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Silent Film, Garbo Victor Sjostrom

Spray, Sweden Victor Sjostrom Greta Garbo

All About Swedish Film banner designed for Scott Lord by Ulrich in Berlin, Germany; color tinted by Amy in Southern California

swedish silent film 1918-1923 swedish silent film 1909-1917 Peter Cowie writes of a voice that was described to Vilgot Sjöman as being "so nice and gentle" it having "a quite huskiness that makes it interesting". "Yes, this is Stiller's room, I know for sure." After Greta Garbo took off her glasses to show Ingmar Bergman what she looked like, her watching his face to measure the emotion of the director, sheexcitedly began discussing her acting in The Saga of Gosta Berling. When they returned to the room, one that had also been used by Molander, Bergman poeticly studied her face. Garbo went to Rasunda to the Svenska Filmindustri studio to meet Stiller for a screen test to be filmed by Jaenzon. She and Mona Martenson were to film The Saga of Gosta Berling (1924, ten reels).During its filming, Greta Garbo and Mona Martenson had stayed in the same hotel room together. In the Story of Greta Garbo, a 1928 interview with Ruth Biery published in Photoplay, Garbo relates of Mortenson's being in Hollywood and of her planning to later return to Sweden. In the article, she talks about The Saga of Gosta Berling and of Stiller having given her "the very best part for my very first picture." Stiller had imparted to her, "You must remember two crucial things when you play the role or for that matter any role. First, you must be aware of the period in which the character is living. Second, you must be aware of your self as an actress. If you play the role and forget about your self nothing will come of it." During the Photoplay interview, Garbo continued remarking that," Lars Hanson played my leading man...but there were no love scenes, not even a kiss." About Lars Hanson, after having seen The Saga of Gosta Berling, Lillian Gish wrote, "When I saw it I thought that he would be the ideal Dimmesdale." Greta Garbo was interviewed in Sweden during the filming of Gosta Berling's Saga by for the magazine Filmjournalen (Filmjournal) by Inga Gaate, who had interviewed Mauritz Stiller in 1924, Garbo in the article having praised Stiller for his direction and having referred to him as Moje. Stiller, incidently, had invited Sten Selander, a poet rather than actor, to Rasunda before his having decided upon Lars Hanson for the film. Sven Broman has quoted Greta Garbo as having said, "We sat in a lovely drawing room and Selma Lagerlöf thanked me for my work in Gosta Berling's Saga and she praised Mauritz Stiller...She also had very warm and lovely eyes." While filming Gosta Berling's Saga, Stiller had said, "Garbo is so shy, you realize, she's afraid to show what she feels. She's got no technique you know.", to which the screenwriter to the film, Ragnar Hylten-Cavallius, replied, "But every aspect of her is beautiful." By the time Stiller had begun co-writing the script to Gosta Berling's Saga, he and Selma Lagerlöf had begun to disagree in regard to how her novels were to be adapted. Lagerlöf had asked that Stiller be removed from the shooting of the film before the script had been completed, her having as well tried to acquire the rights to the film to vouchsafe its integrity as an adaptation. During the filming Stiller went further; he then included a scene that had not appeared in either the novel or the film's script. While visiting Stockholm in 1938, Garbo had asked to view the film, her having said to William Sorensen, "It was the movie I loved most of all." After the film was shot, Stiller brought Garbo to Berlin for its premiere. In a Berlin hotel room, Stiller had said to Garbo, "That's better. Put you feet on that stool. You're tired. A film star is always tired. It impresses people." While there she deepened the aquaintance she had made of Swedish actress Gerda Lundeqvist and yet it would be Asta Nielsen of whom she would claim that it was to whom she owed her career. Stiller was also with Garbo for the premiere of The Joyless Street. Stiller had told Garbo, "Pabst has seen Gosta Berlings Saga so many times that he knows everything about you." During the shooting of the film, Pabst invited Stiller to the studio to give him technical advice; it was Stiller who added the giving of a fur coat to Greta Garbo's character to the plotline. During the film, Pabst often holds Garbo in close shot, as when he builds the structure of the sequence by cutting back and forth between her close shot and its accompanying point of view and reaction shots. Like Greta Garbo, Mary Johnson travelled from Sweden to Germany to film, her films made for both Ufa and Essem Film including Haus der Luge (1925), Telefondamen (1926), The Strange Case of Captain Ramper (Ramper-der Tiermensch, 1927), Sex in Fetters (Geschlecht in Fessein 1928). In Germany, Marlene Dietrich by 1927 had begun to appear on the the screen in lead roles more often, her having that year starred in the film Cafe Electric (Gustav Ucicky). Garbo was to have made a second film for Pabst but declined. Before travelling to Turkey to film Odalisque from Smolna, Greta Garbo returned to Stockholm, appearing on the Swedish stage in the play The Invisible Man, written by Lagerkvist. Stiller had written the script to the film The Odalisque of Smolny and had brought Jaenzon, Ragnar Hylten-Cavallius and Garbo to Turkey only to have the film be left unmade. In the film, Greta Garbo was to portray a harem girl; there were rehearsals held of a exterior where Garbo was to meet her lover. There is a reference to the film made by Greta Garbo in a 1928 interview for Photoplay Magazine, "'We never started on that picture. The company went broke. Mr. Stiller had to go back to Germany to see about the money which was not coming. I was alone in Constantinople. Oh, yes, Einar Hansen,' she paused, 'the Swedish boy who was killed here in Hollywood not so long ago- was there too. He was to play with me in the picture. But I did not see him often.'" When interviewed in 1924, Stiller had said, "You have to leave room for people's imagination. The film camera registers everything with such merciless clarity. We really have to leave something for the audience to interpret." Bengt Forslund notes that the filming of an adaptation of Anna Karenina had at first been thought of for actress Lillian Gish, who in Sweden, Greta Garbo had seen in the film The White Sister. In her autobiography, Gish wrote, "I often saw the young Garbo on the lot. She was then the protegee of the Swedish director Mauritz Stiller. Stiller often left her on my set. He would take her to lunch and then bring her back, and Garbo would sit there watching." When refilmed, her Hollywood screen test would be filmed by Stiller and, purportedly spliced into the rushes of The Torrent, seen by director Monta Bell, who then gave the script of the film to Garbo. Garbo's second screentest had been photographed by Henrik Sartov, who later explained that the earlier test had lacked proper lighting and that a lens he had devised had allowed him to articulate depth while filming her. Cameraman William Daniels had photographed the earlier test. At first Garbo was reluctant to accept the role in the film, although it was a large role that had been considered for Norma Shearer, Stiller having advised, "It can lead to a better parts later." to which she replied, "How can I take direction from someone I don't know." Monta Bell had directed Norma Shearer in the film After Midnight (1921). Bengt Forslund writes, "Her first to films, The Torrent and The Temptress, both in 1926, were insignificant, but showed that she had appeal- the audience liked her." The screenplays to the first two films in which Greta Garbo had appeared, The Torrent and The Temptress (nine reels) both had been adaptations of the novels of Vincente Belasco Ibanez, their having been titled Among the Orange Trees and The Earth Belongs to Everyone, respectively. Charles Affron particularly looks to the entrances that Greta Garbo makes during the opening scenes of her silent film and notes that Fred Niblo, after taking the helm upon Stiller's leaving the filming of The Temptress, studies Garbo's beauty, her ethereality, by adding a second screen entrance of his own where Garbo, clasping flowers, is exiting a carriage- he then illustrates its use in Niblo's later film The Mysterious Lady where Garbo, in the middle of watching an opera is seen by Conrad Nagel as he is making his entrance and then by the camera in a profile close shot. In the sequence, the camera is authorial in accordance with the action of the scene; Garbo's look is momentarily uninterrupted as Nagel, almost an interloper, is introduced into the scene by his entering the frame and by the camera nearing her as she is near motionlessly surveying the proscenium, the theater in the film a public sphere of address that envelopes its characters to where Garbo, and her act of watching becomes the subject of the cinematic address and the object of both Nagel's and the audience's interest. Affron writes that it may have been Stiller's keeping Garbo on the screen and in front of the camera that had been among the reasons for his being replaced on the set of The Temptress. Author Mark A. Vieira was asked by Turner Classic Movies to provide audio narrative commentary to the film The Temptress for its The Garbo Silents collection, his on occaision quoting the actress during the film as well as his quoting from her correspondence. The Temptress begins with a blue-tinted exterior shot, Fred Niblo then cutting what seems to be an opera house during which there are lights from the cieling tha sway back and forth across a costume dance. During the next scene Garbo in an evening gown that is folded like a robe enters a drawing room where there is a visitor that has been invited to dinner. During the dinner, there is an pullback shot over a table that is elaborately included in the scene, it having been designed almost as though the scene from a pre-code film in the plunging necklines of its tight clinging evening gowns in contrast most of the films scenes that seem bookended between the beginning and end of the film. After a series of exterior shots filmed by assistant director H. Bruce Humberstone, Lionel Barrymore is introduced in the film, Greta Garbo shortly thereafter reintroduced as the camera cuts away from her before it is finished panning up, it cutting back after an interpolated shot to finish panning from her waist upward, the camera slowly reflecting upon the unexpectedness of her being reunited with the other characters. In a scene where Garbo is shown in an extreme close up sitting with Lionel Barrymore, author Mark A. Vieira choses to discuss that whereas previously close ups had often been used in silent film as being concerned with a different plane of action as other shots filmed from other camera distances, Niblo seems to include closeups into the characterization through a use of lighting and diffusion while filming. Irregardless of this, later in the film there is extreme close up of Garbo that is abruptly cut almost on a reverse angle right before her and her lover are about to kiss. The character movement of the two nearing each other is held, if only briefly, Garbo near stunning as the camera only briefly contains her within the frame. There in the film is a scene with a rainstorm and flood that, and although it was more than quite concievably added to the plotline for its excitement, is almost a haunting acknowledgement of the camerawork of either Mauritz Stiller or Victor Sjostrom in Sweden and the role of nature in Swedish silent film, in this instance an acknowledgement punctuated by Greta Garbo, who is seen right before the rain during a night exterior in the mountains, alone with her lover in a series of close shots, her then being only briefly seen in profile during the thunder and lightning and then again in one of the most beautiful evening gowns of the film, her shoulders bare as she is reading a letter. Garbo had related her dismay when told that Mauritz Stiller would be replaced by Fred Niblo after two weeks of shooting The Temptress, "I was broken to pieces, nobody knows." In her autobiography, Pola Negri writes that before Niblo had been given the film, "Stiller had completed most of her scenes, guaranteeing that she would emerge as a great star. During this tragic period, we would often meet, knowing that in each other we would find understanding and consolation." The scenes that Garbo had filmed with Stiller were reshot by Niblo, a scene that had in the rushes included a white horse having been replaced by a scene in silhouette of a masked ball. While Garbo was finishing the The Temptress, Stiller, having written the script before the script department had reworked its plot, had begun shooting Hotel Imperial (1927, eight reels) for Paramount; she went to the preview of the film. Greta Garbo had said, "Stiller was getting his bearings and coming into his own. I could see that he was getting his chance." In a letter to Lars Saxon, Greta Garbo wrote, "Stiller's going to start working with Pola Negri. I'm still very lonely, not that I mind, except occaisionally." Of Stiller's camerawork in the film, Kenneth MacGowan wrote, "Hung from an overhead trolley, his camera moved through the lobby and the four rooms on each side of it." Whether or not the United States can be viewed as imperial, as it is as seen by Dianne Negra, she writes about Pola Negri's character in Stiller's film, her almost connecting thematically the difference between Negri's role in the film and earlier vamp roles with the film's ending and its reuniting of Negri and her lover in a plotline similar to that of Sjöstrom's The Divine Woman. "The film closes with its most emphatic equation of romance and war as a close up of a kiss between Anna and Almay fades to the images of marching troops." Mauritz Stiller, when invited to a private screening of Hotel Imperial for Max Reinhardt had said, "Thank you. But if not for Pola, I could not have made it." Stiller also directed Pola Negri, and Clive Brook, in Barbed Wire (1927, seven reels) and Pola Negri and Einar Hanson in The Woman on Trial (1927, six reels). The year previous, Pola Negri had starred in the films The Crown of Lies (Buchowetski, five reels) and Good and Naughty (Malcom St. Clair, six reels). In her autobiography, Memoirs of a Star, Pola Negri describes her first meeting with Mauritz Stiller, "About an hour before the two men were to arrive for dinner, Stiller telephoned and asked, 'May I be permitted to bring along a friend? She doesn't know many people here yet. Greta Garbo.'" She continues "To tell the truth, I was also very curious about the girl...She smiled wistfully, as we shook hands...Through dinner she was resolutely silent...", her then giving an account of their conversation and of her having given Garbo advice.Mauritz Stiller's film Barbed Wire had a screening during Cinevent, held in Columbus, Ohio between May 27-30, 2005. The Street of Sin (1928, seven reels) starring Fay Wray and Olga Barclanova was begun by Stiller and finished by the director Joseph von Sternberg. Kenneth MacGowan writing about the film notes, "The film was more distinguished for its players-Jannings and Olga Barclanova- than for its script by Joseph Sternberg. In 1928, Olga Barclanova also appeared in the films The Man Who Laughs (Paul Leni, ten reels), The Dove (Roland West, nine reels), Forgotten Faces (Victor Schertzinger, eight reels), Avalanche (Otto Brower, five reels) and Three Sinners (Rowland V. Lee, eight reels). Three Sinners, with Warner Baxter was the second film to pair Olga Backlanova and Pola Negri, their both having appeared in the film Cloak of Death in 1915. During 1928, Fay Wray appeared in the films Legion of the Condemned (William Wellman, eight reels), The First Kiss (Rowland V. Lee) and The Wedding March (Eric von Stroheim). Pola Negri that year had starred in The Secret Hour (eight reels), directed by Rowland V Lee. An emailed newsletter from Norway reported that Silent Film actress Fay Wray had died early during the month of August, 200 4. In 1927 alone, Einar Hanson appeared in the films The Lady in Ermine (seven reels, James Flood), The Masked Woman (six reels) with Anna Q. Nilsson, Fashions for Women (seven reels, Arzner) with Esther Ralston and Children of Divorce (seven reels, Frank Lloyd) with Clara Bow. Glimpses of the Garbo of 1924, a year when in the United States Viola Dana and Jetta Goudal were starring together in the film Open All Night (six reels), can be seen in the letters between her and Swedish actress Mimi Pollock authenticated by author Tin Andersen Axell, letters on which his newest book is based. Leaving us again with something mysterious, the letters written by Pollack to Greta Garbo have been unseen by the public and are thought to be currently included in the collection of Scott Riesfield. Among the events of 1924 was a visit by silent film stars Mary Pickford and Douglas Farirbanks to Stockholm, Sweden. In the United States, Silent Film actress Norma Shearer, in 1924, was starring in Broadway After Dark (Monta Bell, seven reels) with Anna Q. Nilsson, The Snob (Monta Bell, seven reels) with John Gilbert, Empty Hands (Victor Fleming, seven reels), Married Flirts (Robert Vignola, seven reels) with Conrad Nagel and The Wolfman (Edward Mortimer, six reels) with John Gilbert. The next year she starred in Pretty Ladies (Monta Bell, six reels), one of the films that she had been given by being a contract player at the MGM studio, it having afforded her a cameo role. The film was based on a stroy by Adela Rogers St. Johns and had featured Conrad Nagel. Also that year Shearer appeared in the films Waking Up the Town (James Cruze, six reels), Lady of the Night (Monta Bell, six reels) and His Secretary (seven reels). She continued with Conrad Nagel the following year in The Waning Sex (seven reels) and appeared in Upstage (Monta Bell, seven reels). When an interviewer had asked Conrad Nagel if he had been in love with Norma Shearer, Nagel equivocated, "Every man who knew or worked with her was in love with her. She had an unusual grace and tact, and she was very sensitive to other people's feelings." Pola Negri appeared in two films directed by Dimitri Buchowetski during 1924, Men, with Robert Frazer and Lily of the Dust. Cinematographer Charles Van Enger not only photographed the 1924 film Name the Man, directed by Victor Sjöm, but also that year photographed the films Lovers' Lane (Phil Rosen, seven reels) with actress Gertrude Olmstead, Three Women (Lubitsch, eight reels) with May McAvoy, Forbidden Paradise (Lubitsch, eight reels) with Pola Negri and Daughters of Pleasure (six reels) and Daring Youth (six reels), both directed by William Beaudine. King Vidor in 1924 paired John Gilbert and Aileen Pringle in two films, Wife of the Centaur with Kate Lester, and His Hour. In 1925, Edmund Goulding began directing with Sun-Up Sally (six reels), starring Conrad Nagel and Irene and Sally (six reels), starring Constance Bennett, following the two films with Paris (six reels). Basil Rathbone, who co-starred with Greta Garbo, under the direction of Clarence Brown, in the sound version of Anna Karenina, had also appeared in silent films- Trouping with Ellen (T. Hayes Hunter, seven reels) in 1924, The Masked Bride (Christy Cabanne, six reels), starring Mae Murray, in 1925 and The Great Deception (Howard Higgin, six reels) in 1926. Rathbone and his wife had been present at the premiere of Flesh and the Devil. Anna Karenina (1914), filmed by J. Gordon Edwards, had starred Betty Nansen. On learning that Greta Garbo had already had the film Mata Hari in production, Pola Negri deciding between scripts that were in her studio's story department chose A Woman Commands as her first sound film, in which she starred with Basil Rathbone. Of Rathbone she wrote in her autobiography, "As an actor, I suspected Rathbone might be a little stiff and unromantic for the role, but he made a test that was suprisingly good." Directed by Paul L.Stein, the films also stars Reginald Owen and Roland Young. Ronald Colman had begun as a screen actor in England as well with the films The Live Wire (Dewhurst, 1917), The Toilers (1919), Sheba (Hepworth, 1919), Snow in the Desert (1919) and The Black Spider (1920). Like Basil Rathbone, William Powell had also appeared in silent films, among those being Romola (Henry King, 1924 twelve reels) with Lillian and Dorothy Gish, and The Beautiful City (Kenneth Webb, 1925) with Dorothy Gish. William Powel also appeared with Fay Wray and Richard Arlen in the 1929 silent Four Feathers directed by Merrian C. Cooper and Ernest B. Schoedsack. One of the first directors Philip St John Basil Rathbone had appeared in front of the camera for had been Maurice Elvey, who had directed the 1921 film, The Fruitful Vine, adapted for the screen from the novel. To complement the films made in the United States, Sherlock Holmes of 1916 starring William Gillette and Sherlock Holmes (nine reels) of 1922, starring John Barrymore, John Barrymore not only in the title role but also in a dual role as Moriarty, Maurice Elvey in 1921 directed actor Eille Norwood in the first 15 of 45 shorts in which he would star as Sherlock Holmes. In addition to The Adventures of Sherlock Holmes, which would include The Man With The Twisted Lip and The Dying Detective, Elvey that year directed Norwood in The Sign of the Four and The Hound of the Baskervilles. Maurice Elvey had been earlier teamed with Eille Norwood in 1920 for two silent films, The Hundreth Chance, adapted from the novel, and The Tavern Knight, also adapted from the novel. George Ridgewell would direct Eille Norwood in 30 short films in which he would star as the consulting detective, The Further Adventures of Sherlock Holmes (1922) and The Last Adventures of Sherlock Holmes (1923). Roman Novarro, who had starred with Greta Garbo in Mata Hari under the direction of George Fitzmaurice, in 1925 appeared in the films The Midshipman (Christy Cabanne, eight reels) and The Lovers Oath (six reels). Novarro is quoted as having said, "It wasn't enough for her to satisfy the director. Often -despite his OK- she asked for a scene to be retaken because she didn't think she had done her best." About meeting Greta Garboin 1931 during the filming of the film Susan Lennox:Her Rise and Fall, Mercedes de Acosta wrote, "There was a silence, a silence which she could manage with great ease.Garbo can always manage a silence." (For various reasons, by 1960 de Acosta and Garbo were barely in contact with each other.) Between the films The Primitive Lover (Sidney Franklin, seven reels, 1922) and The Lady (1925), Frances Marion had written the screenplays to The French Doll (1923), Song of Love (Chester Franklin, eight reels, 1924), based on the novel Dust of Desire and starring Norma Talmadge Secrets (Frank Borzage, eight reels, 1924) and Tarnish (George Fitzmaurice, seven reels, 1924). In Sweden, Olaf Molander directed Lady of the Camellias (Damen med kameliorna, 1925), starring Ivan Hedqvist and Hilda Borgström and photographed by Gustav A. Gustafson, which, in 1926 he followed with Married Life (Giftas), starring Hilda Borgström and Margit Manstad, also photographed by Gustav A. Gustafson and in 1927 with Only a Dancing Girl, which he wrote and directed. Gustaf Molander in 1925 directed the film Constable Paulus' Easter Bomb (Polis Paulis' Easter Bomb). William Larsson that year directed the films Broderna Ostermans huskors and For hemmet och flickan, with Jenny Tschernichin and Elsa Widborg in what would be the first film in which she was to appear. John W. Brunius in 1925 directed the film Charles XII (Karl XII), photographed by Hugo Edlund and starring Gösta Ekman, Pauline Brunius and Mona Martenson. Its screenplay was written by Hjalmar Bergman and Ivar Johansson. Many of the scenes of Brunius' film were shot on the actual historical locations and battlesites, it having had been being one of the most expensive films to have been made in Sweden up untill that time. Ragnar Ring directed the film Tre Kroner, following the next year with the film Butikskultur. Ett kopmanshus i skargarden starring Anna Wallin and Anna Carlsten was written and directed by Hjalmer Peters, its photographer Hellwig Rimmen. Gustaf Edgren in 1925 directed Einar Hanson in the film Skeppargatan 40. Erik Petschler in 1925 directed the film Oregrund-Osthammar. Carl Barcklind directed Tre Lejon with George af Klerker in 1925. Karin Swanström that year directed and starred in two films scripted by Hjalmar Bergman, Flygande hollandaren and Kalle Utter, with Linnea Hillberg. Danish film director Carl Th. Dreyer in 1925 filmed Thou Shalt Honor Thy Wife (Master of the House, Den Skal Aere Din Hustru), which the director co-wrote with Sven Rindholm. Photographed by Goerge Schneevoigt, the films stars Astrid Holm, Karin Nellemose and Mathilde Nielsen. In his book Transcendental Style in Film, the director Paul Schrader (Autofocus) characetrizes Dreyer's early film by their use of mise-en-scene, likening them, in their use of interiors and "revelatory guesture", in particular to the Intimate Theater of Strindberg. Dreyer, in a foreward to a collection of four of his screenplays, writes, "I am convinced that presenlty a tragic poet of the cinema will appear, whose problem will be to find, within the structure of the cinema's framework, the form and style appropriate to tragedy." During the film Master of the House, Dreyer stylisticly uses the iris shot while cutting between close and medium interior shots, including and iris shot filmed over the shoulder of a character exiting through a doorway and an iris shot of her entering again later in the scene, and , more notably, the director during the middle of a scene uses iris shots while cutting between a close up and a medium closeshot; during the latter a second character, that of the protagonist's wife in the film, can been seen entering the frame of the shot from the right of the irised screen and then reentering during the length of the shot. Husband and wife are both shown in intercut iris closeups during a dialouge sequence within the middle of a prolonged interior scene, the exceptional beauty of the actress held by the camera as her eyes silently wait for her husband to speak. Early Danish sound film director Alice O'Fredricks appeared as an actress in two Danish silent films in 1925, Sunshine Valley (Solskinsdalen) with Karen Winther, directed for Nordisk Film by Emanuel Gregers, and Lights from Circus Life (Sidelights of the Sawdust Ring/Det Store Hjerte) with Ebba Thomsen, Margarethe Schegel and Mathilde Nielsen, directed by August Blom. She had appeared a year earlier with Clara Pontoppidan in a film produced by Edda Film, Hadda Padda, directed by Gudmundar Kamban and also starring Ingeborg Sigurjonsson. Gudmundur Kamban in 1926 for Nordisk Film directed Gunnar Tolnaes, Hanna Ralph and Agnete Kamban int the film Det Sovende Hus In Germany, Scandinavian film director Svens Gade positioned actress Asta Nielsen in fron of the lens in Hamlet (1920). Directing in the United States in 1925, his films included Fifth Avenue Models, Siege and Peacock Feathers (seven reels) with Jacqueline Logan; in 1926 they were to include Watch Your Wife (seven reels), Into Her Kingdom (seven reels) with Corinne Griffith and Einar Habnson and The Blonde Saint (seven reels) with Lewis Stone and Ann Rork. Among the films currently included in the collection of the Internet Archive is the trailer to the 1925 Mary Pickford silent film Little Annie Rooney (William Beaudine, nine reels). Among the films in which flapper Clara Bow appeared in that year were Eves Lover (Roy Del Ruth, seven reels), The Scarlett West (John G. Adolphi, 9 reels) and The Keeper of the Bees (James Meehan, seven reels). During 1925, Sally of the Sawdust (ten reels) and That Royal Girl (ten reels) would both team W.C. Fields and Carol Dempster. Both films were directed by D.W. Griffith. In the United States, in 1926, Dorothy Gish would begin filming with Herbert W. Wilcox, under whose direction she made the films Nell Gwyn (1926) with Randle Ayerton and Julie Compton, London (1927), with John Manners and Elissa Landi, Tip Toes (1927) with John Manners and Mme. Pompadour (1927), written by Frances Marion and starring Antonio Moreno. It was in 1926 that Lillian Gish, while filming La Boheme (King Vidor, nine reels) with John Gilbert, had met Victor Sjöström. The cameraman to the film had been Hendrik Sartov. During 1926 Frank Capra would direct Harry Langdon in The Strongman (seven reels), his having written the screenplay to Langdon's film Tramp, Tramp, Tramp (1926, six reels). During the middle of the twenties, comedy was also being created by Buster Keaton, who in 1923 appeared in the silent film Balloonatics. Keaton also appeared in the silent short, The Paleface, silent comedy The Blacksmith and the silent film short The Boat. In the United States, Fox Studios in 1927 continued their films of the Great West, pairing Tom Mix with Dorothy Dwan in The Great K & A Train Robbery (Lewis Seiler, five reels). The author Ian Conrich sees the film made in the United States by Universal Studios between 1923-1928 as being horror-spectacular, full legnth films that, along with the films of Douglas Fairbanks, tried to near the large-scale production standard of D. W. Griffith. From a screenplay adapted from the novel by the Universal/Jewel script department, director Rupert Julian in 1925 would throw swirling silver shadows across the screen waiting untill Mary Philbin would remove the mask of the Phantom of the Opera. Behind the mask and costumed in red during the tinted sequences, Lon Chaney not only filmed on the famous Phantom of the Opera backlot, but he also appered in front of the camera at MGM, where he that year starred with Gertrude Olmsted in The Monster (Roland West, seven reels) and with Mae Busch in the silent film The Unholy Three (Tod Browning, seven reels). Mary Philbin later appeared in the 1928 silent Drums of Love (D. W. Griffith, nine reels) and in the 1929 silent The Last Performance (Paul Frejos, seven reels). Upon being invited to follow a story that began in Victorian-Edwardian London, 1925 movie audiences were also that year thrilled by the writings of Arthur Conan Doyle as they were led by Challenger on an expedition into The Lost World through the magic lantern of silent film. In 1925, Bela Lugosi had appeared on theater marquees starring in the film The Midnight Girl (Wilfred Noy, seven reels), with Lila Lee and Garreth Hughes. Two years earlier, he had appeared in the film Silent Command (J. Gordon Edwards, eight reels). Lon Chaney would return to the screen in 1926 in the films The Blackbird (Tod Browning, seven reels), The Road to Mandalay (Tod Browning, seven reels) and Tell It To the Marines (George Hill, ten reels). Screenwriter Frances Marion had written the early revision to the photoplay The Mysterious Lady, which was rewritten by screenwriter Bess Meredyth. During the time in between it had been elaborately reworked by Danish film director Benjamin Christensen. Upon first arriving in the United States, the Danish silent film director Benjamin Christensen had sold the scenario to The Light Eternal, his remarking later that "writers were let loose on my script and altered the whole tone and message". The first film Christenson had directed in the United States, The Devil's Circus (1926, seven reels) with Norma Shearer and Charles Emmet Mack, had had a script which he had written himself. The Haunted House (seven reels) with Thelma Todd, Montague Love and Barbara Bedford, Mockery (seven reels), starring Lon Chaney, The Hawk's Nest (eight reels) with Milton Sills, Montague Love and Mitchell Lewis were to follow in 1928. A digital print of the film Metropolis had been copyrighted by Brightcove and is available online; in the United States a newer version of the film is currently being presented by Kino International. Norwegian actress Greta Nissen would star in two films directed Roaul Walsh in 1926, The Lucky Lady and The Lady of the Harem. Also that year she appeared in The Love Thief (John McDermott) with Norman Kerry and The Popular Sin (Malcom St. Clair). The Black Pirate, swashbuckler Douglas Fairbanks, brought the silent film audiences of 1926 the romance of the high seas. In Sweden during 1926 Klerker directed the film Flickorna pa Solvik, starring Wanda Rothgardt. Photographed by Hugo Edlund and written by Ivar Johansson, Tales of Enging Stal (Fredirk stals sanger) was that year directed by John W. Brunius. Edvin Adolphson and Mona Martenson were teamed by Erik A. Petschler in the 1926 film Brollopet i Branna, photographed by Gustav A. Gustafson. The film also stars Emmy Albiin. Sigurd Wallen in 1926 directed the film Ebberods bank, the assistant director to the film Rolf Husberg. That year Ragnar Hylten-Cavallius directed his first film, which he also scripted, Flickorna Gyurkovics, starring Betty Balfour, Karin Swanstrom, Stina Berg and Lydia Potechina. Mordbrannerskan (1926) directed by John Lindlof, photgraphed by Gustav A. Gustafson and starring Vera Schimterlow and Brita Appelgren, was the first film in which the actress Birgit Tengroth was to appear. Screenwriter Ester Julin in 1926 wrote and directed the film Lyckobarnen, photographed by Henrik Jaenzon and starring Marta Claesson. Greta Garbo photographer William Daniels in 1926 was cinematographer to the film Altars of Desire (seven reels), under the direction of Christy Cabanne. The film stars actresses Mae Maurray and Maude George. Danish film director Carl Th. Dreyer was in Norway during 1926 shooting the film The Bride of Glomdal (Glomsdalsbruden), photographed by Einar Olsen and starring Tove Tellback. The Norwegian Film Institute during 2007 announced the restoration of the film The Bridal Procession (Brudeferden i Hardanger), also filmed in Norway in 1926; the film stars the very beuatiful actress Ase Bye and was directed by Rasmus Breistein. In 1927 alone, Alice Terry appeared in the films Lonesome Ladies (Joseph Henaberry), Notorious Lady (King Baggot), also starring Lewis Stone, An Affair of the Follies (Milland Webb), written by June Mathis, and The Prince of Headwaiters, also starring Lewis Stone (John Francis Dillon, seven reels). Roman Navarro that year appeared in the film Road to Romance (seven reels). John Barrymore during 1927 would begin what was to quickly become the only then whispered of crescendo of the silent film period, whith the film The Beloved Rogue, a year when Warner Oland appeared under the direction of Alan Crosland and with Delores Costello in A Man Loves (ten reels), starring Barrymore, and again in the film Old San Francisco (eight reels). Photographer Oliver Marsh that year would be behind the camera lens Norma Talmadge in the film The Dove (nine reels), directed by Roland West. W. S. Van Dyke that year brought Wanda Hawley to the screen in the film The Eyes of Totem, also starring Ann Cornwall. Included among those chosen to be covergirl for Photoplay Magazine during 1927 was actress Olive Borden. While author Deebs Taylor explains that "it" as typified by Elinor Glyn was sex appeal, he also writes that silent film actress Clara Bow had brought the excitement of the flapper to the screen a year before her having been given the role in the 1927 film It (seven reels) during her appearance in the film Mantrap (Victor Fleming, seven reels). 1928 saw actress Loretta Young as she appeared in her first two films with silent film actress Julanne Johnston, Marshall Neilan having directed both actresses in Her Wild Oat (1927, seven reels), with Colleen Moore and Martha Mattox and Joseph Boyle having directed both actresses in The Whip Woman (1928, six reels), with Estelle Taylor, Lowell Sherman and Hedda Hopper. She had been acting under the name Gretchen, which was changed at the suggestion of Mervyn Leroy, and, according to the webpage of the estate of Loretta Young, at the suggestion of Collen Moore. John Gilbert that year made the films The Show (Tod Browning, seven reels), Twelve Miles Out (Jack Conway, eight reels) and Man, Woman and Sin (seven reels). The following year he made Four Walls (William Nigh, eight reels), with Vera Gordon. He would make only one film after having been reunited with Greta Garbo in Queen Christina, The Captain Hates the Sea (1934). Actress Emily Fitzroy, who appeared with John Gilbert and Greta Garbo in the 1927 film Love, also that year appreared in the films Married Alive (Emmett Flynn, five reels), with Margaret Livingston and Gertrude Claire, Orchids and Ermine (Alfred Santell, seven reels) with Colleen Moore, Hedda Hopper and Alma Bennet, One Increasing Purpose (Harry Beaumont, eight reels), with Lila Lee, Jane Novak and May Allison, and Once and Forever (Phil Stone, six reels), with Patsy Ruth Miller and Adele Watson. In 1927 Greta Garbo had written, "I could not believe that what I saw when I was first taken to the Metro-Goldwyn Mayer lot was a studio. I found that it covered acres and acres of ground and boasted some twenty stages, each one of which was larger than our entrie studio in Sweden." The quote is from an article printed in Theatre Magazine entitled "Why I am a Recluse." and it either smooths out the extatextual discourse surrounding her on-screen sphinx-like image or was only partly written by Garbo for the studio publicity department; she had earlier renounced her "vamp roles" in order to film melodrama- in any event Greta Garbo herself relished reading fan magazines no matter how taciturn she had been. In the article, she explains the difficulty involved in acting in the United States, "My country, Sweden, is so small. It is also so quiet...During my first picture, Ibanez's Torrent, it was exactly as if I had to learn the making of motion pictures all over again. I was just beginning to learn the language... Now of course, things are easier for me. The second picture, The Temptress, I found less hard. The Flesh and the Devil fairly spung along, and now Love is going easier still. The studio does not seem as large as it did." Two magazines of which copies may have belonged to her during 1928 were issues that featured Greta Garbo as a covergirl for Motion Picture Classic and Greta Garbo as a covergirl for Screenland. Or it is quite possible the Swedish Sphinx may have comes across a newstand that had a copy of Screenland or Picture Play. During the four short years between 1934 and 1938, Greta Garbo appeared on seven covers of the magazine Film Pictorial. In Sweden, Ragnar Hylten-Cavallius continued directing with Youth (Ungdom), starring Ivan Hedqvist, Marta Hallden and Brita Appelgren. Erik A Petschler in 1927 directed Hin och smalanningen, photographed by Gustav A Gustafson and starring Birgit Tengroth, Ingrid Forsberg, Greta Anjou, Jenny-Tschernichin-Larsson, Helga Brofeldt, Emy Bergstrom and Emy Albiin. Gustaf Edgren in 1927 directed The Ghost Baron (Spokbaronen) starring Karin Swanström and photographed by Adrian Bjurman, which was followed by Black Rudolf (Svarte Rudolf, 1928) starring Inga Tiblad and Fridolf Rhudin, both films having been written by Sölve Cederstrand. The assistant director to the film Black Rudolf had been Gunnar Skogland, it having been the first film in which the actress Katie Rolfsen was to appear. Gustaf Molander directed Sealed Lips (Forseglade lappar) with Wanda Rothgardt, Mona Martenson and Karin Swanström and His English Wife (Hans engelska fur), with Margit Manstad, Wanda Rothgath, Lili Dagover and Margit Rosengren in what was to be her first appearance on screen in 1927. In 1928 he continued with the film Sin (Synd) starring Lars Hanson, Ragnar Arvedson and Ellisa Landi and Woman of Paris (Parisiskor), with Ragnar Arvedson and Karin Swanström and photographed by Julius Jaenzon. When reviewed in the United States, it was written that His English Wife/ Discord was a film in which "the acting is of the school that believes in tapping fingers and clenched hands" and when Sealed Lips was reviewed it was written that "the direction goes back to the stand-gaze-and-hark acting of the old days." His English Wife was the first film to be photographed by Ake Dahlquist. Also in Sweden the novel Raskens, written by Vilhelm Moberg appeared in 1927 and was followed in 1929 by the novel Langt fran landsvagen. Brunius directed the film Gustaf Wasa, from a screenplay by Ivar Johansson, in 1928. In 1928 Adolf Niska contributed the film Stormens barn, starring Jenny Hasselquist and Torsten Bergstrom. Theodor Berthels that year directed the film The Poetry of Adalen (Adalens poesi) starring Hilda Borgstrom and Jessie Wessel. The 1928 film Erik XIV was written and directed by Sam Ask, it having starred Sophus von Rosen, Eva Munck af Rosenchold, Lisa Ryden Prytz and Gösta Werner. The screenplays to The Kiss and Wild Orchids were both written by Hans Kraly during a year in which he had also written Eternal Love (Lubitsch, nine reels), Betrayal (Lewis Milestone, eight reels), The Garden of Eden (Lewis Milestone), starring Corrinne Griffith and Lowell Sherman, and The Last of Mrs. Cheyney. Kraly also in the United States had earlier penned the screenplays to Rosita (Lubitsch, 1923, nine reels), Black Oxen (Frank Lloyd, 1924, eight reels), Three Women (Lubitsch, 1924, eight reels), Forbidden Paradise (1924) and Her Night of Romance (Sidney Franklin, 1924, eight reels). In Germany, Kraly had written the scripts to the films of Danish director Urban Gad, including the 1913 film The Film Star (Die Filmprimaddonna, starring Asta Nielsen. Norma Shearer in 1928 appeared on theater marquees in The Actress (Sidney Franklin, seven reels), a film photographed by William Daniels, The Latest from Paris (eight reels) and A Lady of Chance. Vilma Banky was seen on the screen in theaters across the United States during 1928 with Ronald Colman in Two Lovers (nine reels), directed by Fred Niblo and in The Awakening (nine reels), directed by Victor Fleming. During 1929, Swedish author Harry Martinsson published his first volume of poetry, The Ghost Ship (Skokskepp), it followed in 1933 by the novel Cape Farewell (Kap Farval). Written by Solve Cederstrand and photographed by Hugo Edlund, Konstgjorda Svensson (1929) ,with Rolf Husberg and Weyeler Hildebrand, was directed by Gustaf Edgren. In 1929 Edvin Adolphson directed his first film, it having been the first film made in Sweden to include sound, The Dream Waltz (Sag det i toner), co-directed by Julius Jaenzon and starring Jenny Hasselquist and Eric Malmberg. Along with the films he made with Greta Garbo, before his returning to Sweden, in the United States, Lars Hanson made the films Captain Salvation (eight reels), photographed by William Daniels and Buttons (George Hill, seven reels). Before co-starring with Garbo, in 1928 alone, Nils Asther had appeared in the films Laugh Clown Laugh (Herbert Brenon, eight reels) with Lon Chaney and Loretta Young, The Cardboard Lover (eight reels), Loves of an Actress (Rowland W. Lee, eight reels) with Pola Negri, The Cossacks (George Hill, ten reels) with John Gilbert, Dream of Love (Fred Niblo, six reels) photographed by William Daniels and Oliver Marsh and starring Warner Oland, Adrienne Lecouvrer, and The Blue Danube (Paul Sloane, seven reels) with Seena Owen. Danish Silent Film director Robert Dinesen would film his last two films in Germany, both lensed by the photographer George Bruckbauer, Der Weg durch die Nacht (1929) having starred Kathe von Nagy and Margarethe Schon, and Ariane im Hoppegarten (1928), having starred Maria Jacobini. As the silent era was coming to a close, Douglas Fairbanks would appear in the film The Iron Mask, directed by Silent Film Director Allan Dwan. Alfred Hitchcock in 1928 would direct one of his only Silent Films, The Farmer's Wife. John Ford, who's first sound film The Black Watch appeared on theater screens a year later in 1929, had by then directed several silent films, including The Girl in No. 29 (1920), Little Miss Smiles (1922), Thank You (1925) and Mother Machree (1928). While in Stockholm, Garbo had visited the set of Triumph of the Heart (Hjartats triumf, 1929 Molander) with Carl Brisson and Anna Lindhal. She had given Carl Brisson a rose before her having entered movies. Behind the camera during its filming was Julius Jaenzon. While in Sweden, she had come across the actress Vera Schmiterlow, whom she had known well and whom she had hoped would venture to Hollywood and also while in Sweden had renewed her acquaintance with the actress Marte Hallden. Lars Saxon, who twice published Greta Garbo in his magazine Lektyr, and who corresponded with her while she had been in the United States at MGM, met her as she was travelling. It was also while in Sweden that she had first met Gösta Ekman, who greeted her by saying , "But you're so ordinary." Later she visited Ekman's dressing room to thank him for the use of his seat at a theatrical play that Stiller had directed when it had first began its run. The essayist Lucy Fischer quotes Greta Garbo as having written, "They don't have a type like me out here." Complementing this, Lewis Stone has been quoted as having said, "She was Garbo, and that said it all. No one has ever created such an impression." Lon Chaney had said, "She is a clever woman and she adopted my policy of never having portraits made except in character and never giving interviews- and look where it carried her.", whereas Edmund Goulding is quoted as having said, "I don't believe that Garbo's astounding success depends on any mystery. She has movie sex appeal, if I may say so, but her success depends more on her unique ability to work and her will to achieve absolute concentration before the camera." He added, "For all her enormous success, she is just the same as when we worked together in Love; only perhaps a little more shy and solitary." Garbo had been slated to film Ordeal with Lon Chaney under the direction of Marcel de Sano, it having been left unmade. Greta Garbo had appeared in the film Peter and the Tramp (Luffar-Peter, 1922 five reels) with Gucken Cederborg, Tyra Ryman and its director, Erik Petschler. Also listed as being in the film Luffar Peter is Mona Geifer-Falkner. The first film Mona Geifer-Falkner had appeared on the screen in had been Alexander den store (1917), directed by Mauritz Stiller. Eric Petschler gives an account of his having given Garbo the address of Mauritz Stiller and of her having not only having tried to see him twice before they were to meet at the Royal Dramatic Academy, where she was to study under Gustaf Molander, but of his having arranged a third meeting where Stiller had asked for her telephone number. Petschler had then introduced Garbo to the director Frans Enwall. Before directing Greta Garbo, Eric A. Petschler directed the film Getting Baron Olson Married (Gifta ort Baron Olson, 1920), starring Gucken Cederborg and Varmlanningarna (1921), the first film in which Rosa Tillman was to appear. Ragnar Ring directed the short film Paul U Bergström AB Stockholm(1920)-Greta Garbo appeared in the short film, also titled Herrskapet Stockholm ute pa inkop, it also being the first film in which the actress Olga Andersson was to appear, as well her having appeared in the short Reklamfilm PUB Greta Garbo (1921), both films photographed by Ragnar Ring. In 1923 Ring directed Helene Olsson in the film Har Ni nagot att forakra. Greta Garbo was greeted by Ring crossing the Atlantic to Sweden in 1928. G. W. Pabst, the director of Greta Garbo's second film, entered into the directing of sound film before his travelling from Germany to the United States with the films Westernfront 1918 (1930), Die Greigroschen Oper (1931) and Kameradschaft (1932). Vampyre, Danish director Carl Th. Dreyer's use of the vampire, in the form of Jullian West, as thematic context, was filmed almost silently, with sound added, in Germany in 1932. After her having appeared with Edvin Adolphson in the film Brollopet i Branna (1927), directed by Erik Petschler, Mona Martenson in Norway starred with Einar Tveito in People of the Tundra (Viddenesfolk) (1928) written and directed by Ragnar Westfelt for Lunde-film, in Germany starred with Aud Egede Nissen in the film Die Frau in Talar, in Norway starred in the film Laila (1929) directed by George Schneevoigt for Lunde-film from a script adapted from a novel by Jens Anders Friis, and in Denmark starred in the film Eskimo (1930), also directed by George Schneevoight- it had not only been Greta Garbo and Victor Sjöström that had made the transition from silent film to sound. Danish film director George Schneevoigt continued the beginning of early Danish sound film the following year with the film Pastor of Vejlby (Praesten i Vejlby). The first Norwegian sound film, The Big Chirstening (Den store barnedapen) was also the first film directed by Tancred Ibsen. Tancred Ibsen had been in Hollywood with the director Victor Sjöström as a scriptwriter, although none of his scripts were brought to the screen. Tancred Ibsen would rejoin Sjöström in Sweden, directing him in the 1934 film Synnove Solbakken. Suomi-Filmi of Finland produced its first sound film in 1929, The Supreme Victory (Korkein voitto), directed by Carl von Hartmann. The photography was found to be too expensive and the making of sound films was postponed while silent films were continued to be made. Finnish author and film director Jorn Donner was later to write, "I have a difference of opinion from that of those historians who proclaim the eternal value of a mass of pictures from the teens and twenties. I reject the theoreticians, such as Rudolf Arnheim, who characterize talking pictures as a corruption." Where Jorn Donner shows an appreciation of film is in his viewing it as a literature, his seeing the silent film as a point of departure within the freedom, or sensitivity, of the artist, Donner's particular appreciation of film seemingly that of an appreciation of the film having an audience that recieves what the film conveys thematiclly and a spectator that not only is positioned in a relationship to the subject, but that is connected to the author of the work by the characters and what they symbolize; Donner seemingly views filmmaking as a readership, one that within film history can only become more modern. The spectatorial address of the silent film was one that used the intertitle, scene construction often based on whether explanatory titles were being used to carry the narrative and establish the expostition, or whether the amount of dialouge needed by the scene could be accomodated by the use of dialougue intertitles: the advent of sound had brought about the transition from photoplay, as a literature, to screenplay. Two actors that have now become legendary for their having worked together with Sjöström in his film The Wind (eight reels), silent film actress Lillian Gish and Montague Love, were teamed together for the early sound film His Double Life, under the direction of Arthur Hopkins. To end the silent era two months before Greta Garbo's last silent film, The Kiss (Jacques Feyder), Clarence Sinclair Bull became her gallery photographer. Author Mark A. Viera writes, "She liked him because, like Clarence Brown, he spoke softly, if at all." George Marion, who starred with Greta Garbo in her first sound feature Anna Christie, had also played the same role, that of Anna's father Kris, in Thomas Ince's earlier silent version, starring Silent Film actress Blanche Sweet. In addition to his having filmed Anna Christie, in 1929 Greta Garbo photographer William Daniels was cinematographer to the films Their Own Desire and Wise Girls (Kempy (eleven reels), both directed by E. M. Hopper.   Powered by Webring - last modified: Swedish and Silent Film check out the swicki at eurekster.com Photos and or links may be removed or replaced due to design considerations. Please write if you have any html codes you think I should try or copyright questions. Streaming videos are for the main part thought public domain or are linked to digital copies, unless otherwise noted; posters should be identified through their link. If you are waiting for a letter from the present author, please send a second letter if necessary.

Google Video: The Beloved Rogue (1927) Silent Film

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The Beloved Rogue (1927) Sep 27, 2006 - 1:38:22 This film is a swashbuckling and fictionalized version of incidences in the life of Francois Villon, the vagabond poet of 15th-century France. It stars John Barrymore in the role of Villon and...

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Victor Sjostrom  Silent Garbo

Greta Garbo and Victor Sjostrom silent cinemathe silent filmFilmic address could more often be comprised of objects put into the scene, placing the view of the spectator within it, not only to bring a greater involvement with character, but to allow the spectator to identify more often with the relation between character and enviornment, technique providing the relation between film and viewer. Specific to the relationship between character and enviornment is the relation between the character and the object towards which he or she is looking. The aesthetics of pictorial composition could utilize placing the figure in either the foreground or background of the shot, depth of plane,depth of framing, narrative and pictorial continuity being developed together. Compositions would become related to each other in the editing of successive images and adjacent shots, the structure of the scene; Griffith had already begun to cut mid-scene, his cutting to another scene before the action of the previous scene was completed, and had certainly already begun to cut between two seperate spatial locations within the scene.

Author Kenneth Macgowan praises the silent film The Avenging Conscience as a photoplay, his view being that Giriffith's film uses a narrative method of storystructure, action being secondary to character development, if not often interpolated in between scenes, his noting that it was seldom that Griffith used intertitles with lines of dialougue during a scene. Among the narrative films of Griffith filmed in 1909 was the silent film The Sealed Room. The camera could also portray the character more fully by adding the movement of the camera to character movement, as in The Golden Louis (1909), mobilizing the gaze of the character within the organization of the look. In For Love of Gold, one of the fourty four biograph films made in 1908, D.W. Griffith and Bitzer had shifted the placement of the camera during the scene, the close up used in conjuction with the long shot and full shot. Not only could the editing together of different spatial relationships with each shot provide contrast between shots that were in a series, but the duration of each shot could be varying as well. With the use of varying camera postitions, particularly during the 1908 film After Many Years, Griffith would establish the use of the "narrative close up" (Cook), and by the interpolating of an individual shot between shots similar in composition as a cut in shot, editing would be used to connect seperate shots to advance plotline. With Griffith, film would create a proscenium arc of its own, that of the lens, a lens that would with the Vitagraph nine foot line bring the frame into the grammar of film, shifting from a viewpoint of playing in front of the audience to one more aligned with it, the authorial camera entering into a new relationship with the spectator- included in the films made by D. W Griffith in 1908 is a stage to screen adaptation of The Taming of the Shrew, with Florence Lawrence. Among the literary adaptations filmed by Vitagraph in 1909 was Launcelot and Elaine. In her autobiography, Lillian Gish discusses Griffith's use of shot legnth in The Lonely Villa (1909) and his cutting between camera distances in The Lonedale Operator (1911). Not incidentally, Eisenstien in a discussion of Griffith's editing goes so far as to describe "the principle function of the close shot" which is "not so much to present, as to signify, to designate, to give meaning." Belazs adds, "Only in editing is the shot given its particular meaning." Cavell writes, "If either the frame or subject budges, the composition alters." If filmic address during a cinema of attractions had begun with the act of display, it had begun to incorporate the actor as seen in close shot, which could be edited into a grammar of film - the shot had become "the unit of editing" and the "basis for the construction of the scene" (Jacobs), whereas before it had been the scene that would allow the placement of shots, it now being that there could be an assemblage of shots. Terry Ramsaye writes," Griffith began to work at a syntax for the screen narration...While Griffith may not have originated the closeup and like elements of technique, he did establish for them their function."; which silent film author Nicholas A. Vardac reiterates by writing that it was from the films of Edwin S. Porter that D.W. Griffith acquired the technique of viewing the shot within its context as "a syntax for the melodrama". Two films directed by Eisenstien have been offered online through streaming video, the silent film The Battleship Potemkin (1925). Belazs mentions that the mood of a scene can be established by the particular set ups that are used, his almost attributing the ability to participate in the action to the surroundings and background in which the film takes place, as does Spottiswoode, who mentions that by filming from any number of postitions and angles, the director can decide which elements of the scene can be included in creating its mood, particularly which components of the director's subject. Bengt Forslund notes that the use of nature to provide the action of the scene with something that would render it more dramatic Gardner, particularly diring "the lyrical love sequences between Lili Beck and Gösta Ekman, his having written, "There is also an intentionally stereoscopic effect in the sets that is typical of all of Sjöström's films, and that shows the amount of intuition Sjöström had for the new medium." Often in the films of Sjöström, like in those of Bergman, the landscape "in which his journeys take place are part of the journey." (John Simon). Peter Cowie has noted that Swedish films were often shot on location and that Sjöström had "revelled in location shooting and embarked on the most perilous of stunts for the sake of realism." Birgitta Steene writes that "it was Sjöström and Stiller (as well as Griffith) who began to shoot pictures out-doors". David A. Cook writes, "Nevertheless in his best dramas of pastoral life, Sjöström to integrate the rugged Swedish landscape into the texture of his films with an almost mystical force- a feature noted and much admired in other countries." Venerated Swedish film historian Forsyth Hardy compares the directors Victor Sjöström to each other by writing, "Both turned instinctively for material to the works of Selma Lagerloff with their combination of ardent puritanism and a passionate love of nature. And both were sensitively aware of the virtue which the camera could draw out of inanimate objects." Sjöström and Stiller can be compared while relating their influence upon the silent film of Finland, but it can be allowed that "Victor Sjöström delved deeper into the mysteries of the landscape." (Annitti Alanen) Of interest is that the establishing shot that begins the Greta Garbo film Love, directed in the Untied States by Edmund Goulding is an exterior that begins the plotline with Garbo in a snowstorm being brought homeward in a sleigh; it is a series of exterior shots that depict nature as the background for character delineation very much like in the films of Scandinavian director Victor Sjöström, so much so that it is revealed in the first interior shots that both the love interest in the film, portrayed by John Gilbert, and the audience, were nearly unaware of who the character portayed by Garbo really was and hadn't fully realized it untill being given later look at the beauty of the passenger, as though they were being reintroduced to someone they had been with during the journey through the snow. And yet, if the present author has anything to add to what has been written in appreciation of Scandinavian film and its use of landscape to add depth to the development of character by creating relationships between the background and the protagonist of any given film's plotline, within that is that within classical cinema and its chronological ordering of events, it is still often spatio-temporal relationships that are developed. The viewer often acknowledging the effect that an object within the film might have upon the character, an object that is either stationary or in movement, poeticly in movement as a waterfall would be, the structuring of space within the film not only clarifies plot action, but, within the framed image, included in the spatial continuity within the visual structure of the film, establishes a relation of objects that appear onscreen to the space that is offscreen. Spatial relations became narrative. Character movement, camera movement and shot structure create a scenographic space which within the gaze of the actress is observed through an ideal of femininity, a unity of space constructed that links shots, often by forming spaces that are contiguous within the scene and creating images that are poeticly presented as being contiguous; subjectivity is structured within the discourse of the film and these subjectivities are presented to the viewer as being within a larger context within early Silent Scandinavian films. In addition to using close ups that could isolate the actor from what particular background that happenned to surround him or her, D. W. Griffith would establish the relationship between character and enviornment as well, particularly developing it through the use of editing and varying spatial relationships, as in his use of exteriors and the long shot in the silent film Battle at Elderbrush (1912). In Kristianstad, Sweden the director Carl Engdahl pioneered with the film The People of Varmland (Varmanningarna) in 1909. Robert Olsson photographed The Wedding at Ulfasa for two directors, the second having had been being Gustaf Linden. The film starred the Swedish silent film actresses Ellen Appelberg, Lilly Wasmuth and Anna Lisa Hellstrom. In 1910, Olsson wrote, directed and photographed the film Emigranten, starring Oscar Soderholm and Valborg Ljungberg, and photographed the films Emigrant starring Torre Cederborg and Gucken Cederborg in her first appearance on screen, and Regina von Emmeritz och Kongung Gustaf II Adolf, starring Emile Stiebel and Gerda Andre, both directed by Gustaf Linden. Twelve years later, Gucken Cederborg was introduced to another actress who would soon be introduced to Swedish audiences, Barry Paris having written that when when she and actress Tyra Ryman walked into Pub with actor-director Eric Petschler, Greta Garbo, who worked there as a clerk, recognized them immediately. Film historians have noted that Kristianstad, Sweden was home to another film, The Man Who Takes Care of the Villian (Han som clara boven), filmed in 1907. Produced by Franz G. Wiberg, the film has never been released theatrically. Svensk Kinematograf was the production company that under N. E. Sterner had filmed six of the earliest films photographed in Scandinavia- Robert Olsson had photographed Pictures of Laplanders (Lappbilder), Herring Fishing in Bohuslan (Sillfiske i Bohuslan), Lika mot lika starring Tollie Zellman and Kung Oscars mottagning i Kristianstad in 1906 before working with Carl Engdahl. Also shown in Stockholm and Goteborg during 1906 was the film Kriget i Ostergotland. In 1911, Gustaf Linden, directed the film The Iron Carrier (Jarnbararen), photographed by Robert Olsson and starring Anna-lisa Hellstrom and Ivan Hedqvist. Similar to the early cinematography of Robert Olsson were the films shot by Ernest Florman, who wrote and directed the film Skona Helena (1903), which had starred Swedish actress Anna Norrie. Another of Sweden's earliest photographers was Walfrid Bergström, who was behind the camera between 1907-1911 in Stockholm for Apollo productions. In 1907 Bergström filmed Den glada ankan, one of the three films produced by Albin Roosval starring Carl Barklind and Emma Meissner and Konung Oscar II's likbegangelse. Between 1907 and 1911, Bergstrrom would photographed Skilda tiders danser with Emma Meissner and Rosa Grunberg in 1909 and Ryska sallskapsdanser in 1911. During 1908, Svenska Biografteatern produced two short films with the actress Inga Berentz, Sjomansdansen, photographed by Walfrid Bergstrom, and I kladloge och pascen, photographed by Otto Bokman. Charles Magnusson, who came to the United States, directed and wrote The Pirate and Memories from the Boston Sports Club in 1909 and Orpheus in the Underworld (Urfeus i underjorden) in 1910. Magnusson in 1909 had become the managing director of Svenska Biografteatern, which Julius Jaenzon become part of in 1910. Notably, while under N. E. Sterner of Svensk Kinematograf, Charles Magnusson had photographed Konung Haakons mottagning i Kristiania (1905), a short film of the King of Norway's visit to Kristiania almost as though to presage that it would be there, rather than Rasunda that he would begin the Swedish Film industry, his also having directed the films Gosta Berlings land(Bilder fran Frysdalen, 1907), Gota elf-katastrofen (1908) and Resa Stockholm-Goteborg genom Gota och Trollhatte kanaler (1908). Konstantin Axelsson, in 1911, directed Hon fick platsen eller Exkong Manuel i Stockholm. Starring Ellen Landquist, the film was produced in Stockholm by Apollo and was photographed by Walfrid Bergstrom. Like Charles Magnusson, Frans Lundberg produced short silent films in Sweden, the first two filmed in 1910. Stora Biografteatern, in Malmo, Sweden, photographed To Save a Son (Massosens offer), directed by Alfred Lind and starring Agnes Nyrup-Christensen, and The People of Varmland (Varmlandingarna), directed by Ebba Lindkvist, photographed by Ernst Dittmer and starring Agda Malmberg, Astrid Nilsson and Ester Selander. The following year Ernesr Dittmer would write and direct the film Rannsakningsdomaren, starring Gerda Malmberg and Ebba Bergman. In Malmo Sweden, for Stora Biografteatern, Otto Hoy during 1911 wrote and directed the film The Spy (Spionen), starring Paul Welander and Agnes Nyrop-Christensen, the manager of Stora Biografteatern, Frans Lundberg. Paul Welander wrote and directed his first film in 1911, Champagneruset. Carl Engdahl later appeared in the 1926 film Mordbrannerskan, directed by John Lindlof. Forsyth Hardy notes that the early Swedish films of 1911 were films in which "the camera remained static and the action was artificially concentrated into a small area in front of it." Not quite apart from this and very much like the silent film included in Vardac's account of the use of the proscenium arch in early cinema in Stage to Screen,the films directed by Anna Hofman Uddgren in 1911 were transpositions of Miss Julie and The Father (Fadren) ,the intimate theater of Swedish playwright August Strindberg. Cameraman Otto Bokman used two exterior shots during The Father, the film having starred Karin Alexandersson and Renee Bjorling. Miss Julie, a film that had had its Stockholm premiere at the Orientaliska Teatern, starred Karin Alexandersson and Manda Bjorling. Both plays were later to be filmed by Alf Sjöberg. Stiller had, in fact, been the manager of the Lilla Teaten and a contemporary of August Falk and Manda Bjorling had acted with him and Anna Flygare at the Intima Theatern. Uddgren also in 1911 directed Single a Dream (Blott in drom), starring Edith Wallen Sisters (Systarna), starring Edith Wallen and Sigurd Wallen and Stockholmsdamernas alskling, starring Carl Barcklind, Erika Tornberg and Anna-Lisa Hellström. Balif vid Molle (1911) was photographed by John Bergqvist. Also in Stockholm, the Kungliga Dramatiska Teatern, later managed by both Ingmar Bergman and Erland Josephson, was headed by Gustaf Fredriksson between 1904-1907 and then by Knut Michaelson between 1908-1910. Swedish Film Institue founder Charles Magnusson in 1911 directed The Talisman (Amuletten), starring Lili Bech. Victor Sjöström had had his own theater with Einar Froberg before his directing under Magnusson, it having been Froberg that had spoken to Magnusson before he and Sjöström had met. Swedish film director Gustav Molander had in fact been at the Intima Teatern from 1911 to 1913. The Blue Tower, where August Strindberg lived in Stockholm between 1908-1912 and where he wrote the play The Great Highway, is now part of The Strindberg Museum. Thanhouser was also producing adaptations of literature for the screen and in 1911 filmed three plays by Norwegian playwright Henrik Ibsen: Pillars of Society (Samfundets stotter), Lady from the Sea (Fruen fra havet, Theodore Marston) and A Doll's House (Et dukkehjem). Lubin that year filmed a version of Ibsen's Sins of the Father (Gengangere). Although a theory of a cinema of attractions depends less upon the use of the proscenium arch written about by Nicholas A. Vardac or the camera's photographic reproduction of drama that had previously been enacted upon the stage and more upon the act of display having preceded the use of cinematic and editorial devices to propel narrative, the grammar of film would be used both to transpose the theatricality of the stage play and to adapt novels to the screen in ways which they could not be performed in front of a theater audience not only in regard to the modes of address which would position the spectator but also in regard to the public sphere of reception. Within the reception of each film there soon was a heterogeneity of filmgoers and that films were visual soon transversed language barriers between audiences that would otherwise have been seperate. Characteristic of early films that were adaptions of novels was the use of a linear narrative similar to that of the "well made novel" novel of the nineteenth century, the camera following the character into each subsequent scene. There soon would be films in which there would be a contemporaneity of narrative and attraction. Raymond Spottiswoode distinguishes between the photoplay, the adaptation of the stage play to the screen with little or no editing, and the screenplay, where camera movement and technique is used to convey narrative- the photoplay can be likened to a cinema of attractions where the scene is filmed from a fixed camera position, whereas the screenplay includes the cut from a medium shot to a close shot in order to build the scene. In regard to the camera being authorial, Raymond Spottiswoode writes, "The spatial closeup is the usual means of revealing significant detail and motion. Small movements which must necessarily have escaped the audiences of a play sitting removed some distance from its actors can thus be selected from their surroundings and magnified to any extent." While writing that how the camera is authorial includes its having only one position, that of the viewer, which, differing from that of the theater audience can vary with each shot change, depending upon the action within the scene, Spottiswoode cautions that the well written stage play is not suited for the camera's mobility. He also indirectly addresses the use of nature as a way to connect characters to their enviornment while they are being developed that is quite often significant in Scandinavian films when writing about the possibility there being a "difference film", by that his referring to a film which uses relational cutting. "To constitute such a 'difference film' is not sufficiently merely to photograph mountains and streams which are inaccessible to theater producers; the film must also choose a method of carrying on its purposive themes or meaning from moment to moment." He continues, "the public can be trained to appreciate that the differences between nature seen and nature filmed constitute the chief value of the cinema." In the United States, with Edison (The Road of Anthracite, Race for Millions and The Society Raffles) and Vitagraph (Raffles, the Amatuer Cracksman, The Burgler on the Roof), the attraction had literally become filmed theater, scenes based on those of the stage solely for dramatic value, photographed in one reel as though in one act, from which came the knee shot, or medium full shot; the use of the proscenium arch is more pronounced before the Vitagraph nine foot line, the camera distance of the knee shot, in that there would be space left as visible in between the actor's feet and the bottom frameline, space articulated in tableau that would be more like that of when the spectator is in the audience at a theater. The legnth of one reel would be between eight hundred and one thousand feet. At first the films of Melies were shot in a single scene, as though filmed theater; in order to film narrative he then put seperate shots in order to become connected scenes, or "artificially arranged scenes". It would later become "a constant shifting of scenes" (Lewis Jacobs). Although the article discusses the lack of narrative closure and unicity of frame in early cinema, the subject of a recent e-mailed book review was the writing of one author that has offered the idea that there is less of a demarcation between early cinema and the films that provide transition to the two-reel film -writing about the editing of Melies, Ezra gives an account of his films being comprised of combinations of photographic reproduction, spectacle and narrative. Quite certainly, the images of film are moving images and can advance the narrative and more of the film that was to come later would be dramatic narrative. The cinema of Melies has been likened to a cinema of attractions in its repetitive use of suprise and sudden appearance; the temporality of attraction one of appearance-nonappearance rather than that of development. One particular silent film, Sherlock Holmes Baffled (1900), considerably under one minute in legnth, had starred William Gillete, ushering in the new century with the first screen appearance of the consulting detective. On vieweing the single shot film, the audience is as baffled as Holmes by the abrupt vanishings of a burgler that disappears and reappears throughout the room through the use of stop-motion trick photography, the film a superb example of early cinema and possibly any narrative of attractions (action within the frame) there may have been. The Great Train Robbery, produced by Edwin S. Porter, was made by the Edison Manufacturing Co. and is included in the 275 silent films of the Paper Print Collection. Also included in the collection is the early silent film The Little Train Robbery filmed by the Edison Manufacturing Co. in 1905. The Library of Congress also holds a collection of early animation, in which two films produced by silent film pioneer Thomas A. Edison are included, as well as Dinosaur and the missing link, produced by Edison and written by Willis O'Brien in 1917. Charles Musser writes that more than four fifths of the films made by Edison between 1904 and 1907 were narrative or stage fiction; among these was the 1906 film Kathleen Mavourneen. The Edison company released its last film as a studio, The Unbeliever (Alan Crosland, six reels) in 1918. Not Incidentally, the term 'one sheet' used to describe the standard size of movie posters begin with the Edison photoplay; it was a size of approximately 27 inches by 41 inches and often included a synopsis of the plotline of the film. The early silent films of Thomas Edison are also presently available from Kino. William Rothman writes that only one sixth of the film before 1907 had storyline. While Kenneth MacGowan also mentions filmmakers that had used trick photography other than Melies, among them G. A Smith of England, he adds that not untill Cecil Hepworth, with the silent film Alice in Wonderland, (1903) were there films that included seperate scenes to articulate fantasy or narrative. A later screen version of the silent film Alice and Wonderland was filmed by W. W. Young in 1915. Edison had filmed a version of Jack and the Beanstalk as early as 1902. Silent film director Cecil Hepworth would shortly thereafter bring the element of editing narrative into his films with Rescued by Rover. (1905) Heath sees early cinema as space articulated in tableau, filmed frontally, storyline achieved by the linking of scenes, as when they are linked by characters and their having entered the frame, to the viewer, spectacle being horizontal, scenographic space. Mary Ann Doanne equates the cinema of attractions with "an early form of cinema organized around single events" looking to the one-shot films as their often being "the spectacular deployment of the female body", as in the Biograph film, Pull Down the Curtains, Suzie (1904). The director at Biograph untill June 1908 had been Wallace McCutheon (Personal, 1904). The technique of crosscutting has been attributed to McCutheon (Her First Adventure, 1906; The Elopement, 1907); on occaision directors were beginning to hint at cutting on action by 1907 and were also beginning to link seperate scenes together, as when the same character appears in two scenes that are adjacent. If, within a cinema of attractions, narrative exposition had previously used a discontinuous style, one of filming a single action within what was then an autonomous shot, it would acquire as form a continuous style; when there were to be juxtapositions within narrative from shot to shot, they would be decisions of editing used for the advancement of plot. That intertitles were at first often explanatory shows the beginnings of a narrative within cinema. During an early scene of the silent Frankenstien (J. Searle Dawley, Edison, 1910), there is, in between scenes, an expository intertitle that uses of a close shot of a letter to develop character within the narrative, epistolary form used on the screen. A similar insert shot is used in the film Dash Through the Clouds (1912). Certainly by 1917 films made in the United States, and the films made by Sjöström and Stiller in Sweden had acquired a narrative transitivity, a chronological plot outline, more often than not their being characterized by their having a causal motivation of scene and its structure. In regard to film preservation and the intertitle, The Danish Film Institute used the screenplay to Dreyer's film Der var Engang to provide descriptive intertitles to the film that explain its plot, including explanatory description that now appears in the same intertitle as the dialouge to the silent photoplay. Carl Dreyer had adapted the screenplay from the stage and seperated the two different types of intertitle while writing. D. W. Griffith uses offscreen space in his structuring of shots during the 1910 film What Daisy Said, directed for Biograph. Most of the shots to the film are exterior longshots with two or more characters with a static camera. Starring with Gertrude Robinson, Mary Pickford enters the frame from the far left of the screen and exits near to the end of the shot from that same side. In a subsequent shot she enters from the right side of the frame, quickly climbs a set of outdoor stairs, exits from the left and then reenters the frame from the left to begin the next shot, her dancing from one side of the screen to the other and the camera cutting almost on her action of entering and exiting to begin each shot. She runs in fron of the camera from the offscreen space that frames the exterior and then runs back to the same side of the screen to exit the frame in a brief shot. She later slowly descends the outdoor stairs during the film to depict despair. Her movement as a unifying image, the moving subject, serves to link the adjacent shots, her movement within the frame carried into each subsequent shot so that the spatial relationships with the frame of each individual shot are seen with the shot to shot relationships of camera position and reposition, character movement linking the image to create narrative continuity as the viewer is brought to the edges of the rectangular frame. The significant action of the scene bringing an involvement with with the protagonist, the causality in the storyline of the film is constructed without the frequent use of explanatory intertitles. It is not suprising that Kenneth Macgowan writing as early as 1965 in Behind the Screen divides early silent film into three periods: 1896-1905; 1906-1915; 1916-1925. Form and content in film technique seem to have developed together. In regard to film preservation and the search for silent film, in April 2005, United Press International reported that films dating back as far as 1910, including one film entitled "Little Snow White", were found by the Huntley Archive., the unknown of collection totalling more than six hundread cans of film kept hidden in an airplane hanger in the south of England. To add to this, during June of 2006, the only copy of the first British narrative film, a film depicting a pickpocket directed by Birt Acres in 1895, as well as as many as six films that were included in the body of work filmed by Thomas Edison, was found in an attic in West Midlands, England. In his biography of Victor Sjöström, Bengt Forslund exuberantly remarks upon the discovering of a hitherto unknown copy of Predators of the Sea (Sea Vultures, Havsgama, 1914), starring Richard Lund, Greta Almroth and John Ekman, and not so exuberantly on the unlikelihood of a copy of Victor Sjöström's film The Divine Woman, starring Greta Garbo, being found in the future. On the film Predators of the Sea, Forslund writes, "Sjöström recounts his story simply and straitforwardly in remarkably well thought-out images of the kind we already know from Ingeborg Holm." Swedish film historian Forsyth Hardy can be quoted as having written, "The Danes claim to have made the first dramtic film, in 1903". Denmark had had its own early silent cinema, the Nordisk Film Kompagni having had been founded in 1906, most of the early narrative films for the most part "thrillers, tragedies and love stories" (Astrid Soderberg Widding), or "the social melodrama and dive novel that made a hit from 1910 onwards" (Bengt Forslund), were directed by Viggo Larsen, who directed The Black Mask (1906), Revenge (1906) and The Magic Bed (Tryllesaekken, 1907) in Denmark : Urban Gad directed Asta Nielsen in her first film, The Abyss (Afgrunden, 1910) in Denmark, a film often written about due to her popularity and to a scene contained in it in which she dances eroticly; both directors went to Germany. Among the films produced by Nordisk Films Kompagni in 1906 was Bonden i Kobenhavn (Hunting of a Polar Bear), directed by its manager, Ole Olsen. Having established the Biografteatret, Copenhagen's first movie theater, Ole Olsen established its first production company in 1906, Ole Olsen's Film Industry, which that year filmed Pigeons and Seagulls (Duer og Maager). Ole Olsen also produced the 1906 films The Funeral of King Christian IX (King Christian IX's Bisaettelse) and The Proclamation of King Fredderick VIII (King Frederick VIII's Proklamtion). There were thirty one silent films produced by Ole Olsen that were given to the Royal Library during the year 1913 to begin the Danish Film Archive. Peter Elfelt donated twenty silent films a year later, making him, with Ole Olsen and Anker Kirkeby, one of the original founders of Det danske Filmmuseum. Many of the silent films made by the Nordisk Films Kompagni, although produced by Ole Olsen, still have an unattributed director, one example of this being the film Rouges (Gartyve), filmed in 1906. Vitriolic Drama (Vitrioldrama), Violinist's Romance (Violinistens Roman), Rivalinder (A Woman's Duel/The Rivals), Gelejslaven, Tandpine, Knuste Haaband and Kortspillere were also filmed by Nordisk Films Kompagni during 1906. In 1906 Louis Halberstadt for Nordisk Films Kompagni directed the film Konfirmation, photographed by Rasmus Bjerregaard, it having been the first Danish silent film in which Greta Garbo co-star Jean Hersholt (The Rise and Fall of Susan Lennox) was to appear. Viggo Larsen was quite possibly the first director to cut from one long shot of a scene to its reverse angle, a long shot of the scene from an opposite angle (Rovens Brod, 1907). The Danish photographer Axel Sorensen began filming for Larsen in 1906 and continued solely with Larsen untill 1911, when he began photographing first for Danish director August Blom and then for Danish director Urban Gad under the name of Axel Graatkjae. One film photographed by Axel Sorensen that Viggo Larsen is particularly noted for directing is The Lion Hunt (Lovejaten, 1907). In the year 1906, the actress Margrethe Jespersen had starred in the films Anarkistens svigermor (Larsen), Knuste hab, Caros dod, Haevnet (Larsen) and Fiskerliv i Norden (Larsen). In 1907, the actress Oda Alstrup was directed by Viggo Larsen and photgraphed by Axel Graatkjaer Sorensen for Nordisk Films in Camille (Kameliadamen), Den glade enke, Trilby (Lille Trilby), and in Aeren tabt-alt tabt and Handen (Haanden), both of which she had starred in with actress Thora Nathansen. Clara Nebelong appeared with her in the film Roverens brud. Among the films directed by Larsen in 1907 were A Modern Naval Hero (En Moderne Sohelt) and Once Upon a Time (Der var engang) with Clara Nebelong, Gerda Jensen and Agnes Norlund Seemann, both of which he appeared in as an actor. Actress Clara Nebelong also that year appeared in the films Vikingeblod and From the Rococo Times (Rosen), also directed by Viggo Larsen and photographed by Axel Sorensen. The Artist's Model's Sweetheart (Den Romersk Model) is among the films credited as having been directed by Viggo Larsen in 1908. Viggo Larsen in 1908 directed actress Lili Jansen in several films photographed by Axel Graatkjaer Sorensen, including Lille Hanne, Peters Held, Urmagerens Bryllup and The School of Life (Gennem Livets Skole), which also starred Thora Nathansen. Viggo Larsen that year also directed Mathilde Nielsen and Pterine Sonne in the film The Capricious Moment (Capriciosa). In 1909, Viggo Larsen directed the film Child as Benefactor (Barnet som Velgorer). Emmanuel Tvede directed only one film in Denmark, Faldgruben, and yet in it was future star Emilie Sannom in one of her first screen appearances, Danish actress Kate Fabian also having appeared in the film. In Denmark Viggo Larsen had played Sherlock Holmes to Holger-Madsen's Raffles in both Sherlock Holmes Risks His Life (Sherlock Holmes i livsfare, 1908) and Sherlock Holmes Two. Both films were photographed by Axel Sorensen. Einar Zangenberg would play the armchair detective in Larsen's Sherlock Holmes Three. Larsen would also for the Nordisk Films Kompagni direct the Holmes' films The Singer's Diamonds (Sangerindens diamanter, 1908) starring Holger Madsen, The Grey Lady Den Graa Dame, 1909) and Cab Number 519 (Drokes 519), starring August Blom with Larsen as the consulting detective. Viggo Larsen would soon thereafter travel to Germany, where he directed and starred with Wanda Truemann in Arsene Lupin Against Sherlock Holmes (Arsene Lupin Contra Sherlock Holmes, 1910) before directing the even more successful Sherlock Holmes contra Professor Moryarty (1911). Alwin Nuess, a Danish actor who had starred as Sherlock Holmes in One Million Dollar Bond (Millionobilgationen/The Stolen Legacy) and in The Hound of the Baskervilles (1914, Rudolf Meinert), would also go to Germany. In Denmark actor Otto Lagoni would portray Sherlock Holmes for Nordisk Films Kompagni, starring with Danish silent film actress Ingeborg Rasmussen in Den Sorte A Haand (Mordet i Bakerstreet) and with Poul Welander in Den Forklaedete Barnepige (The Bogus Governess). Otto Lagoni also during 1911 appeared under the direction of William Augustinus in the Sherlock Holmes film Den Sorte Haette. Einar Zangenberg would in 1911 appear as Holmes in the Danish silent filmHotelthieves (Hotelmysterierne.) In addition to Nordisk Films, during 1910 the Regina Kunst Kompagni briefly produced films in Denmark, notably the first three films in which actress Clara Weith Pontoppidan had, as Clara Weith, starred, Elskovsleg, Djaevelsonaten, and Ett Gensyn, in which she starred with actresses Annegrette Antonsen and Ellen Aggerholm. Director Axel Strom directed Clara Weith in the film Dorian Grays Portraet, in which she starred with Valdemar Psilander as well as his having directed Johanne Dinesen in the film Den doe Rotte. Danish silent film actress Emilie Sannon also starred on screen for the Regina Kunst Kompagni, her having starred in the film Doden. The versatility of Asta Nielsen, directed by her husband Urban Gad, was especially shown from film to film. The Abyss begins with a shot of the actress Asta Nielsen as Magda and her boarding a train as though it were a whistle stop. It continues with exterior longshots, untill the two characters are seen at an outdoor coffee table. There is a cut to an interior where she is seen in full shot opening a letter, the camera distance well behing the Vitagraph nine foot line, particularly for an interior filmed in 1910. Seated, the next shot shows her at a closer angle, filmed higher than her as she is reading the letter. It then cuts to a train station and then a series exterior full shots of her arriving in the country. The scene then shifts to an outdoor circus and an exterior full shot during which she dances. The storyline becomes dramatic, or sensational in its being melodramatic, where she flees with the circus, much like in the Greta Garbo film The Rise and Fall of Susan Lennox. There is in the film a near panning shot following characters as a horse drawn carriage parks near the exterior of a building, the camera then cutting to the interior where she is recieving guests. The Black Dream (Dem Sorte Drom), filmed the folling year is remarkable in Gad's use of silhouette. Asta Nielsen appears in the film with actor Valdemar Psilander. In Denmark, Urban Gad also directed actresses Emilie Sannom and Ellen Kornbeck, among the films Gad directed for Nordisk Films in 1911 two having been When Passion Binds Honesty (Dyrekobt Glimmer), in which both actresses appeared with Johannes Poulsen and Elna From, and An Aviator's Generosity (Den Store Flyver, 3 reels), which had starred Christel Holck. Also that year Gad directed the films Spansk Elsker, and Sydens Born in Denmark. It was also that year that Urban Gad and Asta Nielsen would travel to Germany to film for Deutsche Bioscop. Asta Nielsen appeared on screen under Urban Gad's direction with the cinematographer Karl Freund behind the camera that year in the films The Moth (Nachtfalter) and The Strange Bird (Der fremde Vogel). Asta Nieslen also continued in 1911 to appear under Gad's direction in the films The Traitoress (Die Verraterin), Hot Blood (Heisses Blut), In Those Large Eye Glances (In dem grossen Augenblick). The first Finnish narrative film, Bootleggers (Salaviinanpolttajat), was given to the Swedish director Louis Sparre, the film photographed by Frans Engstrom in 1907. Jaenzon filmed The Dangers of a Fisherman's Life- An Ocen Drama (Fiskarliv ets farer-et Drama paa havet), an early Norwegian silent film under the direction of Hugo Hermansen. The first two Finnish directors, Erkki Karu and Teuvo Puro, are particularly noted for their use of nature as a background and landscape to complement the thematic, and yet Sylvi (1913) has been particularly likened to the film Ingeborg Holm, directed by Victor Sjöström. Peter Cowie notes that Karu's The Logroller's Bride (Koskenlaskijan morsian, 1923) has an exterior landscape scene that had been filmed by using six different cameras; the director later remade the film as the first Finnish film to include sound. The film Tukijoella (Log River) continued the influence of the Scandinavian film directors upon the silent cinema of Finland in their being a relation shown between the characters of the film and its background landscape, it having appeared in theaters in 1928. Also directing in Finland in 1913 was playwright Kaarle Halme who brought the films (The Bloodless Ones/Verettomat) and The Young Pilot (Nuori luotsi) to silent film audiences who had previously looked to the theater; the photplay, although quickly a new form of literature to convey the dramtic, and melodramtic, was still in Finland before 1919 contained within static camera angles without the frequent use of editing to complicate plotlines and character relationships, characters often shown in full figure, at the same camera distance, as at Vitagraph studios in the United States. Peter Lykke-Seest, who had founded the first Norwegian film studio, the Christiana Film Company, was a screenwriter for Victor Sjöström (and Mauritz Stiller) before his directing The Story of a Boy (Historien om en gut) in 1919. Aside from this was the consideration that once films had been begun to have been made that were two reels or more, dialouge,through the use of intertitles, and expository descriptions could be added to the way the causality of plotline was developed during a film and how character was delineated, intertitles that would not only lend continuity to the linear progression of storyline but also bring unity to it. Victor Sjöström later would in fact use intertitles to act as retrospective first person, voice over narrative. As well, narrative would no longer need to be only linear in regard to its structure and the syntax of film could include transitions between scenes; technique, in part could become the attraction. Technique would become the ordering of images within an arrangement of shots that would bring seperate compositions into a relation within narrative- the film technique that would later be described by Christian Metz as consisting of syntagmatic categories, technique that would avail questions regarding whether a segment would be autonomous, chronological, linear, narrative or descriptive, continuous and whether it would be organized, was beginning to be decided. Metz in fact had viewed the narrative function in cinema as being what had brought about its development, it being more than possible that the techniques developed by Ince and Griffith were the exingencies of narrative form. That Sjöström the actor would later be shown in both long shot and close shot in the same sequence shows the relation between the character on the screen and the space within the frame; in that the camera had been becoming increasingly authorial, it often seemed to provide an embodied viewpoint from which an idealized spectator could view onscreen space, and by its being authorial, could seem to reposition the spectator during the film through the use of a second central character. While discussing film technique as something that is a reproduction of the images before the spectator, Raymond Spottiswoode claims that "it can never attain to art", and yethe adds that there must be a freedom available to the director "if he is to infuse his purpose and character into the beings of nature, to change them that their life becomes more living, their meaning more significant, their vlaue more sure and true." He continues that while it can be put forth that there is only one camera angle that any scene can be photographed from, one relation to the camera that any object can be aquire within the varying spatial relations that it takes while arranged with the other objects in front of the camera, "there is no reason to suppose that the choice of a camera angle is not perfectly free." The attention of the spectator could be directed spatially. It is by being authorial that the camera can impart meaning, technique not only to have brought an objectification of what was in front of the camera but also of the camera itself as it observed the actors within the scene, as it photographed the object, the structure of the image deigned by the placement of the camera, the pleasure of the spectator derived in part from the parallel between the spectator and the camera. In regard to the camera being authorial, a group member of an e-mailed silent film mailing list recently in a post quoted a postulate of the theory of there being a cinema of attractions, "The narrator in the early films is sporadic; an occaisional specter rather than a unified presence." Sjöström had said, "At one time, Moje was without any doubt in love with Garbo, and she with him." and she had reiterated that if ever she were to love anyone it would be Mauritz Stiller, the director who had taken her to see her first motion picture in the United States, The Lady Who Lied (1925, eight reels) with Lewis Stone and Nita Naldi. Fredrick Sands quotes Victor Sjöström as having said, "For a certain time at least Stiller was in love with her and she with him. They told me so themselves." Stiller, after having met cameraman Julius Jaenzon, had begun directing for Svenska Bio in 1912 with Mother and Daughter (Mor och Dotter), in which he acted with Anna Norrie and Lily Jacobsson and then in the same year The Black Masks (De svarta maskerna), in which Sjöström acted with Lili Bech and the film The Tyrannical Fiancee (Den Tyranniske Fastmannen), in which he starred with Agda Helin. Produced by AB Svenska Biografteatern, the film The Black Masks, is a circus movie in regard to its subject. It has been noted that the film is exceptionally edited, its numerous, varied scenes, "a constantly changing combination of interiors and exteriors, close-ups and panoramic shots." (Forsyth Hardy). Greta Garbo later had met Jaenzon on a train to Rasunda, Sweden after a screen test for Stiller. Victor Sjöström and Mauritz Stiller had met in Stockholm the day before the shooting of the film The Gardner (The Broken Spring Rose) at the studios in Lindingo was to begin. Bengt Forslund chronicles that, "Sjöström did not know Stiller before they became associated at Svenska Bio, but he was aware of his reputation." It had been early in 1912 that Magnusson had met with screen writer Erik Ljungberger who gave Magnusson Victor Sjöström's name and who telephoned him for Magnusson. Victor Sjöström that year wrote and directed The Marriage Bureau (Aktenskapsbryan) with Victor Lundberg and directed A Secret Marriage (Ett hemlight giftermal) with Hilda Borgström, Smiles and Tears (Lojen och tarar) with Mia Hagman, a film written by Charles Magnusson and photographed by Julius Jaenzon, A Summer's Tale (En Sommar Saga) and Lady Marion's Summer Flirtation (Lady Marion's sommarflirt, photographed by Julius Jaenzon and starring Hilda Borgström. That year Paul Garbagni directed both Victor Sjostrom and Mauritz Stiller with actress Astrid Endgelbrecht in the film Springtime of Life (In the Spring of Life, I livets var), adapted from the novel The First Mistress by August Blanche- almost as soon as Swedish cinema had begun, it had begun adapting the novel to film; the significance of the cinema of attractions would now be in the shot, the placement of the shot within the scene, display relegated to frame compositions. Eric Malmberg that year directed the films Oceanbreakers and Stolen Happiness (Branningar eller Stulen lycka) with Lily Jacobsson, Tollie Zellman and Victor Arfvidson, Det grona halsbandet with Lilly Jacobsson and Agda Helin and Samhallets dom, with Lily Jacobsson, Agda Helin, Tollie Zellman and actress Lisa Holm in the first film in which she was to appear, as well as Agaton and Fina (Agaton och Fina), and Two Swedish Emigrants in America (Tva svenska emigranters afventyr i Amerika), both photographed by Julius Jaenzon, also with Lily Jacobsson. John Ekman directed Swedish actress Stina Berg in her first appearance on the screen in the film The Shepherd Girl (Saterjantan), photographed by Hugo Edlund for Svenska Biografteatern. The Last Performance (Dodsritten under cirkuskupolen), Musiken makt, starring Lily Jacobsson, Jupiter pa jorden, with Axel Ringvall, and Tva broder with Birger Lundstedt and Eugen Nilsson, were filmed by Georg af Klercker. Algot Sandberg that year directed the film Farbror Johannes ankomst till Stockholm. In Malmo, Sweden, for the Danish film producer Frans Lundberg and Stora Biografteatern, Paul Welander in 1912 contributed the films The Pace That Kills (Broder och syster), The Circus Queen (Circusluft), and two films photographed by photographer Ernst Dittmer, The Boa Constrictor (Ormen), The Flirt (Karlekens offer) and Princess Charlotte (Komtessan Charlotte), starring Phillipa Frederiksen and Agners Nyrup-Christensen, Welander also that year having starred with Ida Nielsen in The Bonds of Marriage (Karleksdrommar) a film made by Frans Lundberg. Charles Magnusson would direct The Green Necklace (Det grona halsbandet) and The Vagabond's Galoshes (Kolingens galosher), both photographed by Julius Jaenzon. Jaenzon that year was the photographer and director of the film Condemned by Society. 1912 was also the year that Hjalmar Söderberg, often considered the nearest contemporary to Strindberg, published the novel The Most Serious Game (Den allvarsamm leken) and the one act play Aftonstjarnan. The first publication to appear written by Par Lagerkvist, People (Manniskor), a collection of short stories was also printed that year as well. In the United States, Mary Pickford had a year earlier left Biograph where she had filmed under the direction of D. W. Griffith and Frank Powell to film with Thomas Ince at IMP studios during the first two months of the beginning of 1911. Among the films she made there were Their First Misunderstanding, The Dream, Maid or Man, At Duke's Command, The Mirror, While the Cats Away, Her Darkest Hour and Artful Kate. Before returning to Biograph, she spent the last two months of 1911 at The Majestic Company, filming under the direction of George Loane Tucker and Owen Moore. The year of 1912 was to mark the first film with Lillian and Dorothy Gish, An Unseen Enemy, along with the Mary Pickford film A New York Hat, the first photoplay written by Anita Loos. Within the short scenes of the film, Mary Pickford is shown in to the right of the screen in medium close shot trying on a hat, her hands and bended elbows in frame. Griffith cuts on the action of her leaving the frame to exterior shots. In a later scene, Griffith positions her to the left of the screen, and, his already having shown time having elapsed between the two two scenes, then brings the ensuing action back to the right of the screen frame. As an early reversal of screen direction, or screen positioning, there is the use of scene editing in between the complementary positions of showing her in the same interior. During the film, the actress is, almost referentially, often kept in right profile, facing the right of the screen's frame. During the Biograph silent film short The Musketeers of Pig Alley (1912) Griffith frames Lillian Gish at a table, only half of her visible in the frameline untill she leaves the table, and then cuts on the action of her leaving the frame as she crosses the screen from one interior into the adjacent one, her crossing the screen from left to right in both the shots Griffith had edited together, toward the far left side of the screen in the first, toward the middle of the screen in the next. Vertical space allows a disclosure in the film, one allowed by the moving figure as Gish skirts from one room to the next, her moving into the unexpected space the audience may or may not have already seen where there is action that has been simultaneously transpiring within the temporality of the film. In a film from the same year in which Gish only briefly appears, A Burgler's Dilema, Griffith again cuts on action often, particularly during entrances, but interpolates very brief exterior shots in between scenes, increasing their frequency and interspersing within the scene as the film continues and the pace of the action hastens, or complicates, with the plotline. If it is that spatial compostition can be included as a part of the grammar, or syntax, of film, within that is pictorial continuity and the use of visual tropes. A spatial relation is established through screen direction as figure movment becomes motion within the frame and action that the camera can cut on before continuing it in the subsequent frame, the camera cutting within the scene for effect. The spatial movement of the character is continued from shot to shot, linking each of them through a directional continuity, and yet, within the scene, the contour of objects, their proximity to the camera and their arrangement in front of the camera as its various positions cause it to become more authorial, is varied with each contrast between the adjacent shots within the temporality of the scene. As an inscription of its own being authorial, the camera could participate in narrative drama as an unseen presence, particularly through its own repostioning, unobtrusive if omnipresent in its guiding the spectator toward the action of the scene. Establishing the relation between spectator and content, the actress as an element of the film's pictorial compostion, in turn, could, as an aesthetic object, often substitute for the gaze of the female spectator, particularly as a motif for femininity, quite possibly more noticebly during cut in close ups where, while photographed with the space between her and the camera only represented by her near filling the area of the frame, spectator interest would recess into brief plateau before the narrative would climb into an increase of identification untill the quiet, slow stillness of the close up that would come next. The following year Mary Pickford would go from Biograph to Famous Player to make Bishop Carriage (four reels), Hearts Adrift (four-five reels) and A Good Little Devil (five reels) with the director Edwin S. Porter. Of the film, Pickford wrote, "we were made to read our entire speeches before the camera. The result was a silent reproduction of the play, instead of what should have been, a restatement of the play in terms of action and pantomine." For the most part, when filming her, Porter used medium and long shots; Kirkland would later use the close up. Writing about 1912 in her autobiography Sunshine and Shadow, silent film actress Mary Pickford remembers her first close up, "Billy took the shot, which was a semi-close up, cutting me at the waist...It was a new image of my face that I was waiting to see. What a frightening experience when my grotesquely magnified face finally flashed on the screen...But I was critical enough to notice the make up...'I think there's too much eyebrow pencil and shadowing around my eyes,' I said. Later,on a seperate occaision, she had realized there was low light reflected back towards her while she was readying her make up for a scene and had asked her director to use artificial light from below while filming her. The autobiography of silent film star Douglas Fairbanks, Laugh and Live, is available online from sunrisesilents. Having directed The New Cook, The Indian Massacre and Across the Plains the year before, Thomas Ince directed the silent films The Invaders (three reels), starring its co-director, Francis Ford,and Ethel Grandin, Shadows of the Past and Custer's Last Fight in 1912. Ince, and the directors that photographed with him, have been attributed with having been among the early directors to have varied camera postitions with the use of more than one shot during a scene, particularly the use of the reverse angle to cut around a scene and its use to develop the action of the scene during its climax. It is often acknowledged that Thomas Ince was the first director to use a shooting script. Author Kenneth MacGowan notes that Ince "strove for a theatric effect", but only with scripts that were "direct and tight" and used intertitles to advance character action, dramatically relating events as a technique of exposition. If this was later remarked upon as being part of a comparision and contrast, Mary Pickford was to write, "As I recall, D. W. Griffith never adhered to a script. Improvisation was frequently the order of the day. Sometimes the camera registered an impromputu piece of off-story action and that too stayed in the film." Lillian Gish in no way contradicts her by writing about how Griffith used the editing room to develop storyline, particularly by adding close ups and shots of objects, "Later, he would make sense of the assorted shots in the cutting room, giving them drama and continuity." These cut-in shots were inserted into the scene to add "depth and dimension to the moment". During 1912 the first film that would star Mary Miles Minter would appear on the marquee, the one reel The Nurse and Anna Q. Nilsson would make her first film, the one reel Molly Pitcher. Oddly enough, Nilsson's studio, Kalem, had given the title role of The Vampire to Alice Hollister, the two later united on the screen in A Sister's Burden (1915). In addition to the films of Louise Glaum,whom Fred Niblo directed in Sex (1920, seven reels), and Valeska Suratt, another film of that title had starred Olga Petrova, it seeming that quickly " 'vamp' became an all too common noun and in less than a year it was a highly active verb, transitive and intransitive" (Ramsaye). Stiller had directed Sjöström in his first roles as an actor in For sin Karlekskull (Because Her Love), When Love Kills (Nar karleken dodar) in which he starred with Georg af Klercker, The Child (Barnet) and, coincidently, The Vampire (Vampyren/The Nightclub Dancer),in which he starred with Lili Bech. Anna Q. Nilsson would appear in War's Havoc, Under a Flag of Truce and The Soldier Brothers of Suzanna in 1912. Lillian Gish would later play a vamp in Diane of the Follies (1916). Birgitta Steene writes that in the films of Ingmar Bergman, "the vamp is portrayed as the social victim rather than the embodiment of sin." Danish silent film direct Wilhelm Gluckstadt began directing in 1912 with the film The Blue Blood (Det blaa Blod), scripted by Stellan Rye and starring Elina Jorgen Jensen, Grethe Ditlevsen and Gudrun Houlberg. That year Wilhelm Gluckstadt also directed the exceptionally beautiful Danish film actress Eimilie Sannom in the films Konfetti, De to brodre and Zigeunerorkestret. Exceptionally pretty Danish film actress Ebba Thomsen first appeared on the screen in 1912 under the direction of Robert Dinesen in two films, Den glade Lojtnant and Lystrallen. Danish film director Aage Brandt during 1912 would direct Vera Brechling in A Death Warning (Dodsvarlet) Danish silent film director August Blom in 1912 filmed with the photographer Johanne Ankerstjerne for Nordisk Film, notably with the actress Clara Weith Pontoppidan, whom he directed in the film Faithful Unto Death (Et Hjerte af Guld) and had directed a year earlier in the film In the Prime of Life (Ekspedtricen), photographed by Axel Sorensen. Blom that year also for Nordisk Film directed Robert Dinesen in the films Stolen Treaty (Secret Treaty/ Den Magt Trede and The Black Chancellor (Den Sorte Kansler) with Valdemar Psilander, Ebba Thomsen and Jenny Roelsgaard, The Black Chancellor having been a film in which Danish silent film scriptwriter Christian Schroder appeared on screen as an actor. That year August Blom also directed A High Stake (Hjaerternes Kamp). Danish silent film director Carl Th. Dreyer had in fact begun as a writer, contributing the screenplay to the film The Brewer's Daughter (Bryggerens dattar, 1912), directed by Rasmus Ottesen and starring Emanuel Gregers. He was to write every screenplay that he was to direct. Tom Milne, who begins his volume on Dreyer with an account of his having seen the director at a screening of Gertrude, quotes him as having said, " I know that I am not a poet. I know that I am not a great playwright. That is why I prefer to collaborate with a true poet and with a true playwright." Dreyer continued in 1913 by writing the screenplays to The Baloon Explosion (Balloneskplosionen), directed by Kay van de Aa Kuhle, Chatollets hemmelighed, directed by Hjalmar Davidsen, Hans og Grethe, directed by Sofus Wolder, and The War Correspondent (Krigskorrespondent), directed by William Gluckstadt and starring Emanuel Gregers,Grethe Ditlevsen, Ellen Tegner and Emilie Sannom. In 1914, Dreyer scripted Down With Your Waepons (Ned Med Vaabnene), directed by Holger Madsen and photographed by Marius Clausen. Danish film director Benjamin Christensen, however by 1913 had begun directing with his first film Sealed Orders (Det hemmelinghstulde X), a melodrama that had included a use of montage in its editing, followed by Blind Justice (Haevnansnat, 1915), both films having starred the actress Karen Caspersen. The two films by Christensen were of the only three produced by the Dansk Biograf Compagni. Benjamin Christensen had starred as an actor with actress Karen Caspersen and Ellen Malmberg during 1913 in Skaebnebaeltet, directed by Danish silent film director Sven Rindom, his also that year having starred in the films Children of the Stage (Scenens Born, Bjorn Bjornson), starring Bodil Ipsen and Aud Egede-Nissen and Lille Klaus Og Store Klaus (Elith Reumert). Children of the Stage was produced by Dania Biofilm Kompagni. For Ingmar Bergman,the first notable Swedish film is Ingeborg Holm from 1913. In an interview with Jonas Sima, he describes the directing of Victor Sjöström, "It is one of the most remarkable films ever made...Often he works on two planes, something being played out in the foreground,but then,through a doorway for instance,one sees something quite different is going on in the background.". Produced by AB Svenska Biograteatern and five reels in legnth, it is also his screenplay from a play by Nils Krook which Sjöström had adapted for the stage in 1907. Like Sarah Bernhardt, Hilda Borgström had came to film. Also in the film are Aron Lindgren and George Gronroos. William Larsson and Carl Barcklind both appear in the film as well. It is almost astounding that under the title Give Us This Day the legnth of the film is listed as having reached seven reels. Einar Lauritzen wrote, "The primitive tableau of the time cannot destroy the genuine feeling for both character and enviornment which Sjöström brought to almost every scene." Much like it being that the films of Bergman "concern interior journeys: journeys into the soul of the character, or into the souls of two related characters" (John Simon), that Ingeborg Holm was a contemporary drama is particularly a matter for aesthetics, as was the observation that there may have been the photoplay of intimacy, the photoplay of action or the photoplay of splendor. As a side note from the present author, the caption on the cover to the filmed version of The Painted Veil, starring Naomi Watts reads, "Sometimes the greatest journey is the distance between two people." What is beautiful is not only that the images of film consist of our being in a position to them spectatorially, or the look that is entailed within suture, but that behind the close ups of faces there is a character, quite often one in the midst of drama- if the cinema of attractions was followed by a cinema of narrative integration, what concerns aesthetics is that no matter how maudlin or whether or not plot was translated into fantasy, the cinema had begun to develop character more fully, more deeply. Bengt Forslund writes, "I am fairly convinced that it was always the fate of the individual that intrigued Sjöström- not the circumstances that led to it." Interestingly enough, one of the best explanations of classical narrative construction, narrative form which is often based on there being a casual relationship between events that are connected spatially during the film brought about by its characters, comes from the Swedish director Ingmar Bergman. In his autobiography Images, Ingmar Bergman relates that it was Stina Bergman, then head of the script department, who had asked for him at Svensk Filmindustri. She and her husband Hjalmar Bergman had in fact met with Victor Sjöström while in the United States, where Stina Bergman had acquired the technique of scriptwriting. "This technique was extremely obvious, almost rigid; the audience must never have the slightest doubt where they were in the story. Nor could there be any doubt about who was who, and the transitions between various points of the story were to be treated with care. High points should be allotted and placed at specific places in the script and culmination had to be saved for the end. Dialougue had to be kept short." Author David Bordwell often approximates this description of continuity in the feature film. Bergman continues in the autobiography to write that many of the remarks that Stina Bergman made at that time were treasured by him and that Hjalmar Bergman was his idol.

no rights or restrictions-Film Preservation Associates The Miller's Daughter, The Song of the Shirt (1908) and A Corner in Weat (1909) directed by D. W. Griffith, are early films that depicted the individual within a social context, the early photoplay Falling Leaves directed by Alice Guy Blanche the year prior to the filming of Ingeborg Holm, also being among films which centered its characters around a social drama. Later films, including The White Rose (1923), with Mae Marsh, more elaborately presented theme as being intertwined with the drama in which the characters were situated. Sweden, in 1953, made The Bread of Love (Karlekens brod). Writing about the films of Victor Sjöstrom, Bengt Forslund notes, "Guilt Redeemed, shot in the early summer of 1914, may perhaps be seen as an attempt to repeat the success of Ingeborg Holm. Guilt Redeemed (Skana Skuld) starred actress Lili Bech.

The films that Victor Sjöström had made in 1913 were scheduled to be shot within one or two weeks. Among them were Half-Breed (Halvblod) with Karin Molander, its screenwriter Peter Lykke-Seest, The Voice of Blood (Blodets rost) with Greta Almroth and Ragna Wettergreen, The Conflicts of Life (Livets konflikter) starring Gösta Ekman, A Good Girl Should Solve Her Own Problems (Bra flicka reder sig sjalv) with Clara Pontoppidan and Jenny Tschernichin and The Clergyman (Prasten), starring Clara Pontoppidan and Egil Eide. Alongside Sjöström, that year Maurtiz Stiller would film Nar larmklockan ljunder, with Lilly Jacobsson, en pojke I livets strid, The Modern Suffragette (Den moderna suffragetten), Brother Against Brother (People of the Border, Gransfolken), which was the film debut of Edith Erastoff and in which Anders Henrikson had appeared, The Girl From Abroad (The Unknown Woman, Den okanda), with Jenny Tschernichin-Larsson and Grete Wiesenthal and The Fateful Roads of Life (Pa livets odesvagar), with Clara Pontoppidan. No less than four Swedish silent film actresses would make their first appearance on the screen in Mauritz Stiller's film The Fashion Model (Mannekangen) : Ida Otterström, Anna Diedrich, Lili Ziedner and Mary Johnson. Of Svenska Bio in 1913, Begnt Förslund notes, "Sjöstr&#246m was not always permitted to choose his material." Scripts were submitted to Victor Sjöström much in the same way they would be to directors the United States. George af Klercker in 1913 directed the film The Scandal (Skandalen) for Svenska Biografteatern, it having starred actresses Anna Norrie and Selma Wiklund af Klerker and having been photographed by Henrik Jaenzon. That year Klercker also appeared with Selma Wiklund af Klercker as an actor in the film With Weapon in Hand (Med vapen i hand), which he directed. Carl Barklind directed his first film that year, The Suicide Club (De lefvande dodas klubb), photographed by Julius Jaenzon and starring Hilma Barcklind and Nils Arehn. Barcklind had appeared as an actor in the film Den glada ankan in 1907. Paul Welander directed and Axel Briedahl scripted the 1913 film Black Heart and White (Karleken rar) starring Ida Nielsen, Martha Helsengreen and Ellen Hygolm. John Bergqvist that year directed the films Amors pilar eller Karlek i Hoga Norden and Lappens brud eller Dramat i vildmarken, both with Birger Lundstedt and Hildi Waernmark as well as the film Truls som mobiliserar, with Otto Sandgren. Paul Welander in 1913 directed A Fallen Star (Hjaltetenoren). Arthur Donaldson that year directed Lilly Jacobsson in the film En skargardsflickas roman, which he wrote and in which also appeared as an actor. Danish silent film director Vilhelm Gluckstadt in 1913 brought the film The Black Music Hall (Den sorte Variete), starring Gudrun Houlberg to the screen. Forest Holger-Madsen, who along with his cameraman Marius Clausen is particularly noted for continuing the lighting effects that were singular to early Danish silent film, that year directed The Mechanical Saw, During The Plaugue and The White Woman/The Ghost of the White Lady (Den Hvide Dame), photographed by Clausen and starring Rita Sacchetto. In 1913, Griffith directed Blanche Sweet in the films Love in an Apartment, Broken Ways, If We Only Knew and Death's Marathon. After the four reel Judith of Bethulia, a film which interestingly "is really an interior drama, in as much as the majority of the action is thoughtful, an interchange of emotions between two characters" (Slide), Griffith had left Biograph for Mutual to direct Gish in the five reel The Battle of the Sexes. With the advent of the feature film, in adddition to including a greater number of characters during each film, directors could more often include minor characters that would become spectators in the film watching the action, as when the camera had cut from a master shot to a closer angle, or during panning, character interest increased as the characters the viewer was watching were observed by the other characters in the film, the individual characters on the screen visual elements of the film that were to move in relation to each other, the film's secondary characters framing the action and visual interest of the film. The editing of Griffith would in fact begin to shift from one group of characters to another more often. Betty Nansen, before her later appearing on the the silver screen in the United States, made her first two films in Demark in 1913, Bristet Lykke (A Paradise Lost, August Blom) and Prinsesse Elena (The Princess's Dilemma, Holger-Madsen). While in the United States, Betty Nansen appeared in the films of producer William Fox. Among them, four were directed by J. Gordon Edwards in 1915: A Woman's Resurrection, The Song of Hate, scripted by Rex Ingram, Should a Mother Tell, also written by Rex Ingram, and Anna Karenina (five reels), scripted by Clara Beranger. Lon Chaney appeared in his first films in 1913, among those being Back to Life (Alan Dwan, two reels), The Lie, Discord and Harmony and The Embezzler. There were two film adapations of A Study in Scarlet photographed in 1914, one in the United States, in which the director Francis Ford also starred as the detective Sherlock Holmes, the other in England, produced by British film director George Pearson with James Braginton in the role. The latter film was followed by a version of The Valley of Fear, with H. A. Saintsbury, in 1916. Mauritz Stiller and Victor Sjöström both had continued to direct in 1914 and 1915, the former with His Wife's Past (Hans hustrus forflutuna), The Avenger (Hamnaren) ,which, starring Karin Molander, was the first film in which the actress Tyra Dorum had appeared on the screen, Playmates (Lekkamraterna), The Red Tower (Det Roda tornet), written by Charles Magnusson and starring Karin Molander, Stormy Petrel (Stormfageln), starring Lilly Jacobsson The Master Thief (Matsertjuven) with Wanda Rothgardt, Gentleman of the Room (Kammarjunkaren) with Clara Pontoppidan, Madame de Thebes, starring Karin Molander and The Dagger (Dolken) starring Lars Hanson. The latter, Victor Sjöström, continued directing with The Miracle (Miraklet) with Clara Pontoppidan and Jenny Tschernichin-Larsson, photographed by Henrik Jaenzon. In regard to the film, based on a story by Zola, Bengt Forslund views as the foreground to the film Monastery of Sendomir and Love's Crucible with the caution that Sjöström may not truly have had an affinity with making "cloistered romances" much in the way his making The Divine Woman may have been pedestrian, significantly the author adds, "It is clearly the first time that Sjöström consciously made use of a particular stretch of natural landscape as a background to the drama." Victor Sjöström also that year continued with Landshovdingens dottar, a film adapted by Sjöström from the novels of Marika Stiernstedt, Do Not Judge (Domen icke) starring Hilda Borgström, Children of the Streets (Gatans Barn), photographed by Henrik Jaenzon and starring Stina Berg, Love Stronger than Hate (Karlek Starkare an Hat), starring Emmy Elffors and John Ekman, Daughter of the High Mountain (Hogfjalletts dotter), in which Sjöström starred with Greta Almroth and Lili Bech, Hearts that Meet (Hjartan som motas), photographed by Henrik Jaenzon and starring Karin Molander and Greta Almroth, The Strike (Strejken), in which Sjöström starred with Lilly Jacobsson, It Was in May (Det var i Maj), written by Algot Sandberg and photographed by Henrik Jaenzon, The Price of Betrayal (Judaspengar), starring Stina Berg, Stick to your last, Shoemaker (Skomakare, bliv vid din last), starring Stina Berg and In the Hour of Trial (I provingens stund), in which he starred with Greta Pfeil and Kotti Chave. Recently, the theater in the city of Uppsala where the Swedish silent films Domen icke and Bra flicka reder sig sjalv, directed by Victor Sjöström, and the film Stromfagelin directed by Mauritz Stiller, were first shown has been renovated, restoring it to how it first looked when built in 1914. Victor Sjöström ,incidentally, had returned to the stage in 1914 and 1915 at the Intima Theatre under the direction of Gustaf Collijn for a production of Strindberg's play To Damascus. After his having starred in the films of Victor Sjöström, Gunnar Tolnaes, who in 1915 appeared in the films One Out of the Many (En av de manga) with Greta Almroth, Lilly Jacobsson and Lili Bech, and When Artists Love (Nar konstnarer alska), returned to Denmark from Sweden to film Doktor X under the direction of Robert Dinesen. At Svenska Biograteatern in 1914 Axel Breidahl directed King Solomon's Judgement (Salomos drom) with Lili Zeidner and Stina Berg and the films The Birthday Present (Fodelsedagspresenten) starring Karin Alexandersson, Stina Berg and Lili Ziedner and The Way to A Man's Heart (Vagen till mannens hjarta) starring Lili Ziedner, Stina Berg and Hilda Borgström, both photographed by Henrik Jaenzon. Danish Silent film director Holger-Madsen often filmed with the cinematographer Marius Clausen. Betty Nansen in 1914 starred in his film For the Sake of A Man (Under Skaebnens Hjul), which, also starring Maja Bjerre-Lind, Christel Holch and Ingeborg Jensen, was among those films he photographed with Clausen. In 1914, Danish silent film director Vilhelm Gluckstadt directed the film Youthful Sin (Ungdomssynd), starring Sigrid Neiiendam. Swedish Film director Edmond Hansen in 1915 directed the film Revenge (Hamnden ar ljuv), his also having that year directed Edith Erastoff in two films for Svenska Biografteatern, A Hero in Spite of Himself (Hjalte mot sin vilja), which was not only the first film photographed by Swedish cameraman Carl Gustaf Florin but also the first film scripted by Swedish screenwriter Oscar Hemberg, and The First Prize (Hosta vinsten), photographed by Julius Jaenzon. Arvid Endglin wrote and directed the film An Error (En forvillelse), starring Clara Pontoppidan, William Larsson and Egil Eide and directed Patrick's Adventures (Patriks aventyr), starring Alfred Lundberg and Hilda Forsslund, the film having been the first in which she was to appear. Apparently George af Klercker directed every film but one that was produced by Hasselblads Fotografiska AB from its first film in 1915 untill it merged early in 1918 to become part of Filmindustri AB Skandia early in 1918, and that film was directed by Manne Gothson (Perils of the Big City/Storstadsfaror), who had been Klercker's assistant director, Gothson having had been being the assistant director to the 1915 film In the King's Uniform (I kronas klader). George af Klerker in 1915 contributed the film The Rose of Thistle Island (Rosen pa Tistelon), the first film in which the actresses Elsa Carlsson and Anna Löfström were to appear. The film was produced by Hasselblads Fotografiska and Victorias Filmbyra. Goteborg, Sweden provided the location in which the studios of Hasselblads Fotografiska AB were housed. Two of Hasselblad's photographers that filmed under the direction of George af Klercker were Gustav A. Gustafson and Sven Pettersson. Besides the photographers Julius and Henrik Jaenzon, another of Sweden's cameramen was Hugo Edlund who photographed the film His Father's Crime (Hans faders brott, 1915), the director F. Magnussen's first film, it having starred Richard Lund and Thure Holm. Both Edlund and Julius Jaenzon are listed as having been the cinematographer to the films Den Moderna suffragetten and For sin karleks skull. Magnussen in 1916 also directed the films The Hermits Wife (Enslingens hustru), starring Greta Almroth, Her Royal Highness (Hennes kungliga hoghet) ,starring Karin Molander and At the Eleventh Hour (I elfte timmen), also starring Greta Almroth, each filmed by Hugo Edlund. It was in 1915 that Frances Marion began writing photoplays, her being the scenarist to Daughter of the Sea (Charles W. Seay, five reels). She wrote The Gilded Cage (H. Knoles, five reels) in 1916 and Stolen Paradise (H. Knoles, five reels), Battle of Hearts (Apfel, five reels) and The Feast of Life in 1917. Theda Bara would make her first film in 1915, The Clemenceau Case and two films for the director Herbert Brenon, Kreutzer Sonata (five reels) and Two Orphans (seven reels), which had been filmed by Selig in 1911 with Kathlyn Williams. Montague Love, who appeared with Lillian Gish in Victor Sjöström's The Wind began in film in 1915 with Exile and in 1916 with A Woman's Way, The Gilded Cage, and Bought and Paid For. Greta Garbo director Clarence Brown during 1915-1917 was the assistant director and editor at Universal for director Maurice Tourneur. Notably, in 1925 he directed The Goosewoman with Louise Dresser and Constance Bennet for Universal/Jewel. Greta Garbo cameraman William Daniels had been an assistant cameraman at Triangle before becoming chief cameraman at Universal. 1914-1915 was also the brief period during which Dansk Filmfabrik, in Aarhus, Denmark produced the films of director Gunnar Helsengreen, including I dodens Brudeslor (1914), starring Gerda Ring, Jenny Roelsgaard and Elisabeth Stub, Sexton Blake (1915), Menneskeskaebner (1915) and Elskovs Tornevej (1915), also starring Jenny Roelsgaard, Gerda Ring and Elisabeth Stub. (photo:cinemateket) Directed by Victor Sjostrom and photgraphed by Julius Jaenzon, the first of Gustaf Molander's screenplays to become well known was Terje Vigen (1916), from the poem by Henrik Ibsen. The intertitles being from the poem, the structure of a poem would accomodate the structure of a silent film, and yet the film shows that there was beginning to be a grammar to film technique of its own. Edison's 1912 The Charge of the Light Brigade has a similar use of the lines from the poem as intertitles and there had been an adaptation by the Independent Motion Picture Company of Hiawatha (1909) with Gladys Hulette as well. The 1912 poem Vanteenheittajat, written in Finland by Eino Leino, was to be filmed shortly after its publication by director Kaarle Halme as Summer (Kesa) with Hilma Rantanen. In regard to film preservation, the film Terje Vigen was rediscovered from a German print in 2004 and the translated restored intertitles charmingly read Svenska Biografteatern at the top framed by their owl logo and are in the from of stanzaic quotation, their being expository. The opening sequence is shot beuatifully and shows Victor Sjostrom portraying Terje Vigen as elderly against a background of the ocean at night during a storm in a series of shots during which he is filmed in blue tint and is shown framed by a doorway in adjacent masked shots alternating between over-the-shoulder and strait on shots, our sharing his view of the storm as well as watching his looking out into it. The intertitles then take the form of narrator as the film cuts to a restropective scene shot in a sepia-like red of Sjostrom as a young man aboard a ship to begin the storyline. Tytti Soila writes, "The film also established the term 'literary cinema' in Sweden." When reviewed in the United States, the film was seen as "forcefull despite its occaisional indulgence in too much sentimentality and moralizing." Bengt Forslund writing about the film notes, "the explanation is undoubtedly that the description of Nature plays such a major role. It is really the sea that has the main part, like the mountains in The Outlaw and His Wife and the dust strom in Sjostrom's last major work, The Wind. Appearing in the film with Victor Sjostrom are Bergliot Husberg, Edith Erastoff and August Falck. Molander had written Miller's Dokument (1916), directed by Konrad Tallroth and starring Greta Almroth, before writing for Sjöström. Later, with his film Defiance (Trots, 1952) Molander was to introduce another screenwriter to modern audiences, Vilgot Sjöman (Lek pa regnbagen, Playing on the Rainbow, 1958). The film begins the story of Terje Vigen aboard a ship, the early exterior shots including his climbing the mast. Sjostrom cuts from an extreme longshot to a full shot of Terje Vigen sitting on the mast. His wife in the film is portrayed by Swedish silent film actress Bergliot Husberg the interior shots in which she is shown with are for the main part non-titned. Sjostrom is seen in the foreground of a midshot during a tinted exterior shot and then, during the shot, runs from the camera to the background of the shot, the camera then returning to an exterior midshot of the husband and wife. To reinforce his use of the Scandinavian landscape and the foreground of the shot as a source of compositional depth, the interior scenes are again, contrastingly, non-tinted intercut with shots of Terje Vigen silhouetted in the froeground of the shot in front of the expanse of the night sea, the film tinted blue. During the film, the movement within the composition of the frame is often that of the sea. Act Two beins with Terje Vigen having eluded his pursuers. He is show in the foreground of the shot in his skiff rowing against the background of the sea, spotted in a vignette circled masked shot of his pursuers telescope. Crosses at a graveyard are silhouetted against the ocean's horizon to end Act Two. Act Three begins with the same scene that was used to being the film, Sjostrom as elderly looking toward the ocean at night. He leaves his cottage to kneel on the beach, the waves crashing against the rock. Sjostrom espies a sinking craft admist the pounding surf and boards his skiff to aid in their rescue, the ship tossing in the spray of the ocean. In a later shot, Sjostrom leaves his cottage as Edith Erastoff sails away, the film ending with a shot of the crosses at the graveyard near the ocean. Writing about Victor Sjöström and quoted by Charlotte de Silva for the Embassy of Sweden in London, Jon Wengström of the Swedish Film Institute writes, "The pictorial compositions in Havsgamar/Sea Vultures (1916) and the complex narrative structure in the recently rediscovered Dodskyssen/Kiss of Death (1916) show a director in full command of the medium." In addition to The Kiss of Death (Dodskyssen,four reels), in which Sjöström playing a double role and which not only uses retrospective narrative but also includes the use of double exposures, in 1916 Sjöström directed the films Ships that Meet (Skepp som Motas) with Lili Bech and August Warberg, Therese, a melodrama which had included intercutting and retrospective narrative starring Lars Hanson and She Was Victorious (Hon segrade) , in which he starred with Lili Bech and Jenny Tschernichin-Larsson. Mauritz Stiller directed The Fight for His Heart (Kampen om hans hjarta), starring Karin Molander, His Wedding Night (Hans brollopsnatt), The Lucky Brooch (Lyckonalen), starring Greta Almroth and The Mine Pilot. The most widely known of Stiller's films from 1916 were The Ballet Primadonna (Balettprimadonnan) with Lars Hanson, Love and Journalism (Karleck och journalistik) with Karin Molander and The Wings (Vigarne), a film in which photographer Julius Jaenzon appears on the screen. Appearing on the screen as as an actor as well, Edmond Hansen at Svenska Biografteatern during 1916 wrote and directed the films The Consequences of Jealousy (Svartsjukans foljder) with Eric Petschler, Stina Berg and Ellis Elis and Old Age and Folly (Alderdom och darskap) with Edith Erastoff and Greta Almroth. He that year directed Love's Wanderings (Karlekens irrfarder), photographed by Carl Florin and starring Nicolay Johannsen and Greta Pfeil as well as Pa detta numera vanliga satt, starring Greta Almroth and Jenny Tschenichin Larsson. Among the films directed by George af Klerker during 1916 was Aktiebolaget Halsans gava, the first film photographed by cinematographer Gustav A Gustafson and the first film in which actress Tekla Sjöblom was to appear. Also starring in the film are Mary Johnson and Anna Löfström. Tekla Sjoblom began as an actress in 1916, her having appeared in Georg af Klercker's film The Gift of Health (Aktieboolaget Halsans gava), photographed by Carl Gustav Florin. That year the Swedish director Georg af Klercker also directed Under the Spell of Memories (I minnenas band), written and photographed by Sven Pettersson and starring Elsa Carlsson, Tora Carlsson and Elsa Berglund, as well as having written and directed Triumph of Love (Karleken segrar), starring Mary Johnson, Tekla Sjoblom, Selma Wiklund Klerker and Lily Cronwin in the first film in which she was to appear and Mother in Law Goes for a Stroll (Svarmor pa vift) starring Greta Johansson, Maja Cassel and Zara Backman. Also that year, Geoge af Klercker wrote and directed the film Calle's New Clothes (Calles nya klader), starring Mary Johnson and Tekla Sjoblom, and Calle as a Millionaire (Calle som miljonar), the first film in which actress Helge Kihlberg was to appear. Actress Gerda Thome Mattssen appearred in two films directed by George af Klerker, the first having been Hogsta visten(1916), in which the director George af Klerker is seen with heron screen as an actor. During 1916, Klerker was allowed to film more professionally in a larger studio, on Otterhallan and in Castles, one being at Borshuset. The running time of the films of George af Klercker that year went from those of a half hour duration, to those lasting an hour. One Swedish webpage can be quoted when looking for the use of landscape in Swedish films and the filming of a direct relationship betwee the motifs in nature and those that develope character, "Like Stiller and Sjöström is af Klerker sparse with the custom of closes-up. that he on your height uses that dramatic effective emphasis in an enviornment that total to be dominated of the entire picture format. In 1916, F. Magnussen directed Victor Sjostrom, Lili Bech and Lars Hanson in the film The Gold Spider (Guldspindeln), photographed by Hugo Edlund for Svenska Biografteatern. Captain Grogg's Wonderful Journey (Kapten Grogg's underbara resa) in 1916 introduced to Swedish audiences a series of films showcasing the animation of director Victor Bergdahl that would continue untill 1922. One of two films directed by Bergdahl that would use animation to narrate circus stories, Cirkus Fjollinski, also appeared that year. As part of its Women and the Silent Screen series held June 11-13, 2008, the Cinematecket in Stockholm will be screening a the 1916 Danish film The Queen of the Stock Exchange (Die Borsenkonigin), written and directed by Edmund Edel. The film is from the Nederlands Filmmuseum. Paired with the film will be the trailer to the lost film The Sunken (Die Gesunkenen, Rudolf Walther-Fein, 1925) also starring Asta Nielsen, a film in which she costarred with the actress Olga Tschechova. August Blom's film The Spider's Prey (Rovedderkoppen, 1916), starring Rita Sacchetto, had been written by Carl Th. Dreyer and the screenwriter Sven Elvestad. That year Dreyer also had co-scripted, with Viggo Carling, the film Evelyn the Beautiful (Den Skonne Evelyn), directed by Anders Wilhelm Sandberg, photographed by Einar Olsen and also starring Rita Sacchetto. In the United States, Lillian Gish during appeared in the films Sold for Marriage, Flirting with Fate and Pathways of Life. Mae Marsh had made Hoodoo Ann (five reels) for Triangle as well as The Wharf Rat (five reels). Mary Pickford that year was filming under the direction of John B. O'Brien, for whom she made three films five reels in legnth, The Eternal Grind, The Foundling and Hulda from Holland. That year she also starred in Poor Little Peppina (Sidney Olcott, seven reels) and Less Than Dust (John Emerson, seven reels). silent film actress Corrine Griffith, "The Orchid Lay of the Screen", appeared in the film The Last Man in 1916. Triangle Film Corporation had been formed in late 1915 to combine the efforts of Thomas Ince, D. W. Griffith and Mack Sennett. Sennett, who began at Biograph as an actor under Griffith had founded Keystone Studios in 1912. Not only was Sennett present at Biograph and Triangle with Griffith, but as a pioneer of silent film his name is alongside Griffith's in his contribution to the development of film technique and the development of a grammar of film, a grammar of scene construction. It may well be that the comedies of Mack Sennett have their origin in, or are a continuation of, the earliest of narrative films that prior to 1907, and prior to Griffith's joining Biograph, had brought together a cinema of attractions with films that depicted action, or the chase film. Just as Swedish silent film directors would use nature and landscape as a visual language, comedy would rely upon the visual in its use of the sight-gag. Among the comedies of 1912 were Love, Speed and Thrills directed by silent film director Mack Sennett and Love, Loot and Crash, also directed by the silent film pioneer Sennett, both films currently in public domain and both presently offered online by the Internet Archive, who were kind enough to write to the present writer and who it is sincerely hoped that in the future they will return again as my reader. At Keystone in 1914 Mack Sennett had directed the first films of Charlie Chaplin, Making a Living and the silent film Kid Auto Races at Venice. In 1915, the silent film The Tramp would introduce a Chaplin character that would become familiar to audiences untill the end of the silent era.Silent comedian Charlie Chaplin would in 1916 leave Essanay studios, where he had made fourteen films, to film two-reel comedies with the Mutual Company, where he filmed The Immigrant (1917). Anthony Slide writes that Chaplin used as much film to shoot The Immigrant as D. W. Griffith had to film The Birth of A Nation. It was also at Mutual, where Chaplin had made eight films untill 1923, that Chaplin would film his first full legnth feature as director. In 1912, while Stiller was beginning to film comedy in Sweden and Mack Sennet was beginning to film at Keystone, one of the other studios to produce comedies was Vitagraph. After joining Vitagraph in 1910, a studio for which he appeared in the film A Tale of Two Cities (1911) with Florence Turner and Norma Talmadge, John Bunny quickly became one of the most beloved of early silent screen comedians, teaming with Flora Finch in 1912 for films that included A Cure for Pokeritis, Stenographers Wanted, Irene's Fascination, and The Suit of Armor. The 1913 film Queen for A Day with John Bunny and the 1915 film Unusual Honeymoon with Flora Finch was screened July 30,2005 in Rosslyn, Virginia, near Arlington Virginia, as part of their film festival of silent comedies, which opened July 28 with the film Pool Sharks and a retrospective of the films of Mack Sennet, including Billy Bevan in the film Hoboken to Hollywood (1928). The Sunbeam, the first film written by June Mathis appeared on the screen during the year 1916 and Frank Lloyd would direct his first film, The Code of Marcia Gray (five reels), King Vidor his first film, Intrigue. Louise Glaum would that year star in The Wolf Woman (five reels). John Gilbert appeared in the films Apostle of Vengence, Bullets and Brown Eyes (five reels), The Eye of Night, Hell's Hinges and The Phantom and Lewis Stone appeared in his first films, The Man Who Found Out (1915) and Honor's Altar (Raymond B. West, 1916, five reels). In directing The Girl From Marsh Croft (Tosen fran Stormyrtopet, 1917) for AB Svenska Biografteatern, Victor Sjostrom began a marriage between novel and film in his adapting the novels of Selma Lagerlof-one that would establish Swedish silent cinema as being f ilmic poetry. It is also his screenplay, as are the other screenplays he adapted from her novels, each of them having been reviewed by Lagerlöf. Writing in 1971 that the films of Swedish silent cinema were those to which "the prescence of mountain and pastoral landscapes gave a dimension of authenticity and elemental persuasiveness", Peter Cowie remarks upon Sjöström's use of bucolic subjects, David Robinson upon Sjöström's depiction of man's relationship to nature. Both find something spiritual or supernatural to the writings of Selma Lagerlöf, as though within the relation to the character's surroundings there is a solitude. Lauritzen noted that there is often the "juxtaposition of man and nature" in early Swedish cinema. Although remarking upon the films of Brunius, Stiller and Sjöström not having had been distributed to large audiences, as were the films of Ernst Lubitsch (Passion) that had starred Pola Negri, author Lewis Jacobs writes, "Opposed to the artificiality of the German films in their stress on the real world of nature, the sea and the landscape, Swedish pictures were impressive for their simplicity, realism, sensitive acting and sincerity." Starring the actress Karin Molander, when reviewed in the United States, the film was commended for its "unity of plot structure" and for "all its dramatic elements (being) dramatically related, its development (being) climactic and consitent.". Also in the film are Greta Almroth, Concordia Selander and Hilda Castegren in her first appearance on screen. The novel was in fact filmed again in 1947 by Gustaf Edgren and in 1958 by Gustav Ucicky with Maria Emo. Peter Cowie has put the films of Finnish director Ruani Mollberg (Earth is a Sinful Song, Maa on syntinen laula, 1973) alongside the films of Victor Sjöström and Mauritz Stiller, his writing, "His characters move not against the backdrop of field and lake and forest, but deep within the enveloping topography." To Bengt Forslund, Sjöström had found a "descriptive visual language" which accounts for his collaboration with Selma Lagerlof and her novels being particularly suited for adaptation. Charles Magnusson in 1909 had hoped to film the novel The Wonderful Journey of Nils Holgersson, which Victor Sjöström had read with enthusiasm. Allan Eyles notes that The Covered Wagon (James Cruze, 1923), filmed in the United States, was remarkable for its depicting the relationships of the characters within narrative to the enviornment in which the story takes places, its plotline built around the interaction of its three primary characters. Greta Garbo is quoted by Sven Broman as having said, "I know that he courted Sarah Bernhardt and wanted to write plays for her...But Strindberg still managed to get Sarah Bernhardt to do a guest performance in Stockholm- in La Dame aux Camelias at the Royal Dramatic Theatre." Mothers of France (1917) would be the last film which would feature The Divine Woman, Sarah Bernhardt. Directing in 1912, Louis Mercanton had filmed Berhardt for four reels using only long, static shots; there are twenty three scenes in the film and of the twenty two intertitles, only three are interpolated. Most summarize the dialougue and its consequence to the action untill the exclamation in scene twenty one, "May God forgive you, I never will." Of his having directed Greta Garbo, Sjöström had remarked after filming, "I and Metro's own scriptwriter, Frances Marion, wrote the story eight times before it was accepted. By that time nothing remained of the original material and every trace of the divine Sarah had been obliterated." J. Gordon Edwards in 1917 would direct Cleopatra (ten reels) and Camille (six reels), written by Frances Marion, as well as Salome (seven reels), The Rose of Blood (six reels), The Forbidden Path and Under the Yoke (five reels). Frank Powell directed Heart of the Desert. A Modern Musketeer (five reels), directed and written by Allan Dwan, starred Marjorie Drew and Douglas Fairbanks. His first screen appearance had been in Bertie The Lamb. Frances Marion that year also wrote the photoplay to the film Temple of Dusk (James Young, five reels), her following it in 1919 with the scenarios to A Regular Girl (James Young, five reels), The World and its Woman (Frank Lloyd, seven reels) and The Cinema Murder (George Baker, five reels). Lillian Gish in 1917 had starred in the films The House Built Upon Sand (Ed Morrisey, five reels) with Kate Bruce and Souls Triumphant (John G. O'Brien, five reels) with Wilfred Lucas. In addition to directing and starring with Gerda Thome-Mattsson and Tollie Zellmann in For hem och hard, Swedish director Georg af Klercker that year directed Mary Johnson in the films Revelj and The Suburban Vicar (Forstadprasten), in which she starred with Corcordia Selander and Lilly Graber. Actress Olga Hallgren appeared in two films directed by George Klerker, Brottmalsdomaren, with Gabriel Alw and the actor George Blickingborg in his first appearance on screen and Ett konst narsode with Greta Pfeil, the assistant director to the film, Manne Göthson. For hem och hard was photographed by Swedish cameraman Sven Pettersson, Brottmalsdomaren by Swedish cameraman Gustav A Gustafson and Ett konst narsode, by Carl Gustav Florin. In 1918 Klercker directed The Lighthouse Keeper's Daughter (Fyrvaktarens dottar), Night Music (Nattliga toner), photographed by Gustav A Gustafson and starring Agda Helin, Helge Kihlberg and Tekla Sjöblom and Nobelpristagaren. The director George af Klerker is portrayed by the actor Bjorn Granath in the film Jar ar Nyfiken film (Stig Björkman). The Last Scream, a two character play in one act, depicts a fictional meeting between silent film director George af Klerker and Charles Magnusson, founder of the Swedish Film Institute, and was written by Ingmar Bergman. The play was published by New Press in the volume The Fifth Act. And yet, the film Mysteriet natten till den 25ie prooves to be more enigmatic than its director. It stars Swedish actress Mary Johnson and Carl Barklind and was photographed by Sven Petersson- it was not shown to audiences untill 1975. Konrad Tollroth in 1917 directed and starred with Lili Bech in The Bird of Paradise (Paradisfageln), directed and starred with Lisa Hakansson-Taube in Sig egen slav and directed and starred with Greta Almroth in Allt hamnar sig. That year he also directed Edith Erastoff in the film Chanson triste and Greta Almroth and Jenny Tschemichin-Larsson in the film Miljonarvet, and Karin Molander in the film Vem skot?. Egil Eide both directed and starred with Edith Erastoff in the films Every Man Forges his own Happiness (Envar sin egen lyckas smed) and Mrs. Bonnet's Slip (Fru Bonnets felsteg), which also starred Karin Molander. F. Magnussen that year wrote and directed the films Jungeldrottingens smyke, photographed by Henrik Jaenzon and starring William Larsson, Den levande mumien, photographed by Hugo Edlund and starring William Larsson and The Secret of the Inn (Vardshusets hemlighet), starring Edith Erastoff. 1917 was to mark the first publication written by the Swedish author Swedish author Agnes von Krusenstjerna, the volume Nina's Dagbook. In Denmark, in 1917, Gunnar Tolnaes and Lilly Jacobsson were teamed for the first of two films, The Maharaja's Favorite Wife (Mahatadjahen's Yndlings Hustru), directed by Robert Dinesen and written by Sven Gade. Director August Blom was to direct both Tolnaes and Jacobsson in the 1919 film The Maharaja's Favorite Wife 2 (Mahatadjahen's Yndling Hustru 2). Carl Th. Dyeyer wrote the screenplays to two films directed by Holger-Madsen in 1917, Fangre Nr. 113 and Hans vigrige Kone. In 1918, Thomas Ince left the Triangle Motion Picture to form Thomas H. Ince Studios. One silent short that had belonged to Blackhawk Films, was a tour of the studios filmed by Hunt Stromberg between 1920-1922. An intertitle from Blackhawk Films reads, "Insisting upon strict adherence to complete shootingscripts, Ince supervised the direction and editing of each picture and thus managed to give all the appearance of having been directed by Thomas H. Ince, regardless of who did actually direct." The short, sent to exhibitors, shows footage of Ince viewing the rushes from the previous afternoon. After Hearts of the World (1918, twelve reels), Griffith followed with The Great Love (1918, seven reels) for Famous Lasky Players, it starring Lillian Gish, Robert Harron and Rosemary Theby and with The Greatest Thing in Life (1918, seven reels), starring Lillian Gish, Robert Harron and Kate Bruce. In Hearts of the World, during a scene in which soldiers are marching, he used reverse direction cutting, which he had briefly used in A Girl and Her Trust (1912). Matching the screen direction when the camera cut had often preserved continuity in early silent cinema. Part of Sjöström's directing included placing objects in an anglular relation to the camera. He reversed the direction of the character's profile when cutting back between full shots and close ups of the same shot and cut ins of the exterior landscape in the use of varying camera distance, the size of the object within the frame of each shot, the composition within the rectangle of the frame, also varying, it becoming "a screen technique of close up and cutback to clarify plot movement, intensify emotional content" (Ramsaye). The dramatic interest is as though fastened to the character, the attention of the spectator directed to him or her within the relation of each shot to the shots that are subsequent to them, composition decided upon in accordance with editing; an element of the scene could be included in the interest of the scene by the director with each decision as to where to position the camera. It may often be that character interest can be enhanced by thematic meaning and its processes, as something that is reiterated at different junctures of events and as a background to the developing relationships between characters, their interactions, it being that thematic meaning, within narrative, is enacted. It is not only landscape that can provide a backdrop that will develop the atmosphere within a film, but there is also the script, mood advanced with and by plotline, the character bringing unity to the narrative. In that both are elemnts of composition, the use of nature as a background and mise-en scene are part and parcel of each other, subject positioning being not only that characters interact not only with the spectator but also with mise en scene reflecting that spatial temporality is the interplay between mise en scene and the film's characters, characters that move into the space seperating the objects in the film, characters that move in front of and behind objects within the frame, characters that inhabit the space in which they are seen. If narrative organization could be provided by the use of mise en scene, mise en scene that would include within the spatial arrangement of composition the figure of the character within subject positioning, narrative clarity could be provided by the use of camera positions and the editorial devices of technique. There is a unique use of reverse direction in the opening sequences of F. W. Murnau's film Sunrise (nine reels) where the screen direction of adjacent shots is reversed while being incorporated into the montage, the montage effect, of the sequence. During Orphans of the Storm, Griffith reverses the screen direction of close shots during a dialouge scene by inserting a shot of the absent Lillian Gish. After a dialouge intertitle of it being announced that the character is to marry a Princess of the Blood, Griffith cuts from a close shot in profile of the character facing the left edge of the frame to an interpolated shot of Gish as his beloved and object of his reverie, her facing the left edge of the frame, the camera then cutting back to the conversation and original close shot of his facing the left edge of the frame, Griffith reversing the screen direction while both are in close shot. In effect, the shot functions as disruptive-associative montage, the shots linked thematicly by their placement in the sequence. It very well could be that the use of spatial discontinuity, the cutting to a different location during the scene, harkens back to the cinema of attractions and the use of brief static shots for effect, a single shot with its own aesthetic value included into the narrative as being seperate, editing and camera placement articulating the erotic as thematic within narrative through the use of the eroticism of display. When seen by Norwegian director Tancred Ibsen, Orphans of the Storm was one of the films included in his decision to go to Hollywood, albeit none of the scripts he wrote while there were realized.

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scottlord- Swedish film: Victor Sjöström to Ingmar Bergman Victor Sjostrom and John Brunius to Greta Garbo

scottlord- Swedish Film: Victor Sjöström to Ingmar Bergman Greta Garbo to Edvin Adolphson and Sigurd Wallen Back to Top

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scottlordgretagarbo Silent Greta Garbo

Greta Garbo

Silent Garbo

Greta Garbo Greta Garbo banner designed for Scott Lord by Ulrich in Berlin, Germany; color tint added by Amy in Southern California. scottlord Greta Garbo: den har sida i Svensk

The 100th birthday of Greta Garbo was a perfect time to recognize the efforts of Ase Kleveland, if only to introduce her as a proponent of classic film and the viewing of film with an interest in film history; she during September 2005 at the Cinemateket Filmhuset not only introduced Greta Garbo to Swedish audiences, but marked the love for the actress throughout Scandanavia. In an e-mailed correspondence to the present author, she wrote, "Many thanks for your greetings. I can assure that the Garbo celebrations was a great success indeed." Both Stockholm and Goteborg screened the Greta Garbo film Camille (Kameliadamen, George Cukor, 1937) on September 16, 2005, the former at the Biografen Sture, the latter at the Biografen Svea. The film co-stars Robert Taylor and Henry Daniell. Just as the films of Victor Sjostrom have toured the United States, the Greta Garbo Centenary is marked by screenings of films representative of the body of work the actress appeared in on screen before her retiring. Among the films being shown near her birthday, and into early December of 2005, are a four minute print of Greta Louise Gustafson in Luffar-Petter and a two minute print of her crossing the Atlantic from Stockholm to the United States in an unidentified film that would seen to more than a number of dedicated Garbo viewers to be footage from the film En decemberdag pa Atlanten, directed by Ragnar Ring and photographed by Gustav Berg, there being an account of Garbo and Ring having spoken to each other while crossing the Atlantic. Greta Garbo Moviefone Photo Gallery.

In the United States, during the summer of 2005 the Niles Essany Silent Film Museum added a film to its June schedule in which Greta Garbo is at her most beautiful because it is one of her most melodramatic, the silent film The Kiss (Kyssen, Feyder, 1929, seven reels) with Conrad Nagel. An emailed thankyou-newsletter from the San Fransisco Silent Film Festival not only announced the opening of the Edison Theater of the Silent Film Museum in Niles and its series of films for the summer in its listings of upcoming events, but added among its listings a week long screening of films of Greta Garbo at the Stanford Theatre in Palo Alto, during which the Silent Garbo film A Woman of Affairs (Grona hatten, Clarence Brown, 1928, nine reels), starring Lewis Stone and John Gilbert and including Johnny Mack Brown and Douglas Fairbanks Jr. was screened on September 21, 2005. A Woman of Affairs flickered across the silverscreens of the Filmhuset in Stockholm, Sweden to begin the month of October, 2005 and inside the screening rooms of the Garbo Society in Hogsby, Sweden on November 14, 2004. Accompanied by the Hogsby exhibition, the film later was introduced by Kevin Brownlow during a January, 2006 screening in Erlangen, Germany.

As part of the Toronto International Film Festival, in a series that concluded June 25,2005 with Greta Garbo in the film A Two Faced Woman (George Cukor), there was a screening of not only Part I + Part II of The Saga of Gosta Berling, an entire 183 minutes, but also of a ten minute print of The Divine Woman (Victor Sjostrom, eight reels, 1928) and a four minute print of Reklamfilm Pub Greta Garbo (1921, Ragnar Ring. The silent Garbo film Flesh and the Devil (Atra, Clarence Brown, 1926 nine reels), starring Lars Hanson and John Gilbert, The Mysterious Lady (Den mystika kvinna, Fred Niblo, 1928 nine reels) and the A Woman of Affairs were projected onto screens in Finland at the Forssa Silent Film Festival, August 27-28, 2004. The Forssan Elavienkuvien Teatteri was open from 1906 to 1930 before being reopened in 2001. The Divine Woman, directed by Victor Sjostrom and starring Greta Garbo was featured on YouTube in a 2007 listing and could be viewed as a fragment of the lost film over the internet; it has since been relisted and can still currently be viewed in a 2009 listing on Google Video-You Tube.

The silent film of Greta Garbo is featured in the Kevin Brownlow documentary Trick of the Light narrated by James Mason and is presently offered online in Windows media, divided into two parts and including the silent film documentary Hollywood Trick of the Light pt. 2, by dograt.com/hollywood.html. Greta Garbo visited James Mason in 1949 while they were planning to film La Duchesse de Langeais, an adaptation of Balzac's novel The Thirteen. Kevin Brownlow is the director of the biographical documentary Garbo (2005), a film which quickly after having been aired was mentioned in the e-mailed posts of members that correspond using several different Yahoo mailing list groups in the United States and which was also screened at the Filmhuset as part of the Swedish Film Institute's marking Garbo's 100th birthday. Not all of the posts having had been being on mailing lists specificlly dedicated to the actress Greta Garbo, in an e-mailed correspondence to the present author, John Gilbert biographer Leatrice Gilbert Fountain, wrote, "I hoped you watched the Garbo documentary on Sept 6 on TCM. I run through a lot of it and am very pleased the way they handled my father. Perhaps you can watch for a rerun." In the documentary she introduces Flesh and the Devil, describing the actor and actress during a sequence that is spliced with a segment of film of the director Clarence Brown; while describing Greta Garbo as having been independent of other people. Brown in the film praises Greta Garbo for her work in from of the camera and her work during retakes by noting that behind the camera he was at a distance from her and that her acting translated into movement what he wanted to appear on the screen. Interviewed in the documentary are Greta Garbo author Karen Swenson, Greta Garbo, who is more Garbo like in her providing an emotional rather than detailed account of the actress, and author Mark Vieira, who introduces cameraman William Daniels and The Torrent. In that the documentary begins to address the extratextural discourse that accompanied the characters that were to be portrayed on screen by Greta Garbo, it begins with footage of the city Stockholm and the two visits Greta Garbo made to the city, as well as brief footage of Sjostrom and Stiller bookended by footage of Swedish actress Mimi Pollack. Near to the 100th bithday of Greta Garbo, Mark Vieira emailed members of a Yahoo group announcing that his forthcoming book will be about Irving Thalberg and that it will include many photographs of Norma Shearer and Jean Harlow. The daughter of Norma Shearer, bookstore owner Katherine Thalberg, died in the beginning of January, 2006. Two of the brief scenes introducing Sunday Silent Nights on Turner Classic Movies are from the silent films of Greta Garbo. A scene from the film Flesh and the Devil with Greta Garbo and John Gilbert dancing together is used in the introductory sequence, and later in the sequence a scene from The Kiss with Greta Garbo in close up is used. The scene with Lillian Gish peering out at the storm is from The Wind, directed by Victor Sjostrom. The other silent films in the Turner Classic Movies introductory sequence, all of which were filmed in the United States, include two scenes from Our Dancing Daughter (1928, Beuamont), one which is a room full of balloons and the other an actress in front of a mirror, The Big Parade (Vidor), with John Gilbert kissing a leading lady, The Four Horseman of the Apocalypse with a brief scene of Rudolf Valentino smoking, two scenes from Greed (von Stroheim), one with actress Zazu Pitts in a hat and the other to conclude the sequence with Gibson Gowland, Noah's Ark with Goerge O'Bien looking into the rain, The Crowd with actor James Murray smiling, Show People with Marion Davies using a handkerchief as a prop and a brief clip from Keaton's The Cameraman that shows his eyes.

Still photograph from The Kiss scanned from the original negative and sent via yahoo e-mail by author Mark A Vieira. Filmclip linked with permission from doctormacro.com.

The Associated Press marked the 100th birthday with Jan-Erik Billinger having announced the opening of a new library at the Swedish Film Institute, one that includes film magazines from the United States from the early silent film period. Jan-Erik Billinger, who remarked the it was mostly coincidental that the library was ready in time for Garbo's centenarry, is the Head of the Information Department at the Swedish Film Institute. Soon there will be a display at the Swedish Film Institute; when Pictures of Greta (Bilder av Greta), a collection of photographs, is finished being viewed at the Stura Cinema in Stockholm, it will be transferred to the Film House. Along with it will be shown costumes the actress wore while filming The Saga of Gosta Berling with director Mauritz Stiller, her private correspondence as well as her personal belongings from childhood. Of the film that first paired Greta Garbo and Lars Hanson, one webpage author on the internet, Hazel, in her latest update reviews the onscreen performance of Greta Garbo, "Already in her first movie, Garbo gave a nuanced and mature performance." An e-mailed newsletter during April of 2006 from Kino Video announced the release on DVD of the first movie in which Greta Garbo appeared, The Saga of Gosta Berling, along with the release two other films directed by her first director, Mauritz Stiller.

Still photograph from the film Wild Orchids scanned from the original negative and sent via yahoo e-mail by author Mark A Vieira.

In The Perfect Murder (Det Perfekte Mord),directed by Eva Isaksen, Anna-Lena Hemstrom believes herself to be Garbo,or rather the characters portrayed by Greta Garbo. During the making of a film, she enacts particular scenes from Garbo's films, in her bedroom before making love, the actress on the screen becoming the spectator within the film through an identification with the action of the film actress, the idealized appropriated into the dramaturgy of the erotic;her movements are those of Greta Garbo in character- the only way to become authentic is to be the absolute object of her look, and only then by being her paramour. Intringuingly, the fabula of the film, the events of each particular scene, and its syhuzet, the presentation of its plotline, merge as its characters encounter each other, as she entices each lover toward fantasy, toward the sensual. Visually, the film represents the act of love as being both abstract and concrete: it only depicts the actress during sex in as much as each instance, and the accompanying dialouge, is particularly connected to the narrative, there being a specificality within each of the scenes upon which the plotline is dependent, one in which the actress is convinced that she knows each of her lovers from a specific Greta Garbo film and that she has to make love to them according to the juncture of events that comprise the scene in the film. She is an actress entertaining the fantasies of the actress Greta Garbo and yet, although there are no abstract shots during the film, their being shown in the bedroom uninterruped by cut in shots that would add meaning to the scene, sex acquires something that is metaphoric in that she is Garbo and for each of her lovers it can only be fantasy, it becoming intangible at the very moment of sexual climax to where their very corporeality is unknowable, that in fact quite possibly known only by Garbo as well- there is an objectification of the actress as Garbo and it is her tragic beauty that has validity, her making love as the Garbo she has portrayed on the screen that carries her to the next lover from a different, later film of Greta Garbo, sex a metaphor for Garbo's elusiveness and her star quality. Early in the film Anna-Lena Hemstrom is in the role of an actress in the audience of the on-screen Greta Garbo, "How can one surrender oneself so completely." From there ,in a white bedroom and white nightgown symbolic of post-coital solitude, she introduces an eroticism of both reclusiveness and of sphinx-like mystery, of Garbo in character and only in character and of Anna-Lena Hemstrom as Greta, in character and only in character whispering, "Not now." "Not now." Mai Zetterling has said, "I don't have Garbo's austere tragic beauty." Just as the film establishes the narrative on two levels, that of the actress that can play a character on screen other than herself and invites the director of the film she is making to her apartment and that of the actress as Garbo in front of the camera, only known through the fulfillment of their being conjugal, Garbo herself was described by Nils Asther, who starred with her in Wild Orchids (Vilda orkideer, Sidney Franklin, 1929, eleven reels) and The Single Standard (En kvinnas moral, 1929, eight reels), as being shy, while Lon Chaney is quoted as having said, "I told Garbo that mystery served me well and it would do as much for her." Norma Shearer had said, "She was very cordial with me- and then, after clasping my hand, she was suddenly gone." In his Film Essays and Criticism, a valuable introduction to film theory, Rudolf Arnheim gives Greta Garbo only a two page "portait", but it is from 1928 and may be more than what is a cursory glance, his writing, "On cat's feet, her coat pulled tightly about her and her hands folded in her lap, Greta Garbo passes censorship." Arnheim sees Greta Garbo as erotic, as an erotic object. The Perfect Murder has been aired in the United States on The International Channel. Eva Isaksen newest film is currently being unspooled in Norway. Kerstin, a Swedish writer from Stockholm, was among the first of several Swedish bloggers to notice that Greta Garbo, the actress and the mystery, will be portrayed by Anna-Karin Eskilsson in the film Garbo, Svenska Dagbladet having announced during September of 2008 that the film, a biography, was slated to be lensed by Budd Bregman and screened to audiences during 2010.

By contrast, the value of the silent film that Greta Garbo made for Metro Goldwyn Mayer is sentimental. They are romantic melodramas made after Greta Garbo had been discovered by Pabst (The Joyless Street, Die freudlosse Gasse, 1925) and Stiller, with whom Greta Garbo went to the preview of The Torrent (Virveln, 1926 nine reels), the first of her films to be photographed by William Daniels and a film in which she was directed by Silent film director Fred Niblo. Included among them are The Temptress (Fresterskan, Mauritz Stiller-Fred Niblo, 1926 seven reels), Flesh and The Devil, The Mysterious Lady, A Woman of Affairs, and The Kiss, and they can in fact be seen only for the being reminded of having first seen each of the films. Greta Garbo often went to theaters and almost invariably saw each of her movies twice, although she seldom viewed the daily rushes. Louise Brooks (Diary of a Lost Girl, Das Tagebuch Einer Verlorenen Pabst, 1929 nine reels) had written, "Garbo is all movement. First she gets the emotion, and out of the emotion, comes the dialouge."

Film clip linked with permission from doctormacro.com

Biographer Norman Zierold has written, "Garbo's plasticity made it possible for her to reflect the fantasies of her screen audience; in this sense she functioned as a recepticle for the emotions of others.". These emotional structures are created within each particular film, often by subject and spectator positioning, the viewer and the film's other characters in relation to the body of the actress. And yet, not only was Greta Garbo an actress, a figure of shadow sauntering across the screen, gracefullness moving as image, but she insofar as she was sought after was also a model, particularly when photographed by Arnold Genthe, Ruth Harriet Louise, George Hurrel, Edward Steichen or Cecil Beaton- Garbo brought had with her the quality of being a model long after the last publicity photo of her in studio costume. It was the quality of being a model that is particularly shown by three photographs by Nickolas Muray, whether it is an ebullient Greta Garbo, a pensive, or longing Greta Garbo, or the ethereal Greta Garbo that brings us only to the beginning of her mystery.

In his book, Greta Garbo,A Cinematic Legacy, Mark A. Vieira relates his conversation with Clarence Sinclair Bull about the orginal negatives of of the portraits of Garbo taken by the photographer. Sinclair had used a code on the edge of each photo with the date of each session and from these the date of the shooting of each sequence in each particular film can be found. The author Mark Vieira was kind enough to e-mail two pages of photos scanned from these orginal negatives to the present author. Recently, Scott Reisfield has edited more than 100 photographs of Greta Garbo in the volume Garbo- Her Private Collection of Own Portraits. Riesfield is the grandson of Swedish film actor Sven Gustafson. Recently, she was interviewed on Swedish Radio fondly remembering her aunt and her interests. In Frankfurt, Germany, Scott Reisfield noted the development of Greta Garbo's technique as an actress as being attributable to her "poise in front of the camera" and her femininity. In a quote almost as fascinating as the Mysterious Lady we have become acquainted with through her film, Reisfeild addresses questions regarding the Greta Garbo known to those whom had seen her offscreen, "I knew her for years before I comprehended the importance of her career."

The Nordic Museum (Nordiska musset) in Stockholm, on Djurgarden, recently shown an exhibition of photos of herself owned by the actress Greta Garbo, which began June 2, 2006 and ran September 3,2006. Present during the exhibition was Derek Reisfield. Included in the exhibition are portraits taken by Clarence Sinclair Bull during the filming of Romance (Romantik, 1930), Mata Hari (1931) and Som du vill ha mig (1932). The year 2007 marked the Centennial of the museum.

"The Truth about Garbo is in pictures." The year 2006 also marks the online publication by Ture Sjolander of Garbo, his 1971 biography of Greta Garbo. It follows Garbo from her childhood and her home at Blekingatan, in Stockholm, to her third visit to Sweden in 1935, to photos taken while the actress was living as a recluse, her briefly passing the camera and allowing it only a glimpse of herself.

And yet, before Garbo,it seems Swedish cinema was established by a director who later came to the United States to direct Lillian Gish in screenplays by Frances Marion, Victor Sjöström.

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