Scott Lord Silent Film: The Invaders (Ince, 1912)

Silent Film
It is often acknowledged that Thomas Ince was the first director to use a shooting script. These were detailed shooting scripts, known to be meticulous in their planning, where plotline would emerge as having precedence over action and spectacle. Silent Film D. W. Griffith

Scott Lord Silent Film: Silent Film Studio Tour, Thomas Ince Studios

Silent Film Thomas Ince

Scott Lord Silent Film: The Village Blacksmith (John Ford, 1922)

Once thought to be lost, without any surviving copies of the film, not all eight reels of the film "The Village Blacksmith" have been recovered, the print that now exists being incomplete. Within the world of Lost Films, Found Magazines, the film "The Courtship of Miles Standish (Frederick M. Sullivan, 1923) is lost, but there are pages of full page advertisemens of Charles Ray and Enid Bennett in the periodical The Film Daily from the year of its first run. Seven reels in length, "The Wreck of the Hesperus", from 1927, is also a lost film. Directed Elmer Clifton, it was produced by Cecil B. de Mille and starred Virginia Bradford. SILENT FILM SILENT FILM

Scott Lord Silent Film: The Primitive Lover (Sidney Franklin, 1922)

Directed by Sidney Franklin during 1922, “The Primitive Lover” (seven reels) was scripted by Frances Marion, having been adapted from the play written by Edgar Selwyn.

That year Sidney Franklin also directed “The Beautiful and the Damned”, adapted from the novel by Scott Fitzgerald by photoplay writer Olga Printzlau and starring actress Marie Provost. The significance of the presumed lost film is entirely left to historians of American Literature as the novel The Last Tycoon was only published posthumously in 1941. The director of the seven reel film is also listed as having been William Seiter. The periodical The Film Daily, during 1922,in fact, lists William A. Sieter, and that it “used F. Scott Fitzgerald’s Famous flapper story only as background”. Please not that there are also no existant copies to the film "The Great Gatsby" starring Lois Wilson, it having been directed four years later by Herbert Brennon, any insight to the content of the film in the world of Lost Films, Found Magazines being left to scripts of the photoplay where we can find the intertitles or in magazines advertisement for the first runof the film.

Silent Film

Silent Film Constance Talmadge

Early Scandinavian SIlent Film,: FIlmed Theater and the Cinema of Attractions

William Rothman writes that only one sixth of the silent film shot before 1907 had storyline. This can apparently refer to Sweden as well. Scholar Sandra Walker, University of Zurich writes, "At the time of Svenska Bio's first operations approximately 75% of the film produced in Sweden were nature films and journalistic reportage films. The journalistic films, such as the funeraof King Oscar II, in 1907, have been mentioned inconnection with the development of narrative techniques." It would be interesting to as if from the choice of these subjects we could infer a need or desire to view narrative on the screen or if the subjects were suggestive of real life stories that might be expanded into fictional fantasy, a deigesis that might be exotic or with which we were ordinarily familiar, causing us to wonder what would happen later, identifying with the subject for that reason. Silent Film Swedish Silent Film

Scott Lord Scandinavian Silent Film: Den Flyvende Circus (The Flying Circus, Alfred Lind, ...

Lilly Beck starred in over ten films made by Mauritz Stiller during the first four years of Svenska Biografteatern and almost ten films directed then by Victor Sjsotrom. Before that, Charles Magnusson had directed her in the 1911 film "The Talsiman" (Amuletten). By 1912 she was married to Erik Magnusson and starred in the film "The Fying Circus" as Lilli Beck Magnusson. Actress Stella Lind, who died in 1919 at the age of 26, also appears in the film. During 1912 Beck also appeared in the sequel to the film, entitled "The Bear Tamer from the Flying Cicus", her having been billed as Lilli Beck , as well as having that year costarred with Rasmus Ottesen in the film "The Strong Power". She was married to Victor Sjostrom, whom she also divorcd, from 1914-1916. Alfred Lind had begun as a photogtapher on the film "The Little Hornblower" for director Eduard Schnedler-Sornensen in 1019. He is listed as having been cinematographer to the film "The Flying Circus" as well as having coscripted the photoplay with Carl Dumreicher. Silent Film Swedish Silent Film

Swedish Silent Film

Author Anne-Kristin Wallgren, on Nordic Academic Press, notes that the films of Karin Swanstrom may have seemed atypical with the Swedish Silent Film of Sweden's Golden Age. In Welcome Home, Mr Swanson- Swedish Emigrants and Swedishness on Film, she writes, "Of the few Twneties films to mention America, only one has a happy ending, namely, Boman pa utsallningen (Boman at the Exhibition/Boman at the Fair, Karin Swanstrom, 1923, Ironically, Forsyth Hardy, in the volume Scandinavian Film notes, "Svensk Filmindustri, through its producers Karin Swanstrom and Sickan Claesson, was content to produce modestly conceived films for the home front. They were for the most part comedies with a strong theatrical flavor, or farces."

Greta Garbo

Silent Film

Swedish Silent Film

Scott Lord Scandinavian Silent Film: Bjrnetaemmern (Bear Tamer of the Fl...

During 1912, Lilli Beck appeared in the sequel to the film "The Flying Circus" (Lind, 1912), again appearing on the screen as a snake charmer under the direction of Alfred Lind in "The Bear Tamer of the Flying Circus". Lilli Beck Silent Film

Scott Lord Silent Film: Mae Marsh in Hoo Doo Ann (Ingraham, 1916)

In her autobiography entitled "Screen Acting", it is invigorating that actress Mae Marsh remains steadfast to her subject- just that, the silent film actress in front of the camera acting, perhaps more so than Lillian Gish in her autobiography. As part of the integrated instances autobiographical reminiscence sprinkled sparingingly within, Marse briefly casts a fond, but brief cursory glance at some of her films, "Yet no pictures I will ever make will be dearer to me than say...... The Escape, Hoo Doo Ann, The Wharf Rat, ect...". The films "Hoo Doo Ann" and "The Wharf Rat" were both filmed during 1916 for Triangle Films, the former with a photoplay by producer D. W. Griffith, the later with a photoplay by Anita Loos. Silent Film