Winner of the 3rd Academy Award for Best Cinematography
With Byrd at the South Pole (1930)
With Byrd at the South Pole is one of the earliest and most captivating film documentaries. A deserving Academy Award winner for Best Cinematography, the film chronicles in stark reality the Antarctic expedition that led to Byrd’s famous flight over the south pole.
Richard Byrd seems to be one of the forgotten men of the first half of the twentieth century, possibly overshadowed by his contemporary, and sometimes rival, Charles Lindbergh. Byrd was one of the men who wanted badly to win the $25,000 Orteig Prize for being the first to complete the New York – Paris flight, but Lindbergh captured the award just ahead of him. Byrd would make the crossing a mere four weeks later, but was obliged to ditch his craft in Normandy when Paris was unapproachable due to fog. Yet Byrd was no stranger to the limelight in the twenties and thirties, and enjoyed the life of a national hero. He retired from naval life with the rank of rear admiral, and during the course of his lifetime was awarded with countless citations, including the Navy Cross, the Distinguished Service Cross, and the Congressional Medal of Honor. Continue reading
Baron Brusenhielm at castle Tröstehult in Skåne dislikes how his young son Karl Oscar is playing “mother and father” with the tenant’s daughter Ann-Marie, as he anticipates the beginning of a future misalliance. Years pass, and Karl Oscar is about to graduate high school. He pretends to study church history but reads in fact “The Seducer’s Diary” and thinks of Ann-Marie, who is now grown up into a woman.
During the shooting of a jealousy scene on a soundstage, one actress is murdered. Due to the fact that the male star of the movie had a relation with the victim and the female star is now his fiance, he is suspected by the police. Written by Stephan Eichenberg
During the production of an early movie using not only pictures but also sound an actress is murdered. The arriving inspectors do not only have to get to know the circumstances of the crime but also the new conditions: how “sound-movies” are made, to solve the crime. Written by katharina_strehl public.uni-hamburg.de Continue reading
Young lovers Seyran and Susan meet a tragic fate because of patriarchal prejudices of their parents. Although arranged for marriage in early childhood, and despite youngsters’ love, Barkhudar marries his daughter Susan to another man, as a matter of honour. Continue reading
Lillian Gish’s reputation may have been established in several historic D.W. Griffith pictures, but she usually ended up playing a very talented second fiddle to Griffith’s legend as a film pioneer. Nevertheless, Gish’s genius is most readily apparent in Victor Seastrom’s The Wind (1928), a psychologically-charged character study that hinges on her arsenal of small, telling gestures. This is one of the classic performances of silent cinema, and it came at a time when talkies were on the verge of burying the silents forever.
One could argue that the true protagonist of The Wind is the wind itself, a mournful sandstorm that almost drives Gish’s character insane. She plays Letty Mason, a lonely Virginia woman who travels by train to the Texas ranch of her cousin, Cora (Dorothy Cumming.) While on the train, Letty strikes up a flirtation with Roddy (Montagu Love), a Fort Worth man who implies that he might want to marry her. Later, at the ranch, Cora grows jealous of Letty when she develops a friendship with her husband (Edward Earle.) She accuses Letty of trying to steal him away from her, and kicks her out of the house. Continue reading
In this fable-morality silent film masterpiece (which is subtitled “A Song of Two Humans”), an evil temptress (Margaret Livingston) bewitches a farmer (George O’Brien) and convinces him to murder his neglected wife (Janet Gaynor). After he comes to his senses – before he is about to kill his wife – the married couple renew their love in the city. Continue reading
Based on a play by Charles Méré, the 1926 French production Le Vertige was released in the U.S. two years later as “The Living Image”, or “The Lady of Petrograd”. The film opens with the overthrow of the Czar during the 1917 Russian revolution. The family of General Count Svirsky (Roger Karl) cower in their home, certain that the mobs of angry peasants will tear them apart. But even in this moment of crisis, Svirsky can find time to murder the young officer who has been having an affair with Countess Svirska (Emmy Lynn). The Countess knows what has happened, but she loyally remains with her husband as they escape to the safety of the French Riviera. It is here that the Countess meets Henri de Cassel (Jaque Catelain), the “living image” of her dead lover. Once again, the General prepares to shoot the Countess’ paramour in cold blood — but this time, the outcome is quite different.From Hal Erickson Continue reading