Scott Lord Silent Film: Biblical Drama; Christus (Guilio Antamoro, 1916)

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

Scott Lord Silent Film: La Vie et la passion de Jésus Christ (1903)

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Scott Lord Silent Film: The Miracles of Jesus (Mogul Film Company, 1910)

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Scott Lord Silent Film: The Birth, the Life and the Death of Christ (Ali...

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Scott Lord Silent Film: Adam and Eve (Vitagraph, 1912)

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Scott Lord Silent Film: Cabiria (Pastrone, 1914)

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Scott Lord Silent Film: The Woman In the Suitcase (Fred Niblo, 1920)

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Scott Lord Silent Film: Helen Holmes in The Wild Engine (1915)

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Scott Lord Silent Film: Silent Film Studio Tour (M.G.M, 1925)

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

Silent Film

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 Silent Film: Lon Chaney in Victory (Maurice Tourneur, 1919)

Robert Gordon Anderson, in his 1971 volume Faces, Forms, Films, the artistry of Lon Chaney, writes about the film "Victory" (five reels), directed by Maurice Tournuer. "The picture had good reviews despite some distortion of the storyline", liberties having been taken while adapting the literary work of Joseph Conrad.

Robert G. Anderson writes, "Not all of the movies being turned out were made without regard for the artistic nature of the media. Many directors strove to create something of a more lasting nature, utilizing photographt, lighting, settings, acting, editing to create what they wanted. Maurice Tourner was one of them. Tourner"s film of Joseph Conrad's Victor included another of Lon Chaney's villainous portraits." Lon Chaney

Lon Chaney Silent Film Lon Chaney

Scottt Lord Silent Film: Dream Street (D. W. Griffith, 1921)

"There is nothing of interest I can tell you about myself." A year later, Photoplay Magazine caught up with Carol Dempster and she purportedly used the exact same words, "There is nothing of interest I can tell you about myself.". Photoplay Magazine deigned her to be The Mystery Girl of the Movies. Photoplay journalist Dorothy Herzog quotes D.W. Griffith as having said that Dempster was cast in he film "Dream Street" (ten reels) for her dancing ability, "Anyone with the poise and grace to necome such a potentiality as a dancer undoubtedly had the ability to rise to similiar heights in an allied art if properly developed."

"Dream Street" was photographed by cameraman Henrik Sartov for D.W. Griffith, Inc and United Artists in 1921.

D. W. Griffith

D.W. Griffith

In his volume The Films of D.W. Griffith, author Edward Wagenkneckt discounts the lofty intentions of D.W. Griffith in an attempt to lower the director from his crepuscular inaccessible Pantheon, "His "higher" thoughts were often inseperable from the popular ladies' journals of the time. When he made homey philosophical observations, greta charm and loveliness often resulted; but but when he decided to tackle big subjects like like the principles of Good and Evil, he seemed sophmoric. Of course, Griffith's ideas were more sophisticated than the script for Dream Street suggests (his play The Treadmill shows that), but when he tried to reduce his already cliche themes to the audience's level, he somehow lost the poetry and naivete and kept only the didacticism."

Edward Wagerknect adresses Griffith's filmmaking technique in "Dream Street" by noting that Billy Bitzer would often light a set flatly whereas there were "pools of light and deep shadows" in "Dream Street", to which Wagerknect attributes it having been shot entirely in the studio.

D.W. Griffith D.W. Griffith D.W. Griffith

Scott Lord Silent Film: Lillian and Dorothy Gish in Hearts of the World (D.W. Griffith 1918)

In "Hearts of the World" (twelve reels, 1918) D.W. Griffith during a scene in which soldiers are marching, used reversed direction cutting, which he had briefly used in "A Girl and Hard Trust (1912). Matching the screen direction when the camera cut had often preserved continuity in early silent cinema. The volume Motion Picture Directing, written in 1922 by Peter Milne, after having described D. W. Griffith's method of working without a script or continuity, then suprisingly adds that Griffith was not only interested with putting spectacle on the screen, but was attentive to the drama surrounding the characters, drama that might deepen or change the characters being developed, "He brought before the eye all the horrible realities of the battlefield, used them to dramatic prupose time and time again. And yet in the midst of all this spectacular action he never for once lost sight of the personal element of the story, this element represented on the battlefield by Robert Harron, who played the part of the young soldier."

Despite episodes of crosscutting, author William K. Everson suprisingly writes of there being "evidence" that a substantial amount of "Hearts of the World" was not only written but directed by Eric von Stroheim.

In her volume D.W. Griffith, American film master, Iris Barry, who seems to study Griffith's films by comparing one to another, disagrees with the idea of one Griffith masterpiece over shadowing the one that had come before, writing, "T'Hearts of the World' must be judged as a prpoaganda film and as such it is very effective; but otherwise it seems on the whole, disappointing. One looks in vain for the passionate momentum of its immediate predecessors....The film, however, was a personal triumph for Lillian Gish, as the distraught heroine, for her sister Dorothy in a comedy role and for Eric von Stroheim as a German officer." After filming “Hearts of the World”, D.W. Griffith featured actress Lillian Gish in another drama set during World War I, “The Great Love” (1918). The film is lost with no copies surviving. Photographed by G.W. Bitzer, it was produced by Famous Players Lasky. There are also thought to be no surviving copies of the film "The Greatest Thing in Life", also directed during 1918 by Griffith, photographed by G.W. Bitzer and also starring Lillian Gish.

Lillian and Dorothy Gish D. W. Griffith D. W. Griffith

Scott Lord Silent Film: Civilization (Thomas H Ince, 1915)

Linda A. Griffith, wife of D.W. Griffith, in an autobiographical article for the periodical Film Fun Magazine during 1917, not only reminisced of Thomas Ince having spent time at the Biograph Studios, but also of his wife, actress Eleanor Kershaw, having spent her short lived on screen career with the Biograph Film Company. By the time of its publication, Eleanor Kershaw had left silent film acting to devote herself to being the mother of three children.

In a similar way that H.G. Wells depicts idyllic ante-bellum England as being a remote and isolated unsuspecting participant it the sudden outbreak of World War I, perhaps Iris Barry hints that the idea of war was new to modern America "But for the moment the United States was preparing to enter the European war: J.Stuart Blackton's pro-war and anti-German The Battle Cry of Peace and Thomas Ince's anti-war and anti-German Civilization had already indicated the uses to which films might be put and now it was the moment for propaganda for the Allied cause." The propaganda of the time period seemed abruptly more direct, more explicit than yellow journalism and propaganda of American Imperialism in the Phillipines decades earlier. Iris Barry later credits Thomas Ince and D.W. Griffith as having "taught the Scandinavians to use an isolated face or guesture as a unit of expression rather than (as on stage) the actor".

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Scott Lord Silent Film: Mary Pickford in The Old Actor (D.W.Griffith, Biograph 1912)

"The Old Actor" (two reels) was directed by D.W. Griffith for the Biograph Company during 1912and was photographed by G.W. Bitzer with a scenario by George Hennessy. The film stars Mary Pickford with Kate Bruce. Silent Film Silent Film

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

Biographer John Drinkwater, in his volume The Life and Adventures of Carl Laemmle perfunctorily puts the career of Thomas Ince into its historical perspective, "Ince died in 1924, before his time,". Writing on the death of Thomas Ince during 1925,the periodical Exhibitor's Trade Review waxed poetic, "He loved the clean, the beautiful, the sublime. He embellished and ornamented everything he touched. But he yet held the life trend true in its course and in that relation opened wide the way for the higher and grander conception of the Screen are to obtain in the future through the work of kindred spirits who will find inspiration and encouragement in the bigger and nobler accomplishements which the devoted his useful years.

Thomas Ince as a producer had formed the Triangle Film Corporation with D.W. Griffith and Mack Sennet during 1915, with him leaving to First National by 1917, joined there by D.W. Griffith in 1919.
Exhibitor's Herald during 1924 reported a new stage having been built for Ince's selection of directors, its dimensions seventy two by one hundred and eighty feet.

Silent Film Thomas Ince

Scott Lord Silent Film: Lon Chaney in Mr. Wu (William Nigh, 1927)

William Nigh directed Lon Chaney in "Mr. Wu" costarring actresses Louise Dresser, Gertrude Olmstead and Renee Adoree. "Mr Wu" was photographed by cameraman John Arbold. silent film silent film

Scott Lord Silent Film: Lon Chaney in The Monster (West, 1925)

Roland West directed Lon Chaney during 1925 for Metro Goldwyn in "The Monster", costarring Gertrude Olmstead. "The Monster" was photographed by cameraman Hal Mohr.

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Scott Lord Silent Film: Lon Chaney in Oliver Twist (Frank Lloyd, 1922)

Frank LLoyd directed and co-scripted with Harry Weil the film "Oliver Twist" for First National during 1922. Lon Chaney stars in the film with child actor Jackie Coogan.
"
Oliver Twist" was photographed by cameramen Glenn McWilliams and Rober Martin.
In addition to starring in the film “Oliver Twist” (eight reels), during 1922 Lon Chaney appeared in two films that are now lost, “Blind Bargain” (Wallace Worsley) in which he starred with Jacqueline Logan and “Quincy Adams Sawyer” (Clarence G. Badger, eight reels), in which he starred with Blanche Sweet and Barbara LaMar. That year Lon Chaney also starred in "Shadows" (Tom Forman) with actress Margueritte De Le Motte and "A Light in the Dark" (Clarence Brown) with actress Hope Hampton.

Lon Chaney

Lon Chaney

Scott Lord Silent Film: Lon Chaney in The Ace of Hearts

During 1921 Wallace Worsley directed Lon Chaney with actress Leatrice Joy. "The Ace of Hearts" was photographed by cameraman Don Short.

Lon Chanaey

Lon Chaney

Scott Lord Silent Film: Lon Chaney in The Trap (Thomby, 1922)

"The Trap" (six reels) by directed by Robert Thorby featured both actors Lon Chaney and Lon Chaney Jr. The scenario of "The Trap" was written by George C. Hull from a story by Lon Chaney. The film was photographed by cameraman Virgil Miller. Lon Chaney.

Lon Chaney

Scott Lord Silent Film: fragment The Centaurs (Cartoonist Winsor McCay, ...

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