Scott Lord on Silent Film

Scott Lord on Silent Film
Gendered spectatorship notwithstanding, in a way, the girl coming down the stairs is symbolic of the lost film itself, the unattainable She, idealized beauty antiquated (albeit it being the beginning of Modernism), with the film detective catching a glimpse of the extratextural discourse of periodicals and publicity stills concerning Lost Films, Found Magazines

Thursday, January 4, 2018

Swedish Nightingale



It would be less than only a decade after the first film appearance of actress Greta Garbo the Swedish Sphinx, that Virginia Bruce appeared as "the late Mrs. John Gilbert" in a portrayal of Jenny Lind, the Swedish Nightingale.



Greta Garbo

Victor Seastrom

Joseph Sarno, writer, director.

Veil of Blood/Vampire Exctasy, written and directed by Joseph Sarno, begins with nudity and a cauldron, a night exterior of a coven of young women, women experiencing each other, shown mostly in medium close shot, collectively bringing one specific passive member of their group to the building excitement of climax. Not quite cutting on movement, it then abruptly ends the scene during the orgasm without revealing wether the group would turn its attention to the next member, the scene shifting to a train in the countryside in an afternoon exterior with a female being met at the station by a male, both characters introduced during this new establishing shot, the nighttime establishing shot exterior scene having now become a more secretive, undisclosed location.
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Writing a review on Justine and Julliette, directed by Mac Ahlberg as Bert Torn but haven't time to type it in other blog while revising novel. The film is explicit and is more than nude glamour (not entirely a lesbian plot), particularly for the time period. But its Swedish and directed by Mac Ahlberg. Greta Garbo Inga

Friday, October 6, 2017

Ingmar Bergman, Svensk Filmindustri, Rasunda

In Images, before filming with Victor Sjostrom, the actor, Ingmar Bergman relates his early emergence as a scriptwriter-director by mentioning the playwright Hjalmer Bergman, "According to Molander, Torment ought to be filmed. Stina Bergman showed me his comments, at the same time rebuking me for my penchant for dark and terrible things, 'Sometimes you are just like Hjalmer!'...Hjalmer Bergman was my idol.'" Not entirely unprophetic, Forsyth Hardy saw Ingmar Bergman's influence as screenwriter, specifically on Gustav Molander after the two had filmed, "Molander's association with Ingmar Bergman has clearly been a stimulus, as his subsequent films, notably Love is the Victor (Karleken Segrar, 1949)...have revealed."

Victor Sjostrom Swedish Silent Film

Ingmar Bergman



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