Scott Lord on the Silent Film of Greta Garbo, Mauritz Stiller, Victor Sjostrom as Victor Seastrom, John Brunius, Gustaf Molander - the Golden Age of Swedish Silent Film........Lost Films in Found Magazines, among them Victor Seastrom directing John Gilbert and Lon Chaney, the printed word offering clues to deteriorated celluloid, extratextual discourse illustrating how novels were adapted to the screen; the photoplay as a literature;how it was reviewed, audience reception perhaps actor to actor.
Friday, September 6, 2024
Scott Lord Silent Film: Gosta Ekman in Faust (F.W. Murnau, 1926)
The immanent departure of director F.W. MUrnau for America had already been announced by the periodical Motion Picture News during late 1925 while Murnau was readying the film "Faust". It was to star Gosta Ekman, "a young Swedish actor who has the title role. He has been a star on the legitimate stage and is now making his first appearance in pictures."
Janet Bergstrom, University of California , writes that with the film "Faust", among others, Murnau had "unchained the camera" with moving shots that seemed unique...sweeping the audience's emotions with them". Of these moving shots, Bergstrom brings to our attention tracking shots that were photographed above their subject by having rails mounted on the ceiling of the studio.
The use of a mobile camera by Murnau is clearly referred to by Robert Herlth, a designer of sets on the film "Faust", who wrote on the lighting of the film in a chapter entitled "With Murnau on the Set" included in the volume Murnau, published by Lotte H. Eisner. The set designer quotes Murnau as having said, " 'Now how are we going to get the effect of the design? This is too light. Everything must be made much more shadowy.' And so all four of us set about to trying to cut the light...We used them (screens) to define space and create shadows on the wall and in the air. For Murnau, the lighting became part of the actual directing of the film.'"
The periodical Photoplay Magazine during 1927 explained that F.W. Murnau had again resorted to literary adaptation for subject matter, "Goethe's panaoramic poem has been used as its basis and the adaptation was folowed, in the main, as closely as the screen permits...Murnau has caught the medieval atmosphere with suprising success." silent film Silent Horror Film Silent Horror
Greta Garbo Victor Sjostrom Silent Film
Scott Lord on Silent Film, Scott Lord on Mystery Film
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6:21:00 PM
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Silent Film 1926
Scott Lord Silent Film: Hotel Imperial (Mauritz Stiller, 1927)
The periodical Photoplay during 1927 looked at the film "Hotel Imperial", "Here is a new Pola Negri in a film story at once absorbing and splendidly directed...Hotel Imperial places Mauritz Stiller at the forefront of our imported directors." Moving Picture World of that year listed it under "romantic drama" and under "love drama" as well.
Under its Drawing Power subheading Motion Picture News in 1927 wrote,"Suitable for first run and all types of houses.TItle and star should draw them." and under its EXploitation Angles subheading it wrote,"PLay up Pola's best American film. Tease the title."
Pola Negri during 1929 had starred in "The Secret Hour" (eight reels) directed by Roland V. Lee. The film is presumed to be lost with no surviving copies. Mauritz Stiller
Scandinavian Silent Film Mauritz Stiller
Greta Garbo Victor Sjostrom Silent Film
Scott Lord on Silent Film, Scott Lord on Mystery Film
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4:07:00 PM
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Maurtiz Stiller,
Silent Film,
Silent Film 1927
Bodakingen, The Tyrrany of Hate (Gustaf Molander, 1920)
“The King Boda” (“Tyranny of Hate/Boda kungen”, 1920) was the first film to bear the name of Gustaf Molander as director, Molander having also scripted the photoplay. It was also the first film to be photographed by Adrian Bjurman. The film stars Egil Edie. Both Wanda Rothgardt and her mother, Edla Rothgardt appear in the film, as do acresses Winifred Westover and Hilda Castgren. Produced by Scandinavisk Filmcentral, the film can well be placed within the Golden Age of Swedish Silent Film.
Also appearing in the film "Bodakungen" was Franz Envall, Greta Garbo mentioned in a 1928 Photoplay magazine interview with Ruth Biery, "Then I met an actor...It was Franz Envall. He is dead now, but has a daughter in stage in Sweden. He asked me if they would let me try to get into the Dramatic School of the Dramatic School of the Royal Theater in Stockholm." Envall's daughter was in fact Signe Envall, who, after having appeared in "Gosta Berling's Saga" (Mauritz Stiller, 1924) and "The Kingdom of Rye" (Ivar Johnsson, 1929), was periodically featured in films from 1944 to 1968. Author Forsyth Hardy credits Gustaf Molander with having introduced actress Greta Garbo to director Mauritz Stiller.
1922 had been the year during which appeared the second film directed by Gustaf Molander, "Amatorfilmen", the first film in which actresses Elsa Ebben-Thorblad and Anna Wallin were each to appear, brought Mimi Pollack to Swedish Film audiences. Written by Bjorn Hodell and photographed by Bjorn Hodell, the film is presumed to be lost, with no surviving copies or fragments. Gustaf Molander
Gustaf Molander would breifly remain in the shadow of Victor Sjostromand Mauritz Stiller again with photographer Adrian Bjurman, during 1922 by directing actress Vera Schmiterlow, who had first appeared on screen in a brief part in Molaner's film "Tyranny of Hate", in the film Thoma Graal's Ward (Thomas Graal's myndling)To modern American audiences and readers of extratextural discourse Schmiterlow may be more famous for being mentioned in biographies as a friend of Greta Garbo than for Molander having given her her first appearance as star of the film.
Scandinavian Silent Film
Swedish Silent Film
Greta Garbo Victor Sjostrom Silent Film
Scott Lord on Silent Film, Scott Lord on Mystery Film
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3:37:00 PM
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Gustaf Molander,
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Silent Film,
Silent Film 1920,
Swedish Silent Film
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