Scott Lord: Greta Garbo in The Divine Woman (1928, Victor Sjostrom)

"The Divine Woman" directed in the United States during 1928 featured three Swedish Silent Film stars from the Golden Age of Swedish Silent film, two of whom, Victor Sjostrom and Lars Hanson, would soon return to Sweden to mark the advent of sound film. Sjostrom would return to act and only act, in front of the camera rather than behind it. Only one reel of the film survives, it being presumed lost with no other footage of the film surviving other than the fragment.

Bo Florin, Stockholm University, in his volume Transition and Transformation- Victor Sjostrom in Hollywood 1923-1930, looks as a film detective not only to film critics and magazine articles printed during the first run of the film, as I have, this webpage in fact subtitled "Lost Films, Found Magazines", (please excuse the trendy contemporary use of subtitles during peer review) but also to the the cutting continuity script, his finding a specific sequence where Sjostrom uses "a combination between iris and dissolve", one which, as an iris down, fulfills the "classic Sjostrom function of an analogy". There are two other dissolves in the same sequence that are used as transitions, spatial transitions, yet both are taken from different camera distances. It is a contonuity cutting script from which author Bo Florin has found fifty four dissolves that were used in the film. Again, no footage from the scene or the reel it is from survives. One can ask if double exposures were only infrequently published in magazines or advertisements as publicity stills, or even as lobby cards or posters and if modern audiences have ever seen photographs from the scene.

Journalist Rilla Page Palmborg, in The Private Life of Greta Garbo fulfills the search for Lost Film, Found Magazines when giving an account of being on the set of 'The Divine Woman' for a rare interview with Greta Garbo, giving a description of what what on film in a film we at presenent no longer have. "There came a shy little French girl and a young officer wlaking slowly down the street. They paused in a doorway. The officer asked a frowsy inkeeper for lodgings. The girl looked up shyly at the officer. She hesitated a moment, raised up on her toes and kissed him on the cheek. Then she hurried past him up the stairs. 'Cut' shouted the director." The director was in fact Swedish Silent Film director Victor Sjostrom, Greta Garbo leaving the set in a high collared cape to bring journalist Rilla Page Palmborg to her dressing room. The commodity Garbo at that time? The journalist had obtained the interview not to ask about Lars Hanson, Victor Sjostrom or the upcoming film "The Divine Woman", but was admittedly there to ask Garbo about her tabloid romance with actor John Gilbert. The dressing room was small and on wheels and Garbo politely expressed concern if they both would fit into it. Greta Garbo answered the question regarding her intentions of marriage with "it is only a friendship. I will never marry. My work absorbs me. I have time for nothing else. But I think Jack Gilbert is one of the finest men I have ever known." There would seem a contradiction between the onscreen Garbo who 'nearly invented the torrid love scene' and the extratextural discourse of pursuing the reclusive hermit Garbo everywhere- oddly enough Palmborg claims that the relationship between Garbo and Lars Hanson and his wife Karin Molander was more professional than social although Hanson and Garbo arrived from Sweden at the same time with Victor Sjostrom and Mauritz Stiller. Swedish Silent Film actress Karin Molander explained, " 'Garbo never had any friends with whom she chummed around in Stockholm.' said Mrs. Hanson. 'When we knew her she was devoted to Mauritz Stiller. He seemed to be the only person with whom she would associate.' "

Paul Rotha, in his volume The Film Till Now, commented on the topic that would be taken up by Bo Florin during this century, the artistic differences between the films made by Victor Sjostrom for Svensk Filmindustri, Stockholm and for Metro Goldwyn Mayer, Hollywood. "But Sjostrom has ceased to develop. He remains stationary in his outlook thinking in terms of his early Swedish imagery. He has recently made little use of the progress of cinema itslef. 'The Divine Woman', although it had the Greta Garbo of 'The Atonement of Gosta Berling' had none of the lyricism, the poetic imagery of the earlier film."

Victor Sjostrom and Greta Garbo

Greta Garbo in The Temptress

Greta Garbo in The Torrent
Silent Greta Garbo

Scott Lord Scandinavian Silent Film: The Gardner (Tradgardsmastanen, Vic...

Banned in Sweden during 1912, "The Gardner", written by Mauritz Stiller and directed by Victor Sjostrom was thought to be lost untill a surviving copy was found sixty eight years later in the Library of Congress. The film stars Victor Sjostrom with Lilli Bech, Muaritz Stiller, Gosta Ekman and John Ekman. It was the directorial debut of Victor Sjostrom, unscreened during his lifetime. Actress Karin Alexandersson who appears in the film that year also appeared in the film "Froken Julie", directed by Anna Hofmann-Uddgren..

Was the film Scandinavian sensationalism made in response to Asta Neilsen starring in the film "The Abyss"? The film did successfully premiere in Denmark and Norway, during 1912 and 1913 respectively. (To modern auiences the film's theme of incest/seduction is depicted before both the Suffragete movement for women's voting rights and before much of Frued's writing on the Electra Complex- there remains an ostensible theme of Seduction, or perhaps an element of exploitation in the film.) Marina Dahlquist, in her article "The Best-Known Woman in the World", chronicles, "Charles Magnusson published the booklet "Nagra om Biografcensuren (A few remarks on film censorship) in the name of Svenska Bio regarding its appeal of the ban against three films, among them "Tradgardsmastaren/Varldensgrymhet" (The Broken Springrose/The Gardner [1912]). Even though the importance of censorship was acknowledged by Magnusson and others, the over zealous ambition to protect even an adult audience met with irony."


Also that year Victor Sjostrom directed the film "A Ruined Life" (Ett hemligt giftermal) co-scipted with Charles Magnusson and starring Hilda Bjorgstrom, Einar Froberg, Anna Norrie, and Greta Almroth in the first film in which she was to appear.

Author Peter Cowie, in his volume Swedish Cinema, Ingeborg Holm to Fanny Alexander notes the numerous location shots employed to showcase Victor Sjostrom's future wife, Lilli Beck during the film. Peter Cowie quickly references that Lilli Bech and Victor Sjostrom were formerly married between 1914-1916. The actress starred with Victor Sjostrom onscreen under the direction of Mauritz Stiller the following year, during 1913 with a script written by Stiller and photographed by Julius Jaenzon with "Vampyren", a film presently presumed to be lost, with no existing surviving copies. That year Victor Sjostrom and Lilli Bech were also paired onscreen by Mauritz Stiller in the film "Barnet", with Einar Froberg and Anna Norrie, photographed again by Julius Jaenzon. The film is also presumed lost with no existing surviving copies.



Actor John Eckman, who appeared on screen in a score of films between 1912 and 1950 before his appearing with Victor Sjostrom in the Ingmar Bergman film "Till Joy" (Till gladje,1950), directed only one film, it also being the first film in which he was to appear. Before having appeared during 1912 in the film "Tradgardsmasteren", under the direction of Victor Sjostrom and during 1912 in the film "De Svarta Maskerna" under the direction of Mauritz Stiller, Ekman directed the film "The Shepherd Girl" (Saterjantan,1912), starring actress Greta Almroth, Carlo Weith and Stina Berg in her first onscreen appearance, the film having had been photographed by Hugo Edlund for Svenska Biographteatern. Victor Sjostrom would direct John Ekman, Lilli Bech and himself from his own script during 1914, adding the actress Greta Almroth in the film "Daughter of the High Mountain" (Hogfallets dotter), photographed by Julius Jaenzon. The film is presumed to be lost, presently there being no surviving existing copies.

Apparently the film "Den Svarte Doktorn" filmed for Stora Biografteatern by Frans Lundberg is not only a lost film, with no surviving copies exusting, but was also banned at the time of production by Swedish Censorship. The film starred actress Olivia Norrie, Einar Zangenberg, and Holger-Madsen. "Anfortrodda medel", also made by Frans Lundberg in 1911 is also presumed to be a lost film with no surviving copies existing and was also banned by Swedish censorship. The film starred actresses Phillipa Fredricksen and Agnes Nyrup Christensen.

Interestingly enough, Swedish Silent Film cinematographer camerman Julius Jaenzon brought his equipment aboard the S.S. Lusitania during 1912 to make the film "Tva Svenska Emigranters Afventyr i Amerika", starring actresses Lisa Holm and Lilly Jacobsson under the direction of Eric Malmberg. It might be worth noting before continuing to the dynamic between the four horsemen of Swedish Silent Film, Victor Sjostrom, Mauritz Stiller, Julius Jaenson and Charles Magnusson, that another director was there at Svenska Biografteatern during 1912, director Eric Malmberg. Seemingly overlooked, Malmberg directed six films for Svenska Biografteatern during 1912, including films presumed to be lost with no surving copies photographed by Julius Jaenzon and starring actress Lilly Jacobsson, among them "Det Grona Halsbandet", "Stolen Happiness" (Branniger eller Stulen lycka) and "Kolingens Galoscher".

Silent Film Victor Sjostrom Victor Sjostrom and Mauritz Stiller

Greta Garbo before Hollywood- Lars Hanson

The 1927 article "Swedish Hospitality featured in Motion Picture Magazine gave an account of journalist Rilla Page Palmborg, author of "The Private Life of Greta Garbo", being entertained by actor Lars Hanson and his wife, Swedish actress Karin Molander. It began, " 'And now we shall see if you like real Swedish cooking,' said Lars Hanson as he escorted us across the velvety green lawn of his walled garden, where for the past hour we had sat enthralled by the tales he and his charming wife had told us of their native land...This was a Sunday supper to which we had been invited. 'My wife prepared everything when I her that I had promised you real Swedish cooking.' Said Mr. Hanson as we took our places at a long refectory table in a long, rather narrow and dignified dining-room."

Fact may be just as exiciting as fiction to historians when we think that the events of the nineteenth century, depicted in the twentieth, are already culturally different from ours, especially in film the show the humanity that we still do have in common, or rather psychological insights about characters in moral dilemas; in fact Moving Picture World contrasted the character portrayed by Lars Hanson in John Robertson's film with a "more straitlaced" character that Hanson had played earlier for Victor Sjostrom in his depiction of Puritan Colonialism, "The Scarlet Letter". Photoplay reviewed the film. "A well knit drama is this story of how the gospel ship came into being." A ship embarks from the Boston waterfront and is saved from shipwreck off to become apparently a then "floating church" The film might be historically inaccurate about the date triangular trade hade ended in regard to the War of 1812. Motion Picture News subtitled their review with a "Rugged, Well Acted Story of the first Gospel Ship" while the periodical Motion Picture News subtitled their review with "Lars Hanson and Pauline Starke in Gripping Drama of Founding of First Gospel Ship". The subtitles used in Motion Picture World were directed more toward the jazz age- one page announcing the film "Flesh and the Devil" in which Lars Hanson, starred with Greta Garbo and John Gilbert, as being busy "Cleaning Up" at the box office, while "Captain Salvation" was in production for Cosmopolitan with "Wild Crew Now Sails the Main". Motion Picture World announced that the seventy five actors of the studio were filming exterior scenes ar Catalina Island, the "dramatic action" filmed after having "set sail" on the "high seas".

Picture Play magazine during 1927 featured stills from the eight reel film "Captain Salvation", starring Lars Hanson. They were captioned with, "Lars Hanson has another intensely dramatic role in 'Captain Salvation', that of a young New Englander whose heart is in the sea, but who is forced his uncle to go onto the ministry...Marceleine Day as the girl who waits for him at home." Motion Picture News Booking Guide during 1927 provided a brief synopsis of the film, "Theme: Melodrama of the sea. Adaptation of the novel by Fredrick William Wallace, Divinity Student forsakes the pulpit for the sea, forgets his faith and becomes aide of a much feared skipper. His regeneration is brought about through an unfortunate girl he befriends. After her death he is reunited with his sweetheart." The cameraman to the film is listed as William Daniels and the scenarist as Jack Dunningham. Photoplay Magazine reviewed the eight reel silent film, "Pauline Starke is Excellant as the waterfront derelict." In a photo caption to a full page portrait of Pauline Starke, Picture Play magazine introduced her upcoming film, "If you saw 'Captain Salvation' you have no doubt of Pauline Starke's dramatic gifts. If you did not, you will find proof of them in 'Fallen Angles'". Magazine advertisements published by the studio announced that "Captain Salvation" was a Cosmopolitan production for M.G.M. "on a lavish scale" ephasizing that the novel by Frederick William Wallace was soon to be serialized for millions of readers and an "unprecedented promotion campaign" would be launched by Hearst newspapers.

Scott Lord Silent Film: A Little Princess (Neilan, 1917)

Silent Film Scott Lord

Marshall Neilan during 1917 directed actress Mary Pickford with actresses Kathleen Griffith, Zazu Pitts, and Ann Schraeder in "The Little Princess" (five reels) with a photplay written by Frances Marion. The film was photographed by Charles Rosner and Walter Strandling.

The periodical Picture Play magazine during 1917 came in with a very straitforward announcement, "Mary Pickford, after a short rest following the completion of 'Rebecca of Sunnybrook Farm'is now hard at work in 'The Little Princess' under the direction of Marshall Neilan."

Silent Film Mary Pickford

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. It will give high interest to his forthcoming work with Emil Jannings." 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."

Swedish Silent Film director Mauritz Stiller is credited with having directed Pola Negri in the 1927 six reel film "The Woman on Trial", photographed by Bert Glennon and co-starring actor Einar Hanson and actress Veronica Veronma. The film is presumed lost with only fragments surviving. 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

Swedish Silent Film: Monastery of Sendomir (Klostret I Sendomir, Victor Sjostrom,1920)

Bo Florin, Stockholm University, in his volume Transition and Transformation, Victor Sjostrom in Hollywood 1923-1930, points to Victor Sjostrom's use of dissolves in the film "Monastery of Sedomir" as "transformatory devices", to thematiclly link two images. "The dissolve works, in other words, as an independent device, which does not in this context recieve any clarifying support from any other narrative patterns." The character, and the setting in which he placed, change as motif with the dissolve.

"The Monastery of Sendomir" (Klostret i Sendomir) was written and directed for Svenska Biografteatern by Victor Sjostrom during 1920. Photographed by Henrik Jaenzon the film starred actresses Tora Teje, Renee Bjorling and Jenny Tschernichin-Larsson. The screenplay was adapted from a short story by Franz Grillparzer that, despite whatever reason Sjostrom had for choosing the material, had been filmed a year earlier, in Germany, by director Rudolph Meinert, starring actress Ellen Richter.

Victor Sjostrom

The Phantom Carriage (Victor Sjostrom, 1920) Please screen the films below directed in Sweden by Victor Sjostrom as any double feature you see fit.

Greta Garbo

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 Tourneur was one of them. Tourneur's film of Joseph Conrad's Victory included another of Lon Chaney's villainous portraits."

Twenty four silent films directed by Maurice Tourneur between 1912-1926 are presumed lost, with no surviving copies, among them being "While Paris Sleeps" (1923) and "Treasure Island" (1920), both having starred Lon Chaney.

Lon Chaney

Lon Chaney Silent Film Lon Chaney

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.

In his biography Faces, Forms, Films, The artistry of Lon Chaney, author Robert Gordon Anderson views M.G.M, having starred Lon Chaney in films directed by the foreign directors Victor Sjostrom, as having previously made "prestige" film with the actor. "The remainder of Chaney's M.G.M. films were changes-of-pace. 'The Monster', in spite of the implications of its title, was more slapstick than horror and one could not be sure Chaney took the whole thing seriously. 'In While The City Sleeps' he played, with no make up, a detective,"

silent film Lon Chaney Lon Chaney Movie Posters