directed the film An Error (En forvillelse), starring Clara Pontoppidan, William Larsson and Egil Eide and directed Patrick's Adventures (Patriks aventyr), starring Alfred Lundberg and Hilda Forsslund, the film having been the first in which she was to appear. Klercker's assistant director, Gothson having had been being the assistant director to the 1915 film In the King's Uniform (I kronas klader). Besides the photographers Julius and Henrik Jaenzon, another of Sweden's cameramen was Hugo Edlund who photographed the film His Father's Crime (Hans faders brott, 1915), the director F. Magnussen's first film, it having starred Richard Lund and Thure Holm. Both Edlund and Julius Jaenzon are listed as having been the cinematographer to the films Den Moderna suffragetten and For sin karleks skull. Magnussen in 1916 also directed the films The Hermits Wife (Enslingens hustru), starring Greta Almroth, Her Royal Highness (Hennes kungliga hoghet) ,starring Karin Molander and At the Eleventh Hour (I elfte timmen), also starring Greta Almroth, each filmed by Hugo Edlund. Directed by Victor Sjostrom and photgraphed by Julius Jaenzon, the first of Gustaf Molander's screenplays to become well known was Terje Vigen (1916), from the poem by Henrik Ibsen. The intertitles being from the poem, the structure of a poem would accomodate the structure of a silent film, and yet the film shows that there was beginning to be a grammar to film technique of its own. Edison's 1912 The Charge of the Light Brigade has a similar use of the lines from the poem as intertitles and there had been an adaptation by the Independent Motion Picture Company of Hiawatha (1909) with Gladys Hulette as well. The 1912 poem Vanteenheittajat, written in Finland by Eino Leino, was to be filmed shortly after its publication by director Kaarle Halme as Summer (Kesa) with Hilma Rantanen. In regard to film preservation, the film Terje Vigen was rediscovered from a German print in 2004 and the translated restored intertitles charmingly read Svenska Biografteatern at the top framed by their owl logo and are in the from of stanzaic quotation, their being expository. The opening sequence is shot beuatifully and shows Victor Sjostrom portraying Terje Vigen as elderly against a background of the ocean at night during a storm in a series of shots during which he is filmed in blue tint and is shown framed by a doorway in adjacent masked shots alternating between over-the-shoulder and strait on shots, our sharing his view of the storm as well as watching his looking out into it. The intertitles then take the form of narrator as the film cuts to a restropective scene shot in a sepia-like red of Sjostrom as a young man aboard a ship to begin the storyline. Tytti Soila writes, "The film also established the term 'literary cinema' in Sweden." When reviewed in the United States, the film was seen as "forcefull despite its occaisional indulgence in too much sentimentality and moralizing." Bengt Forslund writing about the film notes, "the explanation is undoubtedly that the description of Nature plays such a major role. It is really the sea that has the main part, like the mountains in The Outlaw and His Wife and the dust strom in Sjostrom's last major work, The Wind. Appearing in the film with Victor Sjostrom are Bergliot Husberg, Edith Erastoff and August Falck. Molander had written Miller's Dokument (1916), directed by Konrad Tallroth and starring Greta Almroth, before writing for Sjöström. Later, with his film Defiance (Trots, 1952) Molander was to introduce another screenwriter to modern audiences, Vilgot Sjöman (Lek pa regnbagen, Playing on the Rainbow, 1958). The film begins the story of Terje Vigen aboard a ship, the early exterior shots including his climbing the mast. Sjostrom cuts from an extreme longshot to a full shot of Terje Vigen sitting on the mast. His wife in the film is portrayed by Swedish silent film actress Bergliot Husberg the interior shots in which she is shown with are for the main part non-titned. Sjostrom is seen in the foreground of a midshot during a tinted exterior shot and then, during the shot, runs from the camera to the background of the shot, the camera then returning to an exterior midshot of the husband and wife. To reinforce his use of the Scandinavian landscape and the foreground of the shot as a source of compositional depth, the interior scenes are again, contrastingly, non-tinted intercut with shots of Terje Vigen silhouetted in the froeground of the shot in front of the expanse of the night sea, the film tinted blue. During the film, the movement within the composition of the frame is often that of the sea. Act Two beins with Terje Vigen having eluded his pursuers. He is show in the foreground of the shot in his skiff rowing against the background of the sea, spotted in a vignette circled masked shot of his pursuers telescope. Crosses at a graveyard are silhouetted against the ocean's horizon to end Act Two. Act Three begins with the same scene that was used to being the film, Sjostrom as elderly looking toward the ocean at night. He leaves his cottage to kneel on the beach, the waves crashing against the rock. Sjostrom espies a sinking craft admist the pounding surf and boards his skiff to aid in their rescue, the ship tossing in the spray of the ocean. In a later shot, Sjostrom leaves his cottage as Edith Erastoff sails away, the film ending with a shot of the crosses at the graveyard near the ocean. Writing about Victor Sjöström and quoted by Charlotte de Silva for the Embassy of Sweden in London, Jon Wengström of the Swedish Film Institute writes, "The pictorial compositions in Havsgamar/Sea Vultures (1916) and the complex narrative structure in the recently rediscovered Dodskyssen/Kiss of Death (1916) show a director in full command of the medium." In addition to The Kiss of Death (Dodskyssen,four reels), in which Sjöström playing a double role and which not only uses retrospective narrative but also includes the use of double exposures, in 1916 Sjöström directed the films Ships that Meet (Skepp som Motas) with Lili Bech and August Warberg, Therese, a melodrama which had included intercutting and retrospective narrative starring Lars Hanson and She Was Victorious (Hon segrade) , in which he starred with Lili Bech and Jenny Tschernichin-Larsson. Mauritz Stiller directed The Fight for His Heart (Kampen om hans hjarta), starring Karin Molander, His Wedding Night (Hans brollopsnatt), The Lucky Brooch (Lyckonalen), starring Greta Almroth and The Mine Pilot. The most widely known of Stiller's films from 1916 were The Ballet Primadonna (Balettprimadonnan) and The Wings (Vigarne), a film in which photographer Julius Jaenzon appears on the screen. Appearing on the screen as as an actor as well, Edmond Hansen at Svenska Biografteatern during 1916 wrote and directed the films The Consequences of Jealousy (Svartsjukans foljder) with Eric Petschler, Stina Berg and Ellis Elis and Old Age and Folly (Alderdom och darskap) with Edith Erastoff and Greta Almroth. He that year directed Love's Wanderings (Karlekens irrfarder), photographed by Carl Florin and starring Nicolay Johannsen and Greta Pfeil as well as Pa detta numera vanliga satt, starring Greta Almroth and Jenny Tschenichin Larsson. during1916 Geoge af Klercker wrote and directed the film Calle's New Clothes (Calles nya klader), starring Mary Johnson and Tekla Sjoblom, and Calle as a Millionaire (Calle som miljonar), the first film in which actress Helge Kihlberg was to appear. ------------During 1916, Klerker was allowed to film more professionally in a larger studio, on Otterhallan and in Castles, one being at Borshuset. The running time of the films of George af Klercker that year went from those of a half hour duration, to those lasting an hour. One Swedish webpage can be quoted when looking for the use of landscape in Swedish films and the filming of a direct relationship betwee the motifs in nature and those that develope character, "Like Stiller and Sjöström is af Klerker sparse with the custom of closes-up. that he on your height uses that dramatic effective emphasis in an enviornment that total to be dominated of the entire picture format. |
Captain Grogg's Wonderful Journey (Kapten Grogg's underbara resa) in 1916 introduced to Swedish audiences a series of films showcasing the animation of director Victor Bergdahl that would continue untill 1922. One of two films directed by Bergdahl that would use animation to narrate circus stories, Cirkus Fjollinski, also appeared that year.
As part of its Women and the Silent Screen series held June 11-13, 2008, the Cinematecket in Stockholm will be screening a the 1916 Danish film The Queen of the Stock Exchange (Die Borsenkonigin), written and directed by Edmund Edel. The film is from the Nederlands Filmmuseum. Paired with the film will be the trailer to the lost film The Sunken (Die Gesunkenen, Rudolf Walther-Fein, 1925) also starring Asta Nielsen, a film in which she costarred with the actress Olga Tschechova.
In the United States, Lillian Gish during appeared in the films Sold for Marriage, Flirting with Fate and Pathways of Life. Mae Marsh had made Hoodoo Ann (five reels) for Triangle as well as The Wharf Rat (five reels). Mary Pickford that year made three films five reels in legnth, The Eternal Grind, The Foundling and Hulda from Holland. That year she also starred in Poor Little Peppina (Sidney Olcott, seven reels) and Less Than Dust (John Emerson, seven reels). silent film actress Corrine Griffith, "The Orchid Lay of the Screen", appeared in the film The Last Man in 1916.
Triangle Film Corporation had been formed in late 1915 to combine the efforts of Thomas Ince, D. W. Griffith and Mack Sennett. Sennett, who began at Biograph as an actor under Griffith had founded Keystone Studios in 1912. Not only was Sennett present at Biograph and Triangle with Griffith, but as a pioneer of silent film his name is alongside Griffith's in his contribution to the development of film technique and the development of a grammar of film, a grammar of scene construction. It may well be that the comedies of Mack Sennett have their origin in, or are a continuation of, the earliest of narrative films that prior to 1907, and prior to Griffith's joining Biograph, had brought together a cinema of attractions with films that depicted action, or the chase film. Just as Swedish silent film directors would use nature and landscape as a visual language, comedy would rely upon the visual in its use of the sight-gag. Among the comedies of 1912 were Love, Speed and Thrills directed by silent film director Mack Sennett and Love, Loot and Crash, also directed by the silent film pioneer Sennett, both films currently in public domain and both presently offered online by the Internet Archive, who were kind enough to write to the present writer and who it is sincerely hoped that in the future they will return again as my reader.
At Keystone in 1914 Mack Sennett had directed the first films of Charlie Chaplin, Making a Living and the silent film Kid Auto Races at Venice. In 1915, the silent film The Tramp would introduce a Chaplin character that would become familiar to audiences untill the end of the silent era.Silent comedian Charlie Chaplin would in 1916 leave Essanay studios, where he had made fourteen films, to film two-reel comedies with the Mutual Company, where he filmed The Immigrant (1917). Anthony Slide writes that Chaplin used as much film to shoot The Immigrant as D. W. Griffith had to film The Birth of A Nation. It was also at Mutual, where Chaplin had made eight films untill 1923, that Chaplin would film his first full legnth feature as director.
In 1912, while Stiller was beginning to film comedy in Sweden and Mack Sennet was beginning to film at Keystone, one of the other studios to produce comedies was Vitagraph. After joining Vitagraph in 1910, a studio for which he appeared in the film A Tale of Two Cities (1911) with Florence Turner and Norma Talmadge, John Bunny quickly became one of the most beloved of early silent screen comedians, teaming with Flora Finch in 1912 for films that included A Cure for Pokeritis, Stenographers Wanted, Irene's Fascination, and The Suit of Armor. The 1913 film Queen for A Day with John Bunny and the 1915 film Unusual Honeymoon with Flora Finch was screened July 30,2005 in Rosslyn, Virginia, near Arlington Virginia, as part of their film festival of silent comedies, which opened July 28 with the film Pool Sharks and a retrospective of the films of Mack Sennet, including Billy Bevan in the film Hoboken to Hollywood (1928).
The Sunbeam, the first film written by June Mathis appeared on the screen during the year 1916 and Frank Lloyd would direct his first film, The Code of Marcia Gray (five reels), King Vidor his first film, Intrigue. Louise Glaum would that year star in The Wolf Woman (five reels). John Gilbert appeared in the films Apostle of Vengence, Bullets and Brown Eyes (five reels), The Eye of Night, Hell's Hinges and The Phantom and Lewis Stone appeared in his first films, The Man Who Found Out (1915) and Honor's Altar (Raymond B. West, 1916, five reels).
Writing in 1971 that the films of Swedish silent cinema were those to which "the prescence of mountain and pastoral landscapes gave a dimension of authenticity and elemental persuasiveness", Peter Cowie remarks upon Sjöström's use of bucolic subjects, David Robinson upon Sjöström's depiction of man's relationship to nature. Both find something spiritual or supernatural to the writings of Selma Lagerlöf, as though within the relation to the character's surroundings there is a solitude. Lauritzen noted that there is often the "juxtaposition of man and nature" in early Swedish cinema. Although remarking upon the films of Brunius, Stiller and Sjöström not having had been distributed to large audiences, as were the films of Ernst Lubitsch (Passion) that had starred Pola Negri, author Lewis Jacobs writes, "Opposed to the artificiality of the German films in their stress on the real world of nature, the sea and the landscape, Swedish pictures were impressive for their simplicity, realism, sensitive acting and sincerity." Starring the actress Karin Molander, when reviewed in the United States, the film was commended for its "unity of plot structure" and for "all its dramatic elements (being) dramatically related, its development (being) climactic and consitent.". Also in the film are Greta Almroth, Concordia Selander and Hilda Castegren in her first appearance on screen. The novel was in fact filmed again in 1947 by Gustaf Edgren and in 1958 by Gustav Ucicky with Maria Emo. Peter Cowie has put the films of Finnish director Ruani Mollberg (Earth is a Sinful Song, Maa on syntinen laula, 1973) alongside the films of Victor Sjöström and Mauritz Stiller, his writing, "His characters move not against the backdrop of field and lake and forest, but deep within the enveloping topography."
Charles Magnusson in 1909 had hoped to film the novel The Wonderful Journey of Nils Holgersson, which Victor Sjöström had read with enthusiasm.
Frances Marion that year also wrote the photoplay to the film Temple of Dusk (James Young, five reels), her following it in 1919 with the scenarios to A Regular Girl (James Young, five reels), The World and its Woman (Frank Lloyd, seven reels) and The Cinema Murder (George Baker, five reels). Lillian Gish in 1917 had starred in the films The House Built Upon Sand (Ed Morrisey, five reels) with Kate Bruce and Souls Triumphant (John G. O'Brien, five reels) with Wilfred Lucas.
----------- George af Klercker directed and starred with Gerda Thome-Mattsson and Tollie Zellmann in For hem och hard, Swedish director Georg af Klercker. ------------ Actress Olga Hallgren appeared in two films directed by George Klerker, Brottmalsdomaren, with Gabriel Alw and the actor George Blickingborg in his first appearance on screen and Ett konst narsode with Greta Pfeil, the assistant director to the film, Manne Göthson. For hem och hard was photographed by Swedish cameraman Sven Pettersson, Brottmalsdomaren by Swedish cameraman Gustav A Gustafson and Ett konst narsode, by Carl Gustav Florin. In 1918 Klercker directed The Lighthouse Keeper's Daughter (Fyrvaktarens dottar), Night Music (Nattliga toner), photographed by Gustav A Gustafson and starring Agda Helin, Helge Kihlberg and Tekla Sjöblom and Nobelpristagaren.
And yet, the film Mysteriet natten till den 25ie prooves to be more enigmatic than its director. It stars Swedish actress Mary Johnson and Carl Barklind and was photographed by Sven Petersson- it was not shown to audiences untill 1975.
Konrad Tollroth in 1917 directed and starred with Lili Bech in The Bird of Paradise (Paradisfageln), directed and starred with Lisa Hakansson-Taube in Sig egen slav and directed and starred with Greta Almroth in Allt hamnar sig. That year he also directed Edith Erastoff in the film Chanson triste and Greta Almroth and Jenny Tschemichin-Larsson in the film Miljonarvet, and Karin Molander in the film Vem skot?. Egil Eide both directed and starred with Edith Erastoff in the films Every Man Forges his own Happiness (Envar sin egen lyckas smed) and Mrs. Bonnet's Slip (Fru Bonnets felsteg), which also starred Karin Molander. F. Magnussen that year wrote and directed the films Jungeldrottingens smyke, photographed by Henrik Jaenzon and starring William Larsson, Den levande mumien, photographed by Hugo Edlund and starring William Larsson and The Secret of the Inn (Vardshusets hemlighet), starring Edith Erastoff.
1917 was to mark the first publication written by the Swedish author Swedish author Agnes von Krusenstjerna, the volume Nina's Dagbook.
In 1918, Thomas Ince left the Triangle Motion Picture to form Thomas H. Ince Studios. One silent short that had belonged to Blackhawk Films, was a tour of the studios filmed by Hunt Stromberg between 1920-1922. An intertitle from Blackhawk Films reads, "Insisting upon strict adherence to complete shootingscripts, Ince supervised the direction and editing of each picture and thus managed to give all the appearance of having been directed by Thomas H. Ince, regardless of who did actually direct." The short, sent to exhibitors, shows footage of Ince viewing the rushes from the previous afternoon.
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