Scott Lord Silent Film: Hotel Imperial (Mauritz Stiller, 1927)

Norman J. Zierold, in Garbo, his biography of the Swedish Sphinx, gives an account of Mauritz Stiller going to Paramount after habing been dismissed from Greta Garbo's The Temptress, "The deflated Stiller asked to be released from his contract. He was allowed to go to Paramount, where his old friend Eric Pommer had asked for him. There Stiller made the story that M.G.M. had rejected. As 'Hotel Imoerial' with Pola Negri it was a welcome triumph. Then lesser efforts followed, and then came arguments with Oaramount executives."

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."

Psul Rotha, in his volume The Film Till Now, writes, "THe whole of the first reel was superbly done, the empty streets,the deserted hotel, the girl about to begin her day's work, her hiding of the officer, his raving delerium. This was Pommer and Stiller using great skill......Not only was it the come back of Miss Negri, it was a triumph of a star in a role that asked no sympathy."

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.

The last film shot by Mauritz Stiller, "The Street of Sin" (finished by Ludwig Berger, seven reels, 1928) is also a lost silent film and was also photographed by Bert Glennon. Paul Rotha writes, "No expense was spared in its making. The script was well-balanced, the continuity good, the setting natural. Yet, for some obscure reason."


During 1924, Pola Negri had starred in two seven reels films under the direction of Dimitri Buchowetski, "Men" and "Lily of the Dust" and again for Buchowetski in 1926 in the five reel film "Crown of Lies", photographed by Bert Glennon.

Swedish Silent Film

Mauritz Stiller

Scott Lord Silent Film: King of Kings (De Mille,1927)

"I have always made pictures with a message and a moral. True, I have dressed up these in elaborate trappings, principally because I wanted people to see my pictures. Messages without an audience aren't worth very much." Photoplay Magazine during 1927 featured an interview with silent film director Cecil B. De Mille titled "How Christ Came to Pictures" in which he briefly explained his father had been a lay reader who preached in an Episcopal church in Pompton, New Jersey before quickly continuing to his earlier marriage comedy films made before 1920. De Mille ended the interview with "'The King of Kings' has the ring of sincerity. We did it with complete sincerity." Photoplay Magazine during 1927 reviwed "King of Kings" as being an authentic depiction of the events in the Holy Bible, "De Mille has followed the New Testament literally and with fidelity. He has taken no liberties. Frequently, in his groupings, he has followed famous Biblical paintings...Mr. Warner meets the accepted ideas of Christ and gives a very well sustained performance."

Harvard Buisness Reports, describing "The King of Kings" as a film about the life, death and resurrection of Jesus Christ, reported in 1930 that the film cost $ 2,000,000 to produce.

silent film Noah's Arc Jesus

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