Sjöström's films - survival?
Maxime Renaudin
Dödskyssen... aka Kiss of Death (1916) [uncomplete print]
Tösen från Stormyrtorpet ... aka Girl from Stormy Croft (1917)
Berg-Ejvind och hans hustru ... aka The Outlaw and His Wife (1918)
Ingmarssönerna ... aka Dawn of Love (1919)
Karin Ingmarsdotter ... aka God's Way (1920)
Vem dömer ... aka Love's Crucible (1922)
Eld ombord... aka Fire on Board (1923)
"RH" <righth...@hotmail.com> a écrit dans le message de news:
63fceca3.02101...@posting.google.com...
> I'm curious if anyone has information regarding which of Victor
> Sjöström's Swedish films have survived (I'm aware of the status of his
> American films). The earliest one I have seen is "Ingeborg Holm" (from
> 1913) but the next one after that that I know for certain to exist is
> "Terje Vigen" (from 1917). Does anyone know which of his films from
> before 1913, and between 1913 and 1917. Also wondering the status of
> his later films "The Surrounded House" (1922) and "Fire on Board"
> (1923, apparently his last or next-to-last Swedish silent).
>
> Is there a reference book for Scandanavian films that would provide
> such information? If so I couldn't find it in my school's library.
>
> Also: If anyone has dubs of any of Sjöström's Swedish films (aside
> from: "Terje Vigen," "The Phantom Chariot," "The Monastery at
> Sendomir") please let me know as I would be extremely eager to see
> these and will repay you with copious hand-crafted thanks and
> compliments.
>
> Jonah
ML-78
>
> Dödskyssen... aka Kiss of Death (1916) [uncomplete print]
> Tösen från Stormyrtorpet ... aka Girl from Stormy Croft (1917)
> Berg-Ejvind och hans hustru ... aka The Outlaw and His Wife (1918)
> Ingmarssönerna ... aka Dawn of Love (1919)
> Karin Ingmarsdotter ... aka God's Way (1920)
> Vem dömer ... aka Love's Crucible (1922)
> Eld ombord... aka Fire on Board (1923)
How about Körkarlen (The Phantom Chariot) from 1920? Judging from reviews of
this film, it seems it still exists.
ML-78
Robert Lipton
ML-78 wrote:
They show it occasionally at MOMA although I haven't gotten around to
seeing it yet. In fact, they screened it last Saturday.
Bob
James Russell
<dsl7...@NOSPAMvip.cybercity.dk> wrote:
>How about Körkarlen (The Phantom Chariot) from 1920? Judging from reviews of
>this film, it seems it still exists.
I have it on video. Redemption Video in the UK released it a number of years
ago, and I think they also did his "Monastery of Sendomir" as well.
James R.
--
Hot Buttered Death http://www.ans.com.au/~jgwr/blog/
Celluloid Dreams: Wednesday, 8pm AEST, 2SER 107.3 FM http://www.2ser.com/
James Russell
>I'm curious if anyone has information regarding which of Victor
>Sjöström's Swedish films have survived (I'm aware of the status of his
>American films). The earliest one I have seen is "Ingeborg Holm" (from
>1913) but the next one after that that I know for certain to exist is
>"Terje Vigen" (from 1917). Does anyone know which of his films from
>before 1913, and between 1913 and 1917. Also wondering the status of
>his later films "The Surrounded House" (1922) and "Fire on Board"
>(1923, apparently his last or next-to-last Swedish silent).
The earliest Sjostrom film I know of that still exists is the 1912
"Tradgardsmastaren". I believe there's a clip from it in the "Cinema Europe"
series. It was banned in Sweden and I gather the only surviving copy is a
cut American print.
Maxime Renaudin
Of course, Körkarlen survives. I did not try to be exhaustive. As Jonah
wrote, "Ingeborg Holm" and "Terje Vigen" still survive as well.
Maybe some others.
Maxime
Lonnberg
"Världens grymhet" (Cruel World)
Prod: Svenska Biografteatern,
Dir: Victor Sjöström,
Actors: Victor Sjöström, Lilli Bech, Gösta Ekman, Gunnar Boman
Length: 950 meters
Banned by censors 29.8.1912
/ Lars Gunnar Lönnberg
James Russell
>So do you know this film ("Tradgardsmastaren") to exist in its
>entirety, or only in a few reels or scenes?
I think it was only three reels in length to begin with. One scene was
censored out of the American release print. What else may still be missing
from that print I don't know.
Bryan
they had several nights of Scandinavian silent shorts. I remember they also
showed Afgrunden and Vingarna. I have some vague recollection of the latter
two, but I'm afraid I can't remember anything about Tradgardsmastaren. But
it has been shown! I remember that the prints they were showing had the
original Swedish/Danish titles, because they hired people to narrate the
translations, which I thought worked very well.
Bryan
"James Russell" <jg...@yahoo.com> wrote in message
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James Russell
>I remember that the prints they were showing had the
>original Swedish/Danish titles, because they hired people to narrate the
>translations, which I thought worked very well.
That's interesting. The article I got my info from ("Spatial and temporal
articulation in pre-classical Swedish film" by John Fullerton, in "Early
cinema : space, frame, narrative", a book from my university days which is
about as fearsome as the titles of both book and article suggest) indicated
the original Swedish titles were lost with the Swedish print and no list of
them survives. I'm presuming they've been translated back, although why the
NFT didn't just get a copy of the English-language print I don't know...
Lonnberg
Lar Gunnar
"James Russell" <jg...@yahoo.com> skrev i meddelandet
news:3db284c7...@news.ans.com.au...
Lonnberg
collaboration in the Filmindustry between Denmark and Sweden at the time.
But still, why would the titles be in Danish? The film was shot in Sweden.
Lars Gunnar
"Bryan" <roxbu...@yahoo.com> skrev i meddelandet
news:3db33e84$1...@corp.newsgroups.com...
Lokke Heiss
that's the case, then they'll probably be heading for a circuit like
Stiller's films have done recently.
> Dödskyssen... aka Kiss of Death (1916) [uncomplete print]
> Tösen från Stormyrtorpet ... aka Girl from Stormy Croft (1917)
Haven't see these films, would love to get the chance.
> Berg-Ejvind och hans hustru ... aka The Outlaw and His Wife (1918)
Which I think is a masterpiece (but then I think that film-for-film,
Sjostrom is the greatest silent film director). But this is a matter
of taste, I'm always amazed at silent film buffs who yawn at his name.
How we can both love silent films and have such different reactions
to this guy's work is hard for me to understand.
> Ingmarssönerna ... aka Dawn of Love (1919)
> Karin Ingmarsdotter ... aka God's Way (1920)
I've seen both of these, first is terrific, the second almost as good.
> Vem dömer ... aka Love's Crucible (1922)
> Eld ombord... aka Fire on Board (1923)
>
> > Is there a reference book for Scandanavian films that would provide
> > such information? If so I couldn't find it in my school's library.
Have you checked the IMBd? That's the obvious place to start.
Also, there is Masterman AKA The Dangerous Pledge 1920 which I have
seen and consider it to be another 'unknown' masterpiece, a story that
starts as a Silas Marner story, then gets a lot more interesting.
Lokke Heiss
> dynamism that would probably please Griffith (witness the sea-chase
> scene in "Terje Vigen") and a kind of restrained realism, with long
> takes and powerful pauses in the action, that looks forward not just
> to the art cinema of the mid-20th century but, it seems to me, to Ford
> as well.
Exactly. Sjostrom COULD do action when he wanted, but often he was
more interested in psychological states of the characters, much like
Bergman a generation later.
I'd like to hope that apathy in Sjostrom is mostly from lack of
exposure, in my 12 years in L.A. I can't think of a single film of his
that has played even at UCLA Melnitz, at least while I was in town,
and I do keep track of these things. Meanwhile the usual suspects get
played sometimes three or four times a year, no wonder everybody
thinks Sherlock Jr. is a masterpiece, it's the only film the casual
fan might have seen!
It's sort of a chicken-and-egg thing, no exposure, no interest/ no
interest no exposure. And I wouldn't throw a novice into Mastermann
(Dangerous Pledge) without some exposure to his more accessable films.
But say, take Outlaw and his Wife, with a full
orchestra...incredible lyric power of characters and the images...wow,
what an experience THAT would be.
James Russell
>I'm at a loss to explain why many of the contributors to this
>newsgroup seem either indifferent or averse to foreign silents,
>excepting certain German expressionist titles. Not to mention the
>occasionally-voiced hostility towards "art" films like Dreyer's
>"Joan"--perhaps this extends to Sjostrom's films?
Well, not in my case. I like the admittedly little I've seen of Sjostrom's
output (I find "He Who Gets Slapped" to be a little too weird and unlikely
for me, though that's a problem with the play it comes from), and am not
averse to a bit of silent "arthouse". I still think Dreyer's "Joan" is a
titanic bore, though.
>In any event, I agree that Sjostrom is among the greatest silent
>directors--I've only seen a handful of his films, but I wouldn't argue
>with you re. him being *the* greatest. A professor of mine once said
>that Griffith's features are the first that could be shown to a
>contemporary audience without apology(that is, without seeming
>hopelessly dated), but I actually think such a judgement better
>applies to Sjostrom.
Hmm. Well, I definitely wouldn't say that about Griffith, that's for sure...
Robert Lipton
> On 23 Oct 2002 09:52:33 -0700, righth...@hotmail.com (RH) wrote:
>
>
>>I'm at a loss to explain why many of the contributors to this
>>newsgroup seem either indifferent or averse to foreign silents,
>>excepting certain German expressionist titles. Not to mention the
>>occasionally-voiced hostility towards "art" films like Dreyer's
>>"Joan"--perhaps this extends to Sjostrom's films?
I'm not. I happen to like several French films, particularly early Rene
Clair, the little of Feuillade I've seen, Max Linder's comedies, the
occasional Zecca short.... all rather difficult to track down, even in
New York.
However, one thing has become fairly clear to me, and that is that the
Europeans, particularly the French, were using a different cinematic
language than American film makers. The French mise-en-scene gives a
more subjective camera than the American one, and this even crosses over
into the occasional French director imported into the US. TOurneur's
ALIAS JIMMY VALENTINE starts with an objective camera, sitting high
above the crooks pulling off their crime and the cops chasing them,
lketting you see that they are running around like rats in a maze whose
walls are very short. It's sardonic. I enjoy it.
But you have to hustle some to find them. eve in New York. Especially
when it seems that the Museum of Modern Art is more interested in series
of rather dull modern cinema done by people who don't know anything
about film making. Still, next month, a bunch of Lubitsch is showing
up, including ROME AND JULIET IN THE SNOW. Slurp.
Bob
Robert Lipton
RH wrote:
> X-No-archive: yes
>
> Robert Lipton <bobl...@nyc.rr.com> wrote in message news:<3DB74032...@nyc.rr.com>...
>
>
>>However, one thing has become fairly clear to me, and that is that the
>>Europeans, particularly the French, were using a different cinematic
>>language than American film makers. The French mise-en-scene gives a
>>more subjective camera than the American one, and this even crosses over
>>into the occasional French director imported into the US. TOurneur's
>>ALIAS JIMMY VALENTINE starts with an objective camera, sitting high
>>above the crooks pulling off their crime and the cops chasing them,
>>lketting you see that they are running around like rats in a maze whose
>>walls are very short. It's sardonic. I enjoy it.
>>
>
> So you are saying that Tourneur employed a more objective camera than
> his American counterparts? Or the other way around?
Whoops. Sorry, I meant to write 'objective' there. No, wait, I
mean, 'subjective.' Subject, subjective subjective. Why can't I type
the word?
>
> As for French v. American styles: Feuillade and Perret's cameras were
> reasonably restrained. They concentrated on master shots with
> occasional cut-ins to focus on particular details. I would say their
> overall approach is "objective" compared to a contemporary like De
> Mille. But the French Impressionist directors in the late 1910s and
> on, like Jean Epstein and L'Herbier, very self-consciously employed
> all manner of devices to create a thoroughly subjective experience.
Somehow, though, Feuillade's shots create a greater sense of presence.
With Epstein and L'Herbier, the little I've seen of them, I get the
impression of the director setting things up. With Feuillade, I get the
impression of someone observing reality, but with a sardonic air. That
shot in LES VAMPIRES where the master cirminal grabs the girl, pulls her
into his room and pulls an EXACT DUPLICATE out of his luggage.... I can
feel the camera start with surprise. The camera is subjective. It's an
observer, palpably there.
>
> It's true that circa 1913-14, at the beginnings of the silent feature
> era, the styles in America, France, and say Sweden were distinctly
> different. But even greats like Feuillade and Sjostrom were employing
> more cutting and more continuity editing by the late 1910s/early
> 1920s, such that by the mid-1920s Sjostrom's filmmaking could be seen
> as an comfortably eccentric variation of a classical Hollywood style,
> rather than as a competitor. I don't mean to say that Sjostrom lost
> his individuality, but that it seems that after WWI a more
> "international" style began to develop than previous.
I'm still working on that.
Bob
ChaneyFan
>>newsgroup seem either indifferent or averse to foreign silents,
>>excepting certain German expressionist titles. Not to mention the
>>occasionally-voiced hostility towards "art" films like Dreyer's
>>"Joan"--perhaps this extends to Sjostrom's films?
(a) Because it's hard to see many non-American silents other than the German
and French films.
(b) I've actually posted reviews here on lots of Danish, German and French
silents, but I'm one of the lucky few who lives close to PFA.
(c) hostility towards PASSION OF JOAN OF ARC is largely due to the fact that
it's a dreadful movie, not an aversion to "art" films.
===============================
Jon Mirsalis
e-mail: Chan...@aol.com
Lon Chaney Home Page: http://members.aol.com/ChaneyFan
Jon's Film Sites: http://members.aol.com/ChaneyFan/jonfilm.htm
Philip
>I'm at a loss to explain why many of the contributors to this
>newsgroup seem either indifferent or averse to foreign silents,
>excepting certain German expressionist titles. Not to mention the
>occasionally-voiced hostility towards "art" films like Dreyer's
>"Joan"--perhaps this extends to Sjostrom's films?
I've seen nearly 300 silent features, and only two of them haven't been
"foreign".
Bruce Calvert
available on laserdisc. Are there any plans to release it on DVD?
Bruce Calvert
(remove the xspam to reply)
Visit the Silent Film Still Archive
http://home.attbi.com/~silentfilm
James Russell
>I haven't seen a single Australian silent. What are some titles of
>interest?
"The story of the Kelly gang", 1906 (world's first feature; exists in
fragmentary form only, sadly)
"The sentimental bloke", 1919 (by Raymond Longford, probably our best known
silent)
"On our selection", 1920 (also by Longford)
"For the term of his natural life", 1927 (by Norman Dawn, one of a very few
Australian silent films to see US release)
Those are, regrettably, the only ones I'm directly familiar with, though
I've seen excerpts of most of the other surviving Australian silents. For
more information you may care to visit the online shop at
http://www.screensound.gov.au/
Philip
"RH" <righth...@hotmail.com> wrote in message
news:63fceca3.02102...@posting.google.com...
> OK, so I've revealed my provinicialism. Since most of the posters in
> this list are American, I using "foreign" in the sense of
> "non-American."
>
> I haven't seen a single Australian silent. What are some titles of
> interest?
I have seen THE SENTIMENTAL BLOKE and THE KID STAKES. I can't recall much
about either, to be honest. One of the video stores I rent from occasionally
has two or three more, but I haven't got around to hiring them yet.